presents
KATE WEARE COMPANY
Kate Weare, Artistic Director Douglas Gillespie, Assistant Director Julian De Leon, Rehearsal Director
Tuesday, June 21-Thursday, June 23 at 8:00pm Reynolds Industries Theater
Performance: 50 minutes Marksman (World Premiere)
Choreography Kate Weare Dancers and Creative Collaborators Julian De Leon, Kayla Farrish, Douglas Gillespie, Kellie Ann Lynch, Thryn Saxon, Ryan Rouland Smith Original Music and Sound Design Curtis Robert Macdonald, featuring performances from Bobby Avey (piano), Patrick Breiner (tenor saxophone), Ari Chersky (electric guitar), Curtis Macdonald (alto saxophone, ukelin), Alon Tayar (piano), Christopher Tordini (acoustic bass), Kyle Wilson (melodica) Set Design and Fabric Imagery Clifford Ross Lighting Design Mike Faba Costume Design Sarah Cubbage Associate Costume Design Maria Ozmen Costume Construction Jennifer Fadel, Mary Readinger
Choreographer's statement: I've always been thrilled by the willfulness of formation in nature; a tiny sprout ruptures the earth on its way out, the sea rhythmically rubs a sharp object smooth. This energetic process is evident to me in our own formation and relations as human beings. I marvel at the intensity that delivers nascency to form, with a focus so singular it can only be life force at play. The title of this dance comes from my fascination with a book from the 1950s called Zen in the Art of Archery, chronicling a man's pursuit of the venerable art of Japanese bow marksmanship. This archery practice centers around a simultaneous loosening and focusing of energy as a spiritual path toward accuracy and self-development. The book articulates a beautiful concept of forming while being formed, playing while being played, aiming while being aimed. As humans we may practice willfulness and seek control, yet nature pours through us still; we are formed and transformed by it with an awe-inspiring accuracy. "You must hold the drawn bowstring," answered the Master, "like a little child holding the proffered finger. It grips it so firmly that one marvels at the strength of the tiny fist. And when it lets the finger go, there is not the slightest jerk. Do you know why? Because a child doesn’t think, 'I will now let go of the finger in order to grasp this other thing.' Completely unself-consciously, without purpose, it turns wholly from one thing to the other, and we would say that it was playing with the things, were it not equally true that the things are playing with the child."
Marksman was co-commissioned by The Joyce Theater and the American Dance Festival with support from the SHS Foundation and the Charles L. and Stephanie Reinhart Fund. The creation of Marksman was supported by the New York City Department of Cultural Affairs, The New York Community Trust, the CalArts Evelyn Sharp Summer Choreographic Residency Program and was created in part during residencies at The Tisch Dance Residency Festival.
ADF’s presentation of Marksman is made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts. ABOUT THE ARTISTIC DIRECTOR KATE WEARE (Choreographer and Artistic Director) is recognized as a preeminent American choreographer whose dances are lucid, layered, and visually sophisticated. Raised by a painter and a printmaker in Oakland, CA, Weare draws on visual art sources, language, poetry, contemporary music, psychology, and nature in her work. Called by Dance Magazine, “the voice of the it’s complicated generation,” Weare just celebrated her company’s 10th anniversary season at BAM. Recent awards include The Guggenheim Foundation Fellowship Award in 2014, Inaugural BAM Fisher Artist-in-Residency and Commission Award in 2013, White Bird’s Barney Creative Prize in 2015, Inaugural Evelyn Sharp Summer Artist-in-Residency at CalArts in 2014, The Joyce Theater Creative Residency Awards in both 2014 and 2011, and the Princess Grace Fellowship in 2009. Weare’s 2013 debut in Next Wave Festival led to her Company’s 2015 season at BAM Fisher as part of the BAM/DeVos Professional Development Program. Companies worldwide including Scottish Dance Theater have commissioned Weare to set work on their dancers, most recently Cleveland’s Groundworks Dance Theater and ODC/San Francisco in a co-commission with White Bird’s Barney Creative Prize. Weare and her company members enjoy working with students. Most recently Weare acted as Guest Faculty at Princeton University, and with her company taught at NYU’s Summer Residency Program, The Juilliard School, Gibney Dance Center, Virginia Commonwealth University, Keene State University, Marymount Manhattan, and ODC’s Summer Program, among others. Committed to collaborating with composers, Weare has commissioned original scores and performed live with extraordinary musicians such as Michel Galante of NYC’s Argento Chamber Ensemble, SF-based violinist David Ryther, SF-based old time band The Crooked Jades (Jeff Kazor & Lisa Berman), composer Barbara White of Princeton University, Brooklyn- based indie band One Ring Zero (Michael Hearst & Joshua Camp), Brooklyn-based electro-acoustic cellist/composer Christopher Lancaster, and most recently, Brooklyn-based saxophonist/composer/producer Curtis Robert Macdonald. Kate Weare Company has been presented nationwide by Jacob’s Pillow, American Dance Festival, Chicago Dancing Festival, Bates Dance Festival, ArtPower at UC San Diego, Ringling Museum of Art, Dance Celebration Philadelphia, ODC Theater, Spring to Dance St. Louis, Northrop Concerts and Lectures at the University of Minnesota, and Boston Institute of Contemporary Art, among many other venues. In New York, the company has been presented by Brooklyn Academy of Music, The Joyce Theater, Fall for Dance at New York City Center, The 92nd St. Y, Symphony Space, BRICarts, The Skirball Center, Dancemopolitan at Joe’s Pub, Dance Theater Workshop, and Danspace Project, among others. DANCERS DOUGLAS GILLESPIE (Assistant Director and Dancer) has been an originating member and creative contributor throughout Kate Weare Company’s first decade. Now the company’s Assistant Director, Gillespie assists Weare on commissions, sets and re-stages repertory, facilitates outreach and teaching, oversees touring, and is integral to the company’s spirit. He teaches at colleges and dance centers around the world, most recently at The Juilliard School, NYU Tisch Summer Program, Gibney Dance Center, and National Taiwan University of the Arts. Gillespie has created his own student commissions for Cleveland State University, University of Florida, and Santa Fe College. Two of his most recent works have premiered at American College Dance Association. Gillespie premiered his first solo project in Taiwan in November 2015, and its US debut is slated for 2016. Gillespie has recently performed in Punchdrunk Emursive’s Sleep No More and Third Rail Projects’ Then She Fell. Gillespie was born in San Diego, raised in Jacksonville, and received his BFA in Dance from Florida State University in 2005. JULIAN DE LEON (Rehearsal Director and Dancer) joined Kate Weare Company in 2014, bringing with him a deep history within the dance field and a breadth of expertise in supporting the creative work of choreographers. As Rehearsal Director, De Leon helps to evolve work in process, maintain and restage repertory, integrate new dancers, and support tour logistics. De Leon began his dance training at Los Angeles County High School for the Arts in California. In 1997, he moved to London, England to study at the Laban Center for Movement and Dance. In 2000, he joined Wayne McGregor's Random Dance Company. De Leon moved to San Francisco, CA in 2003 where he danced for Kunst- Stoff, Janice Garrett and Dancers, and Margaret Jenkins Dance Company. In 2007 he moved to New York City and danced with Stephen Petronio Company for seven years. RYAN ROULAND SMITH (Dancer) hails from Colorado where he graduated from the Denver School of the Arts. A recipient of the Carpenter Scholarship, Smith graduated cum laude from Virginia Commonwealth University with a BFA in Dance and Choreography. While at VCU he performed works by choreographers Stephanie Batten Bland, Christian Von Howard, and Kate Weare. A scholarship recipient at the American Dance Festival, Smith worked with John Jasperse and Reggie Wilson as well as performing in the first reconstruction of Bill T. Jones’ Love Redefined. This is his second season with Kate Weare Company, having joined the 2015 tour of Dark Lark and Unstruck. KAYLA FARRISH (Dancer) was born and raised in Raleigh, NC, in a dance-loving family. She graduated from the University of Arizona in 2013 summa cum laude and was granted the Gertrude Shurr Award for excellence in modern dance and passionate dancing. Since moving to New York, she’s had the opportunity to work with wonderful choreographers including Aszure Barton and Artists, Helen Simoneau Danse, Gallim Dance, Chris Masters Dance, Bryn Cohn, Elena Vazintaris, Bare Dance Company, Schoen Movement Company, Matthew Westerby Dance Company, CEMA Dance, and others. She is excited for her first season with Kate Weare Company! THRYN SAXON (Dancer) was born and raised in Miami, FL where she attended New World School of the Arts High School. In May 2014 Ms. Saxon received her BFA in Dance from Florida State University. Thryn spent her first year in New York as an apprentice with the Bill T. Jones/ Arnie Zane Company and had the honor of performing with them in New York and Baltimore, MD. Ms. Saxon has also had the privilege of performing in NYC in works by Rosie DeAngelo, Erica Lessner, and the Daughter’s Collective. Thryn began working with Kate Weare as an understudy in September 2015. She is thrilled to be starting her first season as a company member with Kate Weare Company. KELLIE ANN LYNCH (Guest Artist) graduated from Smith College with her MFA in dance in 2007. She is a CT-based dancer who co-founded Elm City Dance Collective in New Haven around the time she joined Adele Myers and Dancers in 2008. In 2010, she began working with Doug Elkins Choreography, Etc. on a number of different projects. Other artists Kellie has worked with include Saar Harari and Lee Sher, Annie Kloppenberg, Tara Burns, Ariel Cohen, WireMonkey Dance, Jennifer Archibald, and Kyle Abraham, to name a few. As a guest artist, she has taught throughout NYC and various colleges and universities in New England. Her work has been commissioned, performed, and produced throughout New England including at Bates Dance Festival as an Emerging Choreographer. MEGAN WRIGHT (Apprentice) is a New York and San Francisco-based performer. She danced with the Margaret Jenkins Dance Company from 2013 to 2016, touring nationally and internationally. In 2014 she served as assistant to Katharine Hawthorne at Springboard Danse Montréal and as dance dramaturg for the Brooklyn-based performance collective I AM A BOYS CHOIR. She is a founding member of Maurya Kerr's tinypistol and has performed with Hope Mohr Dance, Christian Burns, Robert Moses' Kin, RAWdance, and many others. Her critical writing on dance has appeared in a number of outlets. She is a graduate of the Walnut Hill School of the Arts. COLLABORATORS CURTIS ROBERT MACDONALD (Composer) is a Brooklyn-based saxophonist, composer, and producer whose works blend composition, sound design, and improvisation. In 2014, he was co-awarded the first Charles and Joan Gross Family Foundation Prize for his collaboration with choreographer Aszure Barton on the dance Awáa and has won commissions from Aszure Barton & Artists, Alvin Ailey American Dance Theater, Hubbard Street Dance, Bayerisches Staatsballett (The Bavarian State Ballet), and Larry Keigwin, choreographing for The Juilliard School. He has released two albums as a bandleader, authored a book on saxophone technique, and teaches at The New School for Jazz & Contemporary Music. Curtis is also a radio producer for Q2 Music's LPR Live and the 2016 Peabody award-winning Meet The Composer. He also works closely with the great American composer, multi-instrumentalist and 2016 Pulitzer award recipient, Maestro Henry Threadgill as a member of his Ensemble Double Up. Curtis began working with Kate Weare Company last year, where he developed the original score to Unstruck. CLIFFORD ROSS (Set Designer) is a multimedia artist who began his career as a painter and sculptor after graduating from Yale University. In the mid-1990s, Ross became interested in photography, pioneering breakthrough techniques. In 2002, Ross invented and patented the revolutionary R1 camera, which allowed him to produce some of the highest resolution, large-scale landscape photographs in the world. His work has been the subject of international museum exhibitions and can be found in numerous public collections, including MoMA, the Metropolitan Museum of Art, the Solomon R. Guggenheim Museum, the J. Paul Getty Museum, Musée d’Art Moderne, and the Museum of Fine Arts, Houston. Past collaborations include his animated landscape video Harmonium Mountain I, featuring an original score by Philip Glass, and more recently a video installation with violinist Julian Rachlin at the 92nd Street Y. A public art collaboration with Mack Scogin Merrill Elam Architects and stained glass atelier Franz Mayer of Munich received a US General Services Administration (GSA) Honor Award for Ross's Austin Wall, a 28 x 28 foot stained glass wall commissioned for the U.S. Federal Courthouse in Austin, TX. Landscape Seen & Imagined, a major survey of Ross's work, was recently on view at MASS MoCA in North Adams, MA. MIKE FABA (Lighting Designer) Recent designs include Dark Lark and Unstruck for Kate Weare Company, Wednesday Morning, 11:45 for Pilobolus, Trapper at New York Theater Workshop's 4th Street Theater, New Voices at Symphony Space and the Steinheart School, Dance Iquail at the Harlem School of the Arts, Girls with Dreams at La MaMa, Telemachus, Darling at The Abrons Arts Center, and Terminally Delightful for BenDeLaCreme. Lighting Supervisor credits include Pilobolus, Martha Clarke’s Angel Reapers, and WNYC’s Radiolab Live: In the Dark. Mike is thrilled to be returning to Reynolds Industries Theater, where he started his career in modern dance in 2010 as the Master Electrician for ADF. Mike would like to send special thanks to David Ferri and Jodee Nimerichter, whose unwavering support for the training of young designers, technicians, and dancers has had a profound impact on countless careers and companies in the modern dance community. SARAH CUBBAGE (Costume Designer) Previous Kate Weare Company designs include Dark Lark, Garden, Brightland, and Lean-to. Other dance designs include The Radio Show ("Bessie" Award, Kyle Abraham/Abraham. In.Motion), and Eternal Now (BAM, White Wave). She has designed for Off-Broadway, Soho Rep, Theatre for the New City, Aquila Theatre Company, Urban Stages, Ohio Theatre, Atlantic Stage 2, Syracuse Stage, American Repertory Theatre, Hangar Theatre, Northern Stage, Premiere Stages, and Playwrights Theatre of New Jersey. Film credits include A Clerk’s Tale (dir. James Franco), So Over You (dir. Karen Odyniec), and Half the Perfect World (dir. Cynthia Arzaga Fredette). Associate/Assistant Broadway design work includes Fish in the Dark, A Delicate Balance, It’s Only a Play, This is Our Youth, Bullets Over Broadway, and Big Fish. MARIA OZMEN (Associate Costume Designer) has been based in New York City since 2012. Maria is thrilled to join the Kate Weare Company for this latest production. In addition to work in the contemporary dance world, Maria designs and assists designers for various performance and media based productions. Such productions include Ondine (2013) Madart Creative,Inner Reaches (2015) Madart Creative, and Judd Greenstien'sA Marvelous Order and An Opera About Robert Moses and Jane Jacobs (2016). Film work includes Woody Allen’s Cafe Society (2016). Event work includes Anheuser-Busch Oculto Manor (2015), Low Line Lab (2016), and TruTV event (2016). TIFFANY SCHREPFERMAN (Production Stage Manager) is a freelance Lighting Designer/Stage Manager and enjoys working with many remarkable artists and companies including Gaspard & Dancers, Rosie Herrera Dance Theatre, and Kate Weare Company. She is currently the Production Manager and resident Lighting Designer for Ad Deum Dance Company and Ad Deum II based in Houston, TX, and has designed for dance festivals such as Dance Houston, East Meets West, Project Dance Houston, and Splendid China, as well as local theatrical shows including Romeo and Juliet and The Beverly Hillbillies. Tiffany graduated magna cum laude from Belhaven University with a BFA in Dance and has worked for the American Dance Festival as Production Stage Manager of Reynolds Industries Theater for the past eight summers. She is excited to partner with the artists and creative minds of today to bring something fresh and inspiring into the dance community. SPECIAL THANKS My heartfelt gratitude to Jodee Nimerichter for co-commissioning Marksman and for believing in and supporting artists taking risks. Jodee, you make a big difference in our lives! Our gratitude to Mollie O'Reilly and the entire staff at the American Dance Festival and Reynolds Industries Theater for hosting our company, to David Ferri, Tiffany Schrepferman, and the tech staff for their excellent support in the theater, and of course, our heartfelt thanks to audiences and dance enthusiasts here in North Carolina! A special bolt of love goes out to two dancers not present onstage, yet who’ve made a profound impact on this dance, Nicole Diaz and T.J. Spaur. A heartfelt thank you to the artist Clifford Ross as well as Liron Unreich for this exciting collaboration and for the joyful willingness you’ve poured into Marksman. Thank you to this company of buoyantly brave, sensitive dancers: Doug, Julian, Nicole, Ryan, Kayla, Thryn, Kellie–watching you move like jellies, elks, steely eels & sandcastles makes it all worth it! Thank you to my lively-minded, gracious collaborators: Curtis, Sarah, and Mike, for your exquisite work on Marksman. Thank you to my intrepid partner-in-trenches Keira Chang, and to our advisors in careful planning, Doug & Julian. And finally, thank you to mymenschedick family, Lynne Parsons & Ernie Giannini, Sally & Shane Weare, and most of all, Kurt & Lily Perschke–you are my true north in a wild world.
KATE WEARE COMPANY Kate Weare, Artistic Director Keira Heu-Jwyn Chang, Executive Director Mike Faba, Lighting Supervisor/Stage Manager Madysen Luebke, Volunteer Coordinator Ginny Mottla, Assistant to the Executive Director
Board of Directors: David Stein, President John Goldman, Vice President and Treasurer Keira Heu-Jwyn Chang, Secretary Kurt Perschke Kate Weare Advisory Board: Jeanne Collins John Elderfield Will Maitland Weiss
DONATIONS: Kate Weare Company depends on the generosity of individual donors; your support is crucial to our ability to make heartfelt work in a challenging climate. To offer support and to get involved with our company, please visit us online at: kateweare.com Follow us @KateWeareDance on Vimeo, Twitter, Instagram and Facebook! And visit our website www.kateweare.com. presents
STEPHEN PETRONIO COMPANY
Stephen Petronio, Artistic Director
Friday, June 24 at 8:00pm Saturday, June 25 at 7:00pm Durham Performing Arts Center
Performance: 90 minutes, including intermission and pause Glacial Decoy (1979)
Choreography Trisha Brown Set, Costumes, and Visual Direction Robert Rauschenberg Lighting Beverly Emmons Staged by Diane Madden and Lisa Kraus Performed by Davalois Fearon, Jaqlin Medlock, Tess Montoya, Emily Stone Cameo Anna Witenberg, ADF Student Guest For these performances, the company is delighted to further expand Glacial Decoy beyond the proscenium and out into the ADF community.
INTERMISSION
RainForest (1968)
Choreography Merce Cunningham Music David Tudor, Rainforest Musicians Phil Edelstein & Ronald Kuivila, Composers Inside Electronics Décor Andy Warhol Lighting Aaron Copp Staged by Andrea Weber, with Meg Harper and Rashaun Mitchell Dancers Davalois Fearon, Kyle Filley, Jaqlin Medlock, Nicholas Sciscione, Emily Stone, Joshua Tuason
RainForest was first performed by the Merce Cunningham Dance Company on March 9, 1968 in Buffalo, NY. PAUSE
Locomotor (2014)
Concept and Choreography Stephen Petronio Original Score Clams Casino Lighting Ken Tabachnick Costumes Narciso Rodriguez Peformed by Davalois Fearon, Kyle Filley, Gino Grenek, Jaqlin Medlock, Tess Montoya, Nicholas Sciscione, Emily Stone, Joshua Tuason
Stephen Petronio Company
Assistant to the Artistic Director Gino Grenek Education Director Davalois Fearon Lighting Supervisor Gillian Wolpert Production Stage Manager Meghan Rose Murphy
Casting subject to change NOTE FROM THE ARTISTIC DIRECTOR MAKE A LITTLE HISTORY WITH US — These performances at the American Dance Festival are part of the second full season of Bloodlines, a project of Stephen Petronio Company to honor and curate a lineage of American postmodern dance masters who have inspired so many through their work. These artists have also had a profound impact on my own artistic path. Over a period of five years, the company plans to bring works by Merce Cunningham, Trisha Brown, Lucinda Childs, Anna Halprin, Yvonne Rainer, Steve Paxton, and others into our repertory. These artists are distinguished for creating original languages that embody the highest level of artistic excellence displayed through extreme physical and conceptual rigor. I find myself in a unique position as a living and working artist with a company of over 30 years, born from the inquiry of this generational movement, as well as being a participant in it through my early dancing with Trisha Brown. This moment is one of expansion and inclusion for Stephen Petronio Company. We bring these works to you with a possibility of renewed life, while there is still access to dancers and collaborators that were personally connected to, and deeply invested in these unique artists. We have launched Bloodlines with Merce Cunningham’s iconic RainForest (1968) and Trisha Brown’s proscenium masterpiece, Glacial Decoy (1979). I chose to begin with Merce, not really because I consider him a postmodernist, but because I believe it all began with his quiet, revolutionary contribution to contemporary movement thought. Through his succinct and uncompromising art-making, stripped down to the purest of forms, a generation was set loose and changed irrevocably. Trisha Brown, a postmodern giant, is also my esteemed mentor. I entered her company as a young dancer just as she was completing Glacial Decoy. Since it was her last all female work, and I was the first male in the company, I spent many hours watching it rehearsed and performed in those early formative days of my career, wishing I could embody it. The work left a profound impact on my young mind, and it is my great honor to include this work on this program tonight. Inherent in Bloodlines is the desire to continue and deepen my own art-making in reflection of my predecessors. What teachers these two continue to be. My workLocomotor , created for my Company’s 30th anniversary, is a meditation on the elemental act of bodies traveling– extreme locomotive states that cast the dancers in a careening mix of action forward and backward through time and space. The team of Michael Volpe, aka Clams Casino (music), Ken Tabachnick (light), and Narciso Rodriguez (costumes) has been a particular joy, as much due to their giant contributions to this work as to the effortless grace that each of these creative men possess. And how better to complete the cycle of 30 years than with music made by one of my own family members, my cousin Michael, who has been watching my work his whole life? Bloodlines indeed. — Stephen Petronio ABOUT THE COMPANY Acclaimed by audiences and critics alike, Stephen Petronio is widely regarded as one of the leading dance-makers of his generation. New music, visual art, and fashion collide in his dances, producing powerfully modern landscapes for the senses. He has built a body of work with some of the most talented and provocative artists in the world, including composers Atticus Ross, Valgeir Sigurðsson, Nico Muhly, Fischerspooner, Rufus Wainwright, Lou Reed, Laurie Anderson, Son Lux, James Lavelle, Michael Nyman, Sheila Chandra, Diamanda Galás, Andy Teirstein, Wire, Peter Gordon, Lenny Pickett, and David Linton, visual artists Janine Antoni, Cindy Sherman, Anish Kapoor, Donald Baechler, Stephen Hannock, Tal Yarden, Arnaldo Ferrara, and Justin Terzi III, fashion designers Jillian Lewis, Adam Kimmel, Benjamin Cho, Michael Angel, Tony Cohen, Rachel Roy, Tara Subkoff, Tanya Sarne/Ghost, Leigh Bowery, Paul Compitus, Manolo, Yonson Pak, and H. Petal, and Resident Lighting Designer Ken Tabachnick. Founded in 1984, Stephen Petronio Company has performed in 26 countries throughout the world, including over 35 New York City engagements with 22 seasons at The Joyce Theater. The company has been commissioned by Dance Umbrella Festival/London, Hebbel Theater/Berlin, Scène Nationale de Sceaux, Festival d’Automne à Paris, CNDC Angers/France, The Holland Festival, Festival Montpellier Danse, Danceworks UK Ltd, Festival de Danse–Cannes, and in the US by San Francisco Performances, The Joyce Theater, UCSB Arts & Lectures, Wexner Center for the Arts, Walker Art Center, and White Bird, among others. In 2014, Stephen Petronio Company initiated theBloodlines project. In a natural extension of this impulse, the company has this year launched a campaign to establish a choreographic residency program in Pawling, NY. This new undertaking expands the Company’s mission, reaffirming its new approach to history and laying the groundwork for a creative and secure future. The residency program will focus on research and the creative process, providing dedicated rehearsal space and resources to choreographers and their collaborators to explore ideas and develop new work away from the daily pressures of urban life. The company was recently selected by the US Department of State and Brooklyn Academy of Music as one of three American dance companies to participate in the sixth season of DanceMotion USA. BIOGRAPHIES STEPHEN PETRONIO (Artistic Director/Choreographer) For over 30 years, Stephen Petronio has honed a unique language of movement that speaks to the intuitive and complex possibilities of the body informed by its shifting cultural context. He has collaborated with a wide range of artists in many disciplines over his career and holds the integration of multiple forms as fundamental to his creative drive and vision. He continues to create a haven for dancers with a keen interest in the history of contemporary movement and an appetite for the unknown. Petronio was born in Newark, NJ, and received a BA from Hampshire College in Amherst, MA, where he began his early training in improvisation and dance technique. He was greatly influenced by working with Steve Paxton and was the first male dancer of the Trisha Brown Dance Company (1979 to 1986). He has gone on to build a unique career, receiving numerous accolades, including a John Simon Guggenheim Fellowship, awards from the Foundation for Contemporary Performance Arts, New York Foundation for the Arts, an American Choreographer Award, a New York Dance and Performance “Bessie” Award, and most recently a 2015 Doris Duke Performing Artist Award. Petronio has created over 40 works for his company and has been commissioned by some of the world’s most prestigious modern and ballet companies, including William Forsythe’s Ballett Frankfurt (1987), Deutsche Oper Berlin (1992), Lyon Opera Ballet (1994), Maggio Danza Florence (1996), Sydney Dance Company (2003, full evening), Norrdans (2004), the Washington Ballet (2007), The Scottish Ballet (2007), and two works for National Dance Company Wales (2010 and 2013). His company repertory works have been set on The Scottish Ballet, Norrdans in Sweden, Dance Works Rotterdam, National Dance Company Wales, X Factor Dance Company in Edinburgh, Ballet National de Marseille, Ballet de Lorraine, and London Contemporary Dance Theatre, as well as universities and colleges throughout the US In 2009, Petronio completed an evening-length work for 30 dancers, Tragic/Love, in collaboration with composer Son Lux for Ballet de Lorraine. He completed several additional new works with Son Lux: By Singing Light, for National Dance Company Wales (2010), The Social Band, a commission for OtherShore Dance Company in New York (2011), and numerous unique editions of Like Lazarus Did (2013) for Stephen Petronio Company. Other recent projects include Prometheus Bound (2011), a musical for the American Repertory Theater, in collaboration with director Diane Paulus (Pippin, The Gershwins’ Porgy and Bess), writer and lyricist Steven Sater (Spring Awakening), and composer Serj Tankian (Grammy Award, lead vocalist of System of a Down). In 2013, Petronio created a new work, Water Stories for National Dance Company Wales in collaboration with composer Atticus Ross (Nine Inch Nails) and photographer Matthew Brandt with visual designer Ken Tabachnick. Petronio, whose training originated with leading figures of the Judson era, performed Man Walking Down the Side of a Building in 2010 for Trisha Brown Dance Company at the Whitney Museum, and he performed his 2012 rendition of Steve Paxton’s Intravenous Lecture (1970) in New York, Portland, and at the TEDMED-2012 conference at the Kennedy Center Opera House in Washington, DC. Petronio received the distinction of being named the first Artist-in-Residence at The Joyce Theater from 2012 to 2014. He has been entangled with visual artist Janine Antoni in a number of discipline-blurring projects, one of which is the video installation Honey Baby (2013), created in collaboration with composer Tom Laurie and filmmaker Kirsten Johnson. Petronio and Antoni exhibited installations at testsite Austin (May 3–June 28, 2015) and SITE Santa Fe (July 18–October 4, 2015), and have now collaborated on a new work, Ally, in collaboration with Anna Halprin and Adrian Heathfield. Ally is currently being shown at The Fabric Workshop and Museum in Philadelphia through July 31, 2016. Petronio's memoir, Confessions of a Motion Addict, is available at Amazon.com. DAVALOIS FEARON (Dancer/Education Director) is a dancer, teacher, and choreographer born in Jamaica and raised in The Bronx, NY. In 2005, Fearon received a BFA from the Purchase College Conservatory of Dance program and has since performed and taught around the world with Stephen Petronio Company, staged its repertory, assisted as rehearsal director, and is currently its Education Coordinator. Fearon was recently recognized by prominent dance writers Wendy Perron and Charmaine Warren for her dance performances in 2015 with Stephen Petronio Company, and she is proud to be celebrating her 11th year with the company. As a choreographer, she is a recipient of the AOP Fellowship from the University of Wisconsin, Milwaukee, the 2014 Bronx Council on the Arts BRIO fellowship, and a member of The Joyce Theater’s prestigious Young Leaders Circle Artists’ Committee. Her choreography has been presented throughout New York City, including at Bronx Academy of Art and Dance, Bronx Art Space, Roulette, and the Inception to Exhibition Dance Festival, as well as in Portland, OR; Tampa, FL; and Kingston, Jamaica. Fearon has created work in collaboration with internationally renowned poet Patricia Smith, multi-reedist Mike McGinnis, and fashion photographer Nigel HoSang. In addition, she has performed with Daniel Ezralow, Forces of Nature, Ballet Noir, Darrell Robinson, and Ballet International Africans. KYLE FILLEY (Dancer) was born and raised in San Diego, CA. He earned his B.A. in Psychology from NYU’s College of Arts and Sciences and his B.F.A. in Dance from NYU’s Tisch School of the Arts. Filley has performed in works by Fernando Melo and Rashaun Mitchell. He has studied under Phyllis Lamhut, Joanna Kotze, Stuart Singer and alongside Leah Cox at the inaugural ADF California Winter Intensive. Filley found definition at the Salzburg Experimental Academy of Dance in 2014 from Martin Kilvady. He is currently dancing for Chuck Wilt’s UNA Projects and joined Stephen Petronio Company in 2015. GINO GRENEK (Dancer/Assistant to the Artistic Director) is originally from Rochester, NY. He is a graduate of both Dartmouth College (Engineering Sciences and Studio Art, 1994) and New York University’s Tisch School of the Arts (MFA in Dance, 1996). As a member of the original Broadway cast, Grenek performed in Matthew Bourne’s award- winning reinterpretation of Swan Lake (1998-1999). For eight years, he toured with the Stephen Petronio Company across five continents (1999-2007). He has assisted Petronio with the creation of new works for Norrdans (Sweden, 2004), Washington Ballet (United States, 2007), Ballet de Lorraine (France, 2009), and National Dance Company Wales (United Kingdom, 2010 and 2013). In 2007, Grenek was honored with a New York Dance and Performance “Bessie” Award for his body of work with Stephen Petronio. He returned to the company in 2009. Currently, he can also be seen in Punchdrunk’s Off-Broadway production Sleep No More at the McKittrick Hotel. JAQLIN MEDLOCK (Dancer), a native of New York, received her training under the direction of the D’Valda & Sirico Youth Company and Franco De Vita. Medlock graduated cum laude from Marymount Manhattan College with a BFA in Dance and Photography. She has danced for numerous companies including Steps Repertory Ensemble, Compagnie Julie Bour, NY2 Dance, and Indelible Dance performing works by Nacho Duato, Angelin Preljocai, Donald Byrd, Max Stone, Sean Curran, Bradley Shelver, Bennyroyce Royon, Tyce Diorio, and Sonya Tayeh. Medlock has worked as an assistant to choreographers Pedro Ruiz in NYC and Warren Adams in Leeds, England while working with Phoenix Dance Theater. Medlock joined the Stephen Petronio Company in 2011 and was named “On The Rise” by Dance Magazine in 2012. In addition to dancing, Medlock also models and has her own photography business specializing in movement. TESS MONTOYA (Dancer) was raised in Santa Fe, NM, where she began her training at the National Dance Institute of New Mexico. She graduated from Point Park University with a B.A. in Dance. Since moving to New York, Montoya has performed with Megan Kendzior, Daniel Gwirtzman, and Daniel Roberts. She has taken part in multiple workshops and events through the Merce Cunningham Trust Fellowship Program and joined Stephen Petronio Company in 2015. NICHOLAS SCISCIONE (Dancer) was born and raised in Elizabeth, NJ. He graduated magna cum laude with a B.F.A. in Dance from Mason Gross School of the Arts at Rutgers University. Sciscione has worked with Nimbus Dance Works, Joshua Beamish, and Kyle Marshall, and he is currently a member of 10 Hairy Legs. Sciscione joined Stephen Petronio Company in 2011. EMILY STONE (Dancer) is originally from Colorado, where she began dancing with the Boulder Ballet. She earned a BA in Dance from SUNY Purchase and Empire State College and completed the professional training program at the Merce Cunningham Studio. She has worked with various artists including Brandon Collwes, Hilary Easton, Christopher Willams, Ellen Cornfield and Rebecca Lazier. Stone has taught classes with the Petronio Company, the New Vista Dance Company and the Pre- College Program at Carnegie Mellon University. She is also a celebrated Pilates and yoga instructor. Stone joined the Stephen Petronio Company in 2009. JOSHUA TUASON (Dancer) is originally from San Francisco where he began his training at the San Francisco Ballet and later obtained a BFA from Marymount Manhattan Collage. He was a member of the Martha Graham Ensemble and has participated in various reconstructions of Merce Cunningham's work through the Cunningham Trust. He has worked with Ian Spencer Bell, Ellen Cornfield, Bill Young, Wendy Osserman, and Pam Tanowitz. He has been a member of the Stephen Petronio Company since 2009. ANNA WITENBERG (Student Guest) is a rising senior at Bard College where she is pursuing a major in Dance and a concentration in Gender and Sexuality Studies. She has trained at the Westside School of Ballet, Interlochen School of the Arts, and the San Francisco Conservatory of Dance. She recently performed in a restaging project of Trisha Brown's Set/Reset at Bard College, Anna Sperber’s Shutters shut and open so do queens at the American Dance Festival, and Sarah Michelson’s tournamento at the Walker Art Center. She is thrilled for this opportunity to dance with the Stephen Petronio Company. TRISHA BROWN (Choreographer), from Aberdeen, WA, is the most widely acclaimed choreographer to emerge from the postmodern era. After graduating from Mills College, Brown first came to public notice when she began showing her work with Judson Dance Theater in the 1960s. Along with like-minded artists, Brown began pushing the limits of what could be considered appropriate movement for choreography thereby changing modern dance forever. Brown explored dances for alternative spaces including rooftops and walls, forming Trisha Brown Dance Company in 1970. Brown has created over 100 dance works since 1961, including several operas. She is an accomplished visual artist represented by Sikkema Jenkins & Co. in NYC. Amongst numerous honors, Brown was the first woman choreographer to receive the MacArthur Foundation Fellowship “Genius Award.” She has been awarded two John Guggenheim Fellowships, the New York State Governor’s Arts Award, National Medal of Arts, and Commandeur des l’Ordre des Arts et des Lettres by the French Government. She served on the National Council on the Arts from 1994-97. In 2011, she received the Dorothy and Lillian Gish Prize and a New York Dance and Performance “Bessie” for Lifetime Achievement and in 2015 the Honors Award given by Dance/USA. MERCE CUNNINGHAM (Choreographer 1919–2009) was a leader of the American avant-garde throughout his seventy-year career and is considered one of the most important choreographers of our time. With an artistic career distinguished by constant experimentation and collaboration with ground-breaking artists from every discipline, Cunningham expanded the frontiers of dance and contemporary visual and performing arts. Cunningham’s lifelong passion for innovation also made him a pioneer in applying new technologies to the arts. Born in Centralia, WA on April 16, 1919, Cunningham began his professional dance career at 20 with a six-year tenure as a soloist in the Martha Graham Dance Company. In 1944 he presented his first solo show and in 1953 formed the Merce Cunningham Dance Company as a forum to explore his ground-breaking ideas. Together with John Cage, his partner in life and work, Cunningham proposed a number of radical innovations, chief among them that dance and music may occur in the same time and space, but should be created independently of one another. They also made extensive use of chance procedures, abandoning musical forms, narrative, and other conventional elements of dance composition. For Cunningham, the subject of his dances was always dance itself. An active choreographer and mentor to the arts world throughout his life, Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts (1990), the MacArthur Fellowship (1985), Japan’s Praemium Imperiale (2005), and the British Laurence Olivier Award (1985). Always forward-thinking, Cunningham established the Merce Cunningham Trust in 2000 and developed the precedent- setting Legacy Plan prior to his death to ensure the preservation of his artistic legacy. CLAMS CASINO (Composer) Known professionally as Clams Casino and Clammy Clams, Michael Volpe is a 29-year-old American hip-hop producer based in New Jersey. One of the more creative left-field hip-hop figures to surface during the late 2000s, Volpe landed his first collaboration after contacting the Pack’s Lil B via MySpace. The MC proceeded to use several Clams Casino productions, all of which were trippy, wistful, and strangely emotive, for the likes of "Realist Alive," "Motivation," and "I’m God" (the latter of which was also used by Soulja Boy for “2 Milli”). Volpe’s professional profile quickly rose as word got out that he was the one behind these tracks, as well as the source for material by Main Attrakionz, Main Attrakionz’s Squadda Bambino, and Mobb Deep’s Havoc. In June 2011, the first official Clams Casino solo release,the Rainforest EP, was issued by Tri Angle. Volpe also uploaded a free 13-track mixtape, Instrumentals, which earned him a number 16 listing in SPIN magazine’s “40 Best Rap Albums of 2011," with a citation stating that this “sonic smear barely scans as rap music, but Instrumentals is arguably 2011’s definitive sound.” He made the cover ofSPIN for a feature on “The Changing Face of Hip-Hop,” and this past fall made a crossover into the world of video games with one of his cuts featured on the soundtrack of Grand Theft Auto 5. Volpe has recently worked with FKA Twigs, Jhene Aiko, Mikky Ekko, and Schoolboy Q and remixed Sia’s “Elastic Heart.” DAVID TUDOR (Composer 1926-1996) was born in Philadelphia. His first professional activity, at age sixteen, was as an organist. He became a leading avant-garde pianist, with highly acclaimed first performances of compositions by contemporary composers, before moving in the mid- 1960s to the composition and performance of live electronic music. In the early 1950s, at Black Mountain College and in New York, he formed relationships with radical artists with whom he continued to work during his entire career — John Cage, Merce Cunningham, Robert Rauschenberg, Christian Wolff, and others. He became the pianist for the Merce Cunningham Dance Company, and he and John Cage toured during the 1950s and early 1960s with programs of Cage’s works. In the late 1950s, he also had an important presence at Darmstadt, where he worked with and influenced Karlheinz Stockhausen, Cornelius Cardew, and other members of the European avant-garde. His own compositions began to appear in the mid 1960s: Bandoneon! (1966), a composition for New York City’s “Nine Evenings, a project of Experiments in Art and Technology (E.A.T.)," design and composition of the Pepsi Pavilion, Expo ’70, Osaka, Japan, also an E.A.T. project, and, from 1974, as a founding member of Composers Inside Electronics, a music ensemble whose members perform compositions for which they have built the electronic circuitry. Tudor’s first composition for the Cunningham Dance Company was for Merce Cunningham’s RainForest in 1968. Following Cage’s death in August 1992, Tudor assumed the post of Music Director of MCDC. Tudor’s last work for Cunningham was Soundings: Ocean Diary, the electronic component of the score for Ocean (1994). COMPOSERS INSIDE ELECTRONICS (CIE) (Music) is a group of composer/ performers dedicated to the composition and live collaborative performance of electronic and electro-acoustic music since 1976 using both software and circuitry designed and constructed by individual composers. CIE is actively engaged in reconstructing a number of David Tudor’s works for live performance and has been collaborating on Tudor’s Rainforest IV since 1973. PHIL EDELSTEIN (Musician) is a composer and sound artist whose work uses physical sculptural sound, electronics, algorithms, performance, and collaboration. He is a founding member of Composers Inside Electronics, working on Rainforest IV since its inception. He has received support from NYSCA, SUNY Research Foundation, Experimental Television Center, and WNET-TV Lab. His solo work, including Terrain, has been performed for Cunningham Dance Company events, at the Experimental Intermedia Foundation, Koprod, Holland Festival, the Kitchen, Spectrum, Harvestworks, Arnot Museum of Art, Laboratorio Arte Alameda, and other venues. His early work with Tom DeWitt was written up in “The Emergence of Video Processing Tools: Television Becoming Unglued” published in 2014. Other works include Reflessione de Una Diga with Andres Bosshard, Papermusic with Cynthia Black, and Shrieks and Nuptials with Marsha Harris, released on Orange Mountain Music’s Composers Inside Electronics (from the Kitchen Archives No. 4). He is working on servo systems and control for ultrasonic instruments with John Driscoll. The ongoing work with CIE includes his new work for virtual resonant object sound fields Impulsions and repertory development of live performance of David Tudor’s compositions. RONALD KUIVILA (Musician) composes music and designs sound installations that revolve around the unusual homemade and home modified electronic instruments he designs. He pioneered the use of ultrasound (In Appreciation) and sound sampling (Alphabet) in live performance. Other pieces have explored compositional algorithms (Loose Canons), speech synthesis (The Linear Predictive Zoo), and high voltage phenomena (Pythagorean Puppet Theatre). More recently, his pieces have involved reconfigured versions of “lost” sound worlds. For example, States Variable recalls analog live electronics while Touchtones, TV’s and Time invokes the world’s dial tone, ring tones, and busy signal. ROBERT RAUSCHENBERG (Set, Costumes, and Visual Direction 1925– 2008) was born in Port Arthur, TX, and began his formal art education at Black Mountain College, following his discharge from the United States Navy in 1945. In 1949, he moved to New York and in 1951 received his first solo exhibition at the Betty Parsons Gallery. Mr. Rauschenberg's first one-artist exhibition was held in 1963 at the Jewish Museum in New York. He received the Grand Prize for Painting at the Venice Biennale the following year. He worked in the performing arts beginning the 1960s as a set, costume, and lighting designer for various dance companies. A mid-career retrospective was mounted in 1976 at the Smithsonian Institution, Washington, DC, when Mr. Rauschenberg was selected to honor the American Bicentennial. Between 1984-1991, he was actively engaged in Rauschenberg Overseas Culture Interchange (ROCI), a tangible expression of his belief in the power of art to bring about social change on an international level and the culmination of his long-term commitment to human rights. A major retrospective exhibition celebrating his work was offered by the Solomon R. Guggenheim Museum in 1997. Throughout his life Mr. Rauschenberg approached his art with a spirit of invention and with a quest for new materials, technologies, and ideas. ANDY WARHOL (Décor 1928-1987) was born Andrew Warhola in the working-class neighborhood of Oakland, in Pittsburgh, PA. Stricken at an early age with a rare neurological disorder, the young Andy Warhol found solace and escape in the form of popular celebrity magazines and DC comic books, imagery he would return to years later. Predating his multiple silver wigs and deadpan demeanor, Andy experimented with inventing personae when he was in college. He dropped the “a” from his last name shortly after moving to New York following his graduation with a degree in Pictorial Design from the Carnegie Institute of Technology (now Carnegie Mellon University) in 1949. Warhol garnered top assignments as a commercial artist for a variety of clients including Columbia Records, Glamour magazine, Harper’s Bazaar, NBC, Tiffany & Co., Vogue, and others. Warhol turned to painting and drawing in the 1950s. The Museum of Modern Art (among others) took notice, and in 1956 the institution included his work in his first group show. The turbulent 1960s ignited an impressive and wildly prolific time in Warhol’s life. It is this period, extending into the early 1970s, which saw the production of many of Warhol’s most iconic works. Building on the emerging movement of Pop Art, wherein artists used everyday consumer objects as subjects, Warhol started painting readily found, mass-produced objects, drawing on his extensive advertising background. Operating out of a silver-painted,and foil-draped studio nicknamed The Factory, Warhol embraced work in film and video. Warhol’s early films are now considered avant-garde cinema classics; he would eventually make nearly 600 films and almost 2,500 videos. Despite a brief self-declared retirement from painting, Warhol continued to make sculptures, prints, and films. During this time he also expanded his interests into the realm of performance and music, producing the traveling multi-media spectacle,The Exploding Plastic Inevitable, with the Velvet Underground and Nico. In 1968, Warhol suffered a near fatal gun-shot wound from aspiring playwright and radical feminist author, Valerie Solanas. The traumatic attempt on his life did not, however, slow down his output or his cunning ability to seamlessly infiltrate the worlds of fashion, music, media, and celebrity, including the co-founding of Interview Magazine. He also developed a strong business in commissioned portraits, becoming highly sought after for his brilliantly-colored paintings of politicians, entertainers, sports figures, writers, debutantes, and heads of state. On February 22, 1987, while in recovery from a routine gall bladder operation, Andy Warhol died. The Andy Warhol Foundation was established later that year in accordance with his will. Its mission is the advancement of the visual arts and is now recognized as one of the preeminent funders of contemporary art having distributed nearly $250MM in grants since its inception. Through the ongoing efforts of the foundation and The Andy Warhol Museum in Pittsburgh, co-founded by the foundation in 1994, Andy Warhol remains not only a fascinating cultural icon, but an inspiration to new generations of artists, curators, filmmakers, designers, and cultural innovators the world over. NARCISO RODRIGUEZ (Costume Designer) is a New York City-based fashion designer known for redefining American style during the past two decades. Born in New Jersey of Cuban-American parents, Rodriguez received his formal education at the prestigious Parsons School of Design in New York. He plays a singular role in the modern global fashion world and has been the recipient of many honors, including twice winning the Council of Fashion Designers of America’s Women’s Wear Designer of the Year. Rodriguez has been named one of the “25 Most Influential Hispanics in America” by Time Magazine and won the Fashion Icon Award from the Pratt Institute and the 2014 National Design Award in fashion from the Cooper Hewitt, Smithsonian Design Museum, among many other honors. While he specializes in women’s ready-to-wear and accessories, Rodriguez is also a fragrance designer and has won numerous awards for his innovative fragrances. On election night 2008, Rodriguez became part of American history when First Lady Michelle Obama chose to wear a dress from the designer’s Spring 2009 collection to celebrate President Barack Obama’s triumphant victory. His passion for the arts has resulted in numerous film and television collaborations, and his work has been featured in several museum exhibitions, including MOCA’s “Skin and Bones” in Los Angeles and Cooper Hewitt’s Design Triennial Exhibition. AARON COPP (Lighting Designer) Aaron Copp’s most recent projects include designs for Natalie Merchant’s 2014 US tour, Sinead O’Connor’s Gospel Sessions at Lincoln Center, Mike Birbiglia’s My Girlfriend’s Boyfriend (Off-Broadway, tour, and DVD release), a new concert DVD by Yo-Yo Ma and the Silk Road Ensemble at Tanglewood, Where We Live by SO Percussion at BAM, and The Goat Rodeo Sessions US tour with Yo-Yo Ma and Chris Thile. Copp has designed for The Old Globe, The Kennedy Center, Dallas Theater Center, and other major theaters around the country. He has worked extensively in the dance world, and in 2008, he received his second "Bessie" Award for Jonah Bokaer’s The Invention Of Minus One. He had a long association with Merce Cunningham, designing such pieces as Ground Level Overlay, Windows, and Biped, for which he also won a "Bessie." Copp received an MFA from the Yale School of Drama and a BA from SUNY-Binghamton. BEVERLY EMMONS (Lighting Designer) has designed for Broadway, Off Broadway, and Regional Theater, Dance, and Opera both in the USA and abroad. Her Broadway credits include Annie Get Your Gun, Jekyll & Hyde, The Heiress, Chronicle of a Death Foretold, Stephen Sondheim’s Passion, Abe Lincoln in Illinois, High Rollers, Stepping Out, The Elephant Man, A Day In Hollywood/A Night in the Ukraine, The Dresser, Piaf, and Doonesbury. Her lighting of Amadeus won a Tony award. Off Broadway she lit Vagina Monologues and has designed many productions with Joseph Chaikin and Meredith Monk. For Robert Wilson, she has designed lighting for productions spanning 13 years, most notably in America, Einstein on the Beach and the Civil Wars Pt V. Emmons’ designs for dance have included works for Trisha Brown, Martha Graham, and Merce Cunningham. She has been awarded seven Tony nominations, the 1976 Lumen award, 1984 and 1986 "Bessies," a 1980 Obie for Distinguished Lighting, and several Maharam/American Theater Wing Design Awards. KEN TABACHNICK (Resident Lighting Designer) has been lighting Stephen Petronio's work for over thirty years. He currently works as an independent consultant as Senior Associate at AEA Consulting. In addition to serving as a Dance/USA Trustee, he is a member of the Citizens' Advisory Committee to the New York City Department of Cultural Affairs, advising on the development of that city's cultural plan. He also serves as Trustee of the Westbeth Housing Development Corporation, which oversees an artists housing complex in New York, and is a Trustee and Treasurer of the Gilbert Hemsley Lighting Programs, as well of the Stephen Petronio Company. Tabachnick recently completed a stint in higher education as deputy dean at NYU's Tisch School of the Arts and prior to that as dean of the School of the Arts, Purchase College, SUNY. Tabachnick served as the general manager for the New York City Ballet (NYCB), and had his own practice as a lawyer focusing on intellectual property, licensing, and corporate matters. He was the managing member of IndieWIRE LLC, a news publisher focused on the independent film sector and served as general counsel for Rising Tide Studios. Tabachnick began his career as a lighting designer working with clients such as the Bolshoi Ballet, Kirov Ballet, Paris Opera Ballet, Martha Graham Dance Company, Trisha Brown Dance Company, Live from Lincoln Center, Robert Wilson, and Karol Armitage, among others. He was also the resident lighting director at New York City Opera from 1986 to 1990, where he designed approximately a dozen operas. Some of his other design clients included Pittsburgh Opera, Greater Miami Opera, Michigan Opera, Wolf Trap Opera Company, Hartford Stage, and Berkeley Rep. Tabachnick lives in New York City with his wife and teaches Tae Kwon Do, in which he holds a 3rd Degree Black Belt. MEG HARPER (Stager), a graduate of the University of Illinois, danced with the Merce Cunningham Dance Company from 1968 to 1977 and with the Lucinda Childs Dance Company from 1979 to 1990. In 1998, she began working with Robert Wilson as an actor/dancer and continues to work with him on various projects. She has also performed in the work of Jonah Bokaer and Anita Cheng. Harper is currently working with video/ installation artist Seline Baumgartner and choreographer Vicky Shick. Harper teaches Qigong in senior centers and churches throughout New York City. LISA KRAUS (Stager) Lisa Kraus’ career has included performing with Trisha Brown, choreographing and performing for her own company and as an independent, teaching at universities and arts centers, presenting the work of other artists as Coordinator of the Bryn Mawr College Performing Arts Series, and writing reviews, features and essays on dance for internet and print publication. Dancing with the Trisha Brown Dance Company from 1977 to 1982, she continues to restage Brown's work at venues including the Paris Opera Ballet and Venice Biennale. She was on the faculty of the European Dance Development Center in the Netherlands for a decade and has received numerous fellowships and presenting opportunities for her own choreography. Her writing has been published in the Philadelphia Inquirer, Dance Magazine, Dance Research Journal, and Contact Quarterly, among others. She was a 2010 National Endowment for the Arts Fellow in Dance Criticism and in 2011 co-founded thINKingDANCE, an online dance journal and dance writers' training scheme based in Philadelphia. DIANE MADDEN (Stager) attended Hampshire College in Massachusetts before joining the Trisha Brown Dance Company in 1980. Since then, Madden has danced, directed, taught, studied and reconstructed Brown’s work for nearly 35 years. A much lauded performer, Madden has been described in The New York Times as “one of those dancers who can make magic out of almost any task.” She has originated roles in works including Son of Gone Fishin’ (1981), Brown’s masterwork Set and Reset (1983), for which she was recently honored, along with the full original cast, by Movement Research in 2012, Lateral Pass (1985), Carmen (1986), Newark (Niweweorce) (1987), Astral Convertible (1989) for which she was awarded a New York Dance and Performance “Bessie” Award, Foray Forêt (1990), Astral Converted (1991), the “running solo” in For M.G.: The Movie (1991), Another Story as in falling (1993), Yet Another Story as in falling (1994), M.O. (1995) set to Bach’s Musical Offering, Twelve Ton Rose (1996), Accumulation with Talking Plus Repertory (1997), Monteverdi’s Orfeo (1998) and the Interlude solos Rage and Ladder in El Trilogy (2000). Madden has served as Brown’s personal assistant and was the rehearsal director from 1984-2000. She continued to teach and direct special projects for the Company before serving again as Rehearsal Director from 2010 until 2013, when she was named Associate Artistic Director. Through the talents of dancers both within the company and from internationally known schools and companies, Madden enjoys keeping Brown’s rich range of choreography alive on stages and alternative sites worldwide. Madden has developed an approach to teaching that weaves anatomically grounded technique with improvisation, composition, and performance skills. In addition to her own performance work in collaborative improvisational forms, she is greatly influenced by her study and practice of Aikido with Fuminori Onuma. Madden is honored to be the recipient of two Princess Grace Awards, the first in 1986 and the second for sustained achievement in 1994. RASHAUN MITCHELL (Stager) graduated from Sarah Lawrence College in 2000. Since then, he has worked with many artists, including Chantal Yzermans, Donna Uchizono, Pam Tanowitz, Risa Jaroslow, Sara Rudner, Jonah Bokaer, Richard Colton, Deborah Hay, Rebecca Lazier, and Silas Riener. He has received numerous awards: a Princess Grace Award: Dance Fellowship (2007), a New York Dance and Performance “Bessie” Award for sustained achievement in the work of Merce Cunningham 2004-2012 (2011), a "Bessie" for “Outstanding Emerging Choreographer” (2012), a grant from the Foundation for Contemporary Art (2013), and a Guggenheim Fellowship (2014). He is a Cunningham Fellow and licensed stager of the repertory. His choreography has been presented in New York City by Danspace Project, Baryshnikov Arts Center, New York Live Arts, LMCC, La MaMa Moves Festival, Mount Tremper Arts, Skirball Center at NYU, and at numerous festivals and universities throughout the United States. He has been on faculty at Sarah Lawrence College and is a full- time Professor of Dance at NYU Tisch School of the Arts. In 2013, Mitchell and Silas Riener were listed in Dance Magazine’s “25 to Watch” and were selected for LMCC’s inaugural Extended Life Development Program. They were 2014 City Center Choreographic Fellows and Mellon Artists- in-Residence at The Newhouse Center for the Humanities at Wellesley College. ANDREA WEBER (Stager) was a dancer with the Merce Cunningham Dance Company from 2004 to 2011, performing roles in over 25 works. Andrea is on faculty of the Merce Cunningham Trust, teaching Cunningham Technique® at New York City Center, The Joffrey Ballet Trainee program and SUNY Purchase. She has also taught at Brown University, Skidmore College, the American Dance Festival, Salem State College and Dance New Amsterdam. Andrea has staged Pond Way for Ballett am Rhein in Dusseldorf,Suite for Five for the CNSMD in Lyon, RainForest for Stephen Petronio Company, and Sounddance at UNCSA. Andrea has also danced with Coleman & Lemieux Compagnie, Dance Heginbotham, Jessica Lang Dance, Cornfield Dance, Jonah Bokaer, Charlotte Griffin, and as the Marchesa in Queen of the Night. GILLIAN WOLPERT (Lighting Supervisor) Originally from Toronto, Gillian has served as lighting designer for New York Theatre Workshop, Brooklyn Arts Exchange, Blessed Unrest, Zoetic Dance, Hartt Dances, Strike Anywhere, and many others and has toured with The Kennedy Center, The Acting Company, Sean Curran Dance Company, Joffrey Ballet Concert Group, and numerous other dance and theatre projects. Her work has garnered a Guthrie award for her contributions to Canada's Stratford Festival and a Jessie Richardson nomination for her design of The Unexpected Man in Vancouver. MEGHAN ROSE MURPHY (Production Stage Manager) is currently the production stage manager for Complexions Contemporary Ballet and Stephen Petronio Company. In addition, she serves as the Sound Designer and Audio Engineer for Marymount Manhattan College Dance Department. Murphy works annually as the production coordinator with the Clive Barnes Foundation and is also a part of the production team for Vail International Dance Festival. Previously, she was the stage manager for Peridance Contemporary Dance Company as well as production and house manager of the Salvatore Capezio Theater at Peridance. Murphy has worked on the Stage Management team for the following productions: FLEXN at the Park Avenue Armory, SAB Spring Workshop, Buglisi Dance Theatre’s Table of Silence Project at Lincoln Center, Laguna Dance Festival, Azul Dance Theater, Synthesis Dance Project, and Pushing Progress. Murphy is a cum laude graduate of Marymount Manhattan College, where she received dual degrees in Dance, with a focus in technical theater, and Communication Arts.
Stephen Petronio Company would like to offer a heartfelt thanks to Jodee Nimerichter and the entire staff and crew of the American Dance Festival. We are very pleased to return in this engagement. Bloodlines is made possible, in part, with Lead Sponsorship from the SHS Foundation and corporate support from American Express. Stephen Petronio Company’s 2015–16 season is made possible in part with public funds from The National Endowment for the Arts, New York State Council on the Arts, NYC Department of Cultural Affairs in partnership with the City Council, and with additional support from the Doris Duke Charitable Foundation, The Foundation To-Life, The Gladys Krieble Delmas Foundation, The Harkness Foundation for Dance, Howard Gilman Foundation, James E. Robison Foundation, King’s Fountain, The Shubert Foundation and Seventh House PR/Showroom Seven International. SOCIALIZE WITH US ONLINE www.petron.io facebook.com/StephenPetronioCompany twitter @stephenpetronio #petronioco #stephenpetronio instagram @stephenpetroniocompany
STEPHEN PETRONIO DANCE COMPANY, INC. Artistic Director: Stephen Petronio Executive Director: Yvan Greenberg Development Director: Alessandra Larson Administrative Associate: Sasha Okshteyn Director of Planning, Petronio Residency Initiative: Laurie Uprichard For North American booking inquiries: Cathy Pruzan, Artist Representative, [email protected] ADDITIONS TO THE 2016 ADF CONTRIBUTORS As of June 13, 2016
DIRECTOR’S CIRCLE ($5,000 - $9,999) American Tobacco Campus* Richard and Ford Hibbits
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LEADER ($1,000 - $2,999) Joe Van Gogh* The Palace International*
INVESTOR ($500 - $999) Gay Bradley and Gerry Riveros Mary Regan Ponysaurus Brewing*
PARTNERPOST ($250 -$499) Black Twig CiderERFORMANCE House* Evelyn S. Bloch,P Bill Neal, and Thea Bloch-Neal DISCUSSIONS Linda Y. Cooper Guglhupf Bakery, Café & Restau- rant*
PATRON ($100 - $249) Ann and Bob DeMaine Jeanne and Brian Murray
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