Season Sponsor: 2017 BAM Next Wave Festival #Bamnextwave

Home , Gong Linna, Marcus Rojas, Mark Stewart (guitarist), Michael Counts

Published by: Season Sponsor: 2017 BAM Next Wave Festival #BAMNextWave

Brooklyn Academy of Music

Adam E. Max, Katy Clark, Chairman of the Board President

William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer

Road Trip

Bang on a Can All-Stars Music by Michael Gordon, David Lang, Julia Wolfe Directed by Michael Counts

BAM Howard Gilman Opera House Oct 27 & 28 at 7:30pm

Running time: approx. one hour & 20 minutes, no intermission

Scenic and projection design by Deborah Johnson aka CandyStations Lighting design by Ben Stanton

Season Sponsor:

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

Additional support provided by the Virginia B. Toulmin Foundation. Road Trip

PROGRAM

Violin/Brooklyn Triple A Wind in my hair Interstate Plains We are driving Under the stars Moose Unseen Arrival

PERFORMED BY

Bang on a Can All-Stars Ashley Bathgate cello Robert Black bass Vicky Chow piano and keyboard David Cossin percussion Mark Stewart guitar Ken Thomson clarinet and bass clarinet Andrew Cotton sound engineer

Ashley Tata associate director John Erickson video programmer Matt McAdon technical director, scenic Max Silverman video sound design Travis Blackwell stage manager Sruly Lazaros production manager

Produced by Bang on a Can

Commissioned by BAM for the 2017 Next Wave Festival and by Stephen A. Block, Robert Braun & Joan Friedman, Leslie Lassiter, Raulee Marcus, Maria & Robert A. Skirnick, Jane and Richard Stewart, New Music USA, with additional support from Jerry Eberhardt and Phil Hettema, plus the many individual donors to the Bang on a Can 30th Anniversary “Road Trip” Fund. Road Trip

MICHAEL GORDON DAVID LANG JULIA WOLFE

ASHLEY BATHGATE ROBERT BLACK VICKY CHOW

DAVID COSSIN MARK STEWART KEN THOMSON Photo: Yannick Grandmont Road Trip even unknowable. road,twolaneblacktop,superhighway.country Destinationunknown. Maybe road, oftheopenroad.Dirt trek—celebratingthefreedomandmystery country CandyStations) createanimmersivelandscape.Road Trip takesusonacross- power itup.DirectorMichaelCountsandscenicdesignerDeborahJohnson (aka the roadtogether, sharingthejourney. TheelectricBangonaCanAll-Stars stillbestoffriends—on productions, marathons,andsummerfestivals,they’re hundreds ofthousandsmilesandhundredsnewpieces,records, After Wolfe—started ajourneytogether, andtheycalledthatjourney“Bang on aCan.” 30 yearsago, threeyoungcomposers—MichaelGordon, DavidLang,andJulia PROGRAM NOTE Photo: Bethanie Hines

Bang on a Can All-Stars. Photo: Peter Serling Who’s Who

MICHAEL GORDON honors in 2016, including Academy Award, Over the past 30 years, Michael Gordon has Golden Globe, and Critics Choice nominations, produced a strikingly diverse body of work, among others. Lang’s the little match girl passion ranging from large-scale pieces for high-energy won the 2008 Pulitzer Prize for Music. Commis- ensembles and major orchestral commissions sioned by Carnegie Hall and based on a fable to works conceived specifically for the recording by Hans Christian Andersen and Lang’s own studio. Transcending categorization, his music rewriting of the libretto to Bach’s St. Matthew represents the collision of mysterious introspec- Passion, the recording of the piece was awarded tion and brutal directness. This season, in a 2010 Grammy Award for Best Small Ensemble addition to Road Trip, Gordon receives premieres Performance. Recent premieres include his opera of his music worldwide: a new arrangement of the loser, which opened the 2016 Next Wave his opera Acquanetta, commissioned by the Festival at BAM, and for which Lang served as Prototype Festival; a new orchestral work for composer, librettist, and stage director; the public Miami City Ballet; and the German premiere domain for 1000 singers at Lincoln Center’s of his piano concerto The Unchanging Sea, Mostly Mozart Festival; his chamber opera performed by the MDR Symphony. Gordon’s anatomy theater at Los Angeles Opera and at the recent works have included Big Space, commis- Prototype Festival in New York; and the concerto sioned by the BBC Proms and premiered by the man made for the ensemble So¯ Percussion and Bang on a Can All-Stars; a concert-length work a consortium of orchestras; including the BBC for choir, Anonymous Man, commissioned and Symphony and the Los Angeles Philharmonic. premiered by The Crossing; and three new works In addition to his work as a composer, Lang is for orchestra: Natural History, written for the Artist in Residence at the Institute for Advanced 100th Anniversary of the US National Parks and Study in Princeton, NJ, and is a professor of premiered at Crater Lake in Oregon; Observations composition at the Yale School of Music. Lang is on Air, a concerto for bassoon, commissioned co-founder and co-artistic director of New York’s by the Orchestra of the Age of Enlightenment legendary music collective Bang on a Can. His for soloist Peter Whelan; and The Unchanging music is published by Red Poppy Music (ASCAP) Sea, a piano concerto for Tomoko Mukaiyama, and is distributed worldwide by G. Schirmer, Inc. commissioned by the Seattle Symphony and the Rotterdam Philharmonic. Gordon has been JULIA WOLFE commissioned by Lincoln Center, Carnegie Hall, Julia Wolfe’s music is distinguished by an the BBC Proms, the Seattle Symphony, the Rot- intense physicality and a relentless power that terdam Philharmonic, the Orchestra of the Age pushes performers to extremes and demands at- of Enlightenment, Ensemble Modern, and BAM, tention from the audience. She draws inspiration among many others. His recordings include from folk, classical, and rock genres, bringing a Timber Remixed, Dystopia, Rushes, Timber, modern sensibility to each while simultaneously Weather, Light Is Calling, Decasia, (purgatorio) tearing down the walls between them. She is POPOPERA, Van Gogh, Trance, and Big Noise a 2016 MacArthur Fellow. Anthracite Fields, from Nicaragua. Gordon is co-founder and co- her Pulitzer-winning concert-length oratorio for artistic director of New York’s legendary music chorus and instruments, draws on oral histories, collective Bang on a Can. His music is published interviews, speeches, and more to honor the by Red Poppy Music (ASCAP) and is distributed people who persevered and endured in the Penn- worldwide by G. Schirmer, Inc. sylvania Anthracite Coal Region. The New York Philharmonic will premiere her new work for DAVID LANG orchestra and women’s chorus in the 2018—19 David Lang is one of the most highly esteemed season, continuing her interest in American and performed American composers writing labor history with the subject of women in New today. In 2016 he was awarded the Richard B. York’s garment industry at the turn of the cen- Fisher Next Wave Award from BAM. His works tury. Upcoming projects include new works for have been performed around the world in most cellist Maya Beiser, So¯ Percussion, New World of the great concert halls. Lang’s simple song Symphony, and the LA Philharmonic. Wolfe has #3, written as part of his score for Paolo Sor- collaborated with theater artist Anna Deavere rentino’s acclaimed film Youth, received many Smith, director Anne Bogart, projection designer Who’s Who

Jeff Sugg, filmmaker Bill Morrison, and director (New York magazine). Her “impish ferocity,” “rich François Girard, among others. Her music is tone,” and “imaginative phrasing” (New York heard at venues and festivals throughout the Times) have made her one of the most sought af- world and has been recorded on the Cantaloupe ter performers of her time. The desire to create a Music, Teldec, Point/Universal, Sony Classical, dynamic energy exchange with her audience and and Argo/Decca labels. In 2009, Wolfe joined build upon the ensuing chemistry is a pillar of the NYU Steinhardt School’s faculty where she Bathgate’s philosophy as a performer. Her affinity is artistic director of music composition. She is to dynamism drives Bathgate to venture into co-founder and co-artistic director of New York’s previously uncharted areas of ground-breaking legendary music collective Bang on a Can. Her sounds and techniques, breaking the mold of a music is published by Red Poppy Music (ASCAP) cello’s traditionally perceived voice. Collaborators and is distributed worldwide by G. Schirmer, Inc. and fans alike describe her vitality as nothing short of remarkable and magical for all who are PERFORMERS involved. She is a member of the award-winning, internationally acclaimed sextet, Bang on a Can BANG ON A CAN ALL-STARS All-Stars, the chamber music group HOWL, as Formed in 1992, the Bang on a Can All-Stars well as two chamber groups of which she is are recognized worldwide for their ultra-dynamic a founding member: TwoSense and Bonjour. live performances and recordings of today’s most ashleybathgate.com innovative music. Freely crossing the boundar- ies between classical, jazz, rock, world, and ROBERT BLACK (bass) experimental music, this six-member amplified Robert Black tours the world creating unheard of ensemble has consistently forged a category-de- music for the solo double bass. He collaborates fying identity. With a massive repertoire of works with the most adventurous composers, musi- written specifically for the group’s distinctive cians, dancers, artists, actors, and technophiles instrumentation and style of performance, the from all walks of life. He is a founding and All-Stars have become a genre in their own right. current member of the Bang on a Can All-Stars. Performing each year throughout the US and In 2015, Black commissioned Philip Glass to internationally, the group’s celebrated projects compose a seven-movement solo partita that include their landmark recording of Brian Eno’s includes recited poetry by seven of downtown ambient classic Music for Airports, as well as New York’s most illustrious musician/poets. live performances with Philip Glass, Meredith His current project, titled Possessed, is a series Monk, Don Byron, Iva Bittová, Thurston Moore, of solo improvisatory outdoor performances in and others. Recent project highlights include the Utah’s rugged canyon/desert landscape, which premiere performances and recording of Julia was recently released in DVD and CD format on Wolfe’s Pulitzer Prize winning Anthracite Fields Cantaloupe Records. He has also recorded solo for the All-Stars and guest choir; Field Record- CDs for New World Records (Modern American ings, a major multi-media project and two CD/ Bass), Mode Records (The Complete Bass Music DVD releases featuring over 30 commissioned of Christian Wolff and The Bass Music of Gia- works by pioneering musicians from across all cinto Scelsi), O.O. Discs (State of the Bass), and genres and borders; the world premiere and his numerous Bang on a Can All-Stars record- album release of Cloud River Mountain, a new ings on Cantaloupe Records. Black maintains collaboration featuring Chinese superstar singer a full teaching schedule at the Hartt School at Gong Linna; and more. The All-Stars record on the University of Hartford, the Festival Eleazar Cantaloupe Music and have released earlier de Carvalho (Brazil), and the Manhattan School recordings on Sony, Universal, and Nonesuch. of Music’s Contemporary Performance Program. robertblack.org ASHLEY BATHGATE (cello) American cellist Ashley Bathgate has been VICKY CHOW (piano) described as an “eloquent new music Canadian pianist Vicky Chow has been described interpreter”(New York Times) and “a glorious as a “new star of new music” (Los Angeles cellist” (Washington Post) who combines “bit- Times) and “one of our era’s most brilliant pia- tersweet lyricism along with ferocious chops” nists” (Pitchfork). She’s the pianist for Bang on

Photo: Souki Medhaoui Who’s Who

a Can All-Stars, X88, Chow/Reimer Duo, Grand ing member of the Bang on a Can All-Stars and Band, New Music Detroit, and has collabo- the comic duo Polygraph Lounge with keyboard/ rated with ensembles such as the International theremin wizard Rob Schwimmer, Stewart has Contemporary Ensemble. Her sophomore album also worked with Steve Reich, Anthony Braxton, A O R T A (New Amsterdam Records) was hailed Bob Dylan, Charles Wuorinen, Cecil Taylor, as “imaginative” and “compelling” (I Care If You Meredith Monk, Stevie Wonder, Philip Glass, Listen) and “above all else a triumph of curation” Hugh Masekela, Iva Bittová, Bruce Springsteen, (Second Inversion). Her recordings of Steve Ornette Coleman, Edie Brickell, Don Byron, Joan Reich’s Piano Counterpoint (Nonesuch) and Baez, Paul McCartney, Jimmy Cliff, Wynton Tristan Perich’s Surface Image (New Amsterdam Marsalis, the Everly Brothers, Fred Frith, Alison Records) were included in top albums of the Krauss, Sting, David Krakauer, Bobby McFerrin, year lists such as Rolling Stone. Her recorded David Byrne, James Taylor, The Roches, Aaron work can be found on the Nonesuch, New Neville, and Marc Ribot. He has worked exten- Amsterdam, Tzadik, Cantaloupe Music, Innova, sively with composer Elliot Goldenthal on music Hinterzimmer, and AltaVoz labels. Vicky Chow is for films often playing instruments of his own a Yamaha Artist. vickychow.com design. He has designed instruments for Theatre for a New Audience’s productions of A Midsum- DAVID COSSIN (percussion) mer Night’s Dream and King Lear and is the David Cossin was born and raised in Queens, inventor of the WhirlyCopter, a bicycle-powered NY and studied classical percussion at the Pythagorean choir of singing tubes and the Big Manhattan School of Music. His interest in clas- Boing, a 24-foot sonic banquet table Mbira that sical percussion, drum set, non-western hand seats 30 children playing 490 found objects. He drumming, composition, and improvisation has is currently visiting lecturer at MIT in musical led to performances across a broad spectrum of instrument design. musical and artistic forms. Cossin has recorded and performed internationally with Steve Reich KEN THOMSON (clarinet and bass clarinet) and Musicians, Philip Glass, Yo-Yo Ma, Meredith Ken Thomson, a staple of New York City’s Monk, Tan Dun, Cecil Taylor, Talujon Percussion contemporary music and jazz communities, is Quartet, and the trio Real Quiet, as well as with an instrumentalist and composer widely regarded Sting on his Symphonicity world tour. Theater for his ability to blend a rich variety of influences work includes Blue Man Group, Mabou Mines, and styles into his own musical language, while and projects with the director Peter Sellars. maintaining a voice unmistakably his own. With Cossin was featured as the solo percussionist his quintet, Slow/Fast, he has toured interna- in Tan Dun’s award-winning score to the film tionally and released two discs including Settle Crouching Tiger, Hidden Dragon. As a soloist, (NCM East Records, 2014) about which the he has performed with orchestras throughout the Chicago Reader said, “Few musicians travel as world including the Los Angeles Philharmonic, assuredly and meaningfully between jazz and Orchestra Radio France, and more. His sonic new music.” As a composer, he has released two installations have been presented in New York, discs, Thaw (Cantaloupe Music), of his composi- Italy and Germany, and he is also an active tions performed by the heralded JACK Quartet, composer and instrument inventor, expanding and Restless (2016), featuring Ashley Bathgate the limits of traditional percussion. He teaches and Karl Larson, which received a 7.9 from percussion at the Aaron Copland School of Music Pitchfork and multiple Best of 2016 accolades. and the Manhattan School of Music’s Contempo- Thomson also co-leads the chamber/punk/ rary Performance Program. jazz band Gutbucket, with which he has toured extensively throughout the US and internationally MARK STEWART (electric guitar) for more than 18 years. He is also active as a Multi-instrumentalist, singer, composer, and freelance clarinetist in New York, performing instrument designer Mark Stewart has been with Ensemble Signal, International Contempo- heard around the world performing old and new rary Ensemble, and more. He is a Conn-Selmer/ music. Since 1998 he has recorded, toured, and Selmer Paris and D’Addario Woodwinds been musical director with Paul Simon. A found- artist. ktonline.net Who’s Who

ANDREW COTTON (sound design/engineer) Hall, Madison Square Garden, the Fillmore, In his role as tour manager and engineer, Andrew and Wiener Konzerthaus. She has also created Cotton works closely with both composers and site-specific installations for events at SXSW, The musicians in creating new works. Cotton works Cleveland Museum of Art, Chicago’s Millennium closely with several major London producers, Park, and the Baltimore Museum of Art. specializing in contemporary music projects with artists and concert series as diverse as Elvis BEN STANTON (lighting design) Costello and John Harle, the BBC Promenade Ben Stanton has designed over 100 theater pro- Series, Meltdown, George Russell, Carla Bley, ductions on Broadway, off-Broadway, and across and Talvin Singh. He collaborates with compos- the US and Europe. He’s received two Tony ers Michael Gordon, Julia Wolfe, and David Lang Award nominations for his work on the Broad- on their pieces for the Bang on a Can All-Stars way musical Fun Home, and for the Broadway as well as large ensemble, dance, and theater revival of the musical Spring Awakening, and a pieces. He also act as technical manager and OBIE Award for Sustained Excellence in Lighting sound collaborator with percussionist Evelyn Design. In addition to theater, Stanton designs Glennie DBE. concerts and tours for artists such as Beirut, Regina Spektor, Sufjan Stevens, and St. Vincent. MICHAEL COUNTS (director) Some recent music collaborations include Recon- Michael Counts is a theatrical designer and stage figuration—An Evening with Other Lives, Black director, visual artist, and media and enter- Mountain Songs (Bryce Dessner, Richard Reed tainment entrepreneur who has been creating Parry), and Planetarium (Bryce Dessner, Nico large-scale immersive installations, theatrical Muhly, Sufjan Stevens), all at BAM; Regina Spe- productions, and innovative media and entertain- ktor’s Remember Us to Life and What We Saw ment experiences for the last 20 years. As one of from the Cheap Seats world tours; and Sufjan the early pioneers of immersive art and entertain- Stevens’ Age of Adz European tour and Celebrate ment he has been called a “mad genius” by The Brooklyn performances. Stanton lives in Brooklyn New York Times and “one of the most fertile with his wife, the projection designer Lucy Mack- imaginations working in New York City today” by innon, and their 18-month old son Henry. Time Out New York. His productions of Moses in Egypt (New York City Opera) and Philharmonic ASHLEY TATA (associate director) 360 (New York Philharmonic) were each listed Ashley Tata is a director working principally on The New York Times’ “Top 10” list. Last sum- in the fields of new opera and multi-media mer Counts created and co-produced Paradiso: performance. She is an associate with Michael Chapter 1, an immersive theatrical escape room, Counts and creative director of Immersive Escape which received widespread critical acclaim and Productions where she is co-director of Paradiso: led The New York Times to call Counts “a master The Escape Test, The Path of Beatrice, and the of immersive theater;” and designed and directed director of the recently opened Memory Room. the Ouroboros Trilogy—a cycle of contempo- Recent projects: the multi-media pop-up series rary operas that include Zhou Long’s Pulitzer Out of Bounds (PROTOTYPE Festival); Kate Prize-winning Madame White Snake, and world Soper’s Ipsa Dixit (EMPAC); Molière’s Don Juan premiere productions of Scott Wheeler’s Naga (Fisher Center, Bard College); thingNY’s This and Paola Prestini’s Gilgamesh. Takes Place Close By (Knockdown Center); Mojiao Wang’s opera Encounter (NCPA, Beijing); DEBORAH JOHNSON aka CandyStations Lainie Fefferman’s oratorio Here I Am (Roulette); (scenic and projection design) and a multimedia concert staging of David T. Deborah Johnson is an interdisciplinary art- Little’s Soldier Songs with video by Bill Mor- ist and designer specializing in performance rison (Holland Festival, Atlas Theater). She visuals and stage design. She has worked regularly works with Beth Morrison Projects and with musicians including Sufjan Stevens, Ray directors Robert Woodruff, Daniel Fish, JoAnne LaMontagne, St. Vincent, M83, and Wilco, with Akalaitis, and Jay Scheib. She is the recipient performances at Coachella, Disney Concert Hall, of the Lotos Foundation’s Emerging Artist Prize BAM, Museum of Modern Art, Radio City Music in the Arts and Sciences and the 2017 Robert Who’s Who

L.B. Tobin Director-Designer Showcase Winner. moniker, Inside the Whale, he presents a She received an MFA from Columbia University. variety of high-caliber weirdo music in informal ashleytata.com basements and rock clubs throughout the five boroughs. Lazaros has also produced shows JOHN ERICKSON (video programmer) for the World Music Institute; the Winter Jazz John Erickson is a Brooklyn-based video pro- Festival; Spotify House at SXSW; Metropolitan grammer and designer hailing from Colorado. He Museum of Art; the Stavros Niarchos Foundation has worked across the US as well as internation- in Athens, Greece; and others. He lives in ally. Select programming credits include: 50 Brooklyn with his wife, the architect Shai Fuller Song Memoir (2016 Next Wave and interna- and their daughter, Lyla Perl. tional tour), Casablanca Box (HERE Arts Center), Los Elementos (New York City Opera), The Rose BANG ON A CAN Tattoo (Williamstown Theatre Festival), and Founded in 1987 by composers Michael Gordon, Body of an American (Cherry Lane Theatre). Ad- David Lang, and Julia Wolfe, Bang on a Can has ditional video projects include: Cracked Orlando been creating an international community dedi- (Juilliard), Who Knows (Independent Film), and cated to innovative music, wherever it is found, Sonny Boy (Music Video). jericksondesign.com and has grown from a one-day New York-based Marathon concert to a multi-faceted performing MAX SILVERMAN (video sound design) arts organization with a broad range of year- Max Silverman is a sound designer and com- round international activities. Current projects poser whose credits include Hartford Stage, Cara include the annual Bang on a Can Marathon; Mía Theatre Co., TX; Paradiso Escape, NYC; 4th The People’s Commissioning Fund, a member- Wall Theatre, NJ; Manhattan Repertory Theatre; ship program to commission emerging compos- Westminster College of the Arts, NJ. ers; the Bang on a Can All-Stars, who tour to major festivals and concert venues around the TRAVIS BLACKWELL (stage manager) world every year; recording projects; the Bang on Travis Blackwell is delighted to be back with a Can Summer Music Festival at MASS MoCA— Bang on a Can after stage managing the 2016 a professional development program for young world premiere of David Lang’s the loser at composers and performers led by today’s pio- BAM. His previous stage management credits neers of experimental music; Asphalt Orchestra, include continued work on the first national Bang on a Can’s extreme street band that offers tour of Hamilton, productions at the Park mobile performances re-contextualizing unusual Avenue Armory (Circle Map, FLEXN Evolution), music; Found Sound Nation, a new technology- Glimmerglass Festival (Odyssey, Candide, based musical outreach program now partnering The Magic Flute), Weston Playhouse (Man of with the State Department of the US to create La Mancha, Once, A Chorus Line), National OneBeat, a revolutionary, post-political residency Sawdust, Manhattan School of Music, the program that uses music to bridge the gulf Orpheum Theatre Memphis, and events featuring between young American musicians and young talent ranging from Renée Fleming to Cirque musicians from developing countries; cross- du Soleil. He earned a BFA from University of disciplinary collaborations and projects with DJs, Memphis and is a proud member of Actors’ visual artists, choreographers, filmmakers, and Equity Association (AEA) and the American more. Each new program has evolved to answer Guild of Musical Artists (AGMA). specific challenges faced by today’s musicians, travisblackwellsm.com composers, and audiences in order to make innovative music widely accessible and wildly SRULY LAZAROS (production manager) received. Bang on a Can’s inventive and aggres- Sruly Lazaros is a drummer and devout music- sive approach to programming and presentation head based in New York City. As production has created a large and vibrant international manager for Bang on a Can since 2010, he has audience made up of people of all ages who are helped produce concerts in the hallowed halls rediscovering the value of contemporary music. of music worldwide. Under his own presenting Who’s Who

BANG ON A CAN STAFF Foundation, Atlantic Records, Daniel Baldini, Robert D. Bielecki Foundation, Bishop Fund, Artistic Directors: Michael Gordon, David Lang, Alice M. Ditson Fund of Columbia University, Julia Wolfe; Executive Director: Kenny Savelson; City of New York Department of Cultural Affairs, Development Director: Tim Thomas; Project Aaron Copland Fund for Music, Gladys Krieble Manager: Philippa Thompson; Production Delmas Foundation, Exploring the Arts, Randy Manager: Sruly Lazaros; Found Sound Nation Ezratty & Jo Ann Corkran, Jeremy Geffen, Co-Directors: Chris Marianetti, Jeremy Thal, Howard Gilman Foundation, Jaffe Family Elena Moon Park; Accounts Manager: Brian Foundation, Alan Kifferstein & Joan Finkelstein, Petuch; Online Store Manager: Adam Cuthbert; Michael Kushner & Carol Dauman, Herb Archive Content Manager: Matt Evans; Leventer, MAP Fund, MASS MoCA, Henry S. Production Associate: Aaron Garcia; Publicity: McNeil, Mid Atlantic Arts Foundation, Jeremy Christina Jensen at Jensen Artists Mindich & Amy Smith, Elizabeth Murrell & Gary Haney, National Endowment for the Arts, New Bang on a Can Board of Directors: Daniel Music USA, New York State Council on the Arts Baldini, President, Jeffrey Bishop, Michael (with the support of Governor Andrew Cuomo Gordon, Lynette Jaffe, Alan Kifferstein, Michael and the New York State Legislature), Fan Fox and Kushner, David Lang, Raulee Marcus, Elizabeth Leslie R. Samuels Foundation, Scopia Capital Murrell, Robert A. Skirnick, Jane Stewart, Sandra Management, Matthew Sirovich & Meredith Tait, Julia Wolfe, Adam Wolfensohn. Elson, Maria & Robert A. Skirnick, Jane & Dick Stewart, Trust for Mutual Understanding, US Bang on a Can’s 2017 programs are made Department of State, Williamson Foundation for possible with generous lead support from Music, Adam Wolfensohn & Jennifer Small, and Amphion Foundation, ASCAP and ASCAP Wolfensohn Family Foundation.

The following individuals donated to the Bang on a Can 30th Lawson, David Lang, Maryanne Larson Spradling, Sheva Lazaros, Pascal Le Anniversary “Road Trip” Fund: Boeuf, Timothy Lee, Thomas Leonard, Herb Leventer, Carl Levin, Cynthia Ligenza, Scott Lindroth, Michael Link, Jane Lombard, David Luban, Liz & Greg Andy Akiho, John Allis, Amanda Ameer, Jeff Anderle, Beverly & Richard Lutz, Soo Yeon Lyuh, Robert & Kerry Macdonald, Christine Maurus & Steven P. Anderson, Victoria Ascheim, Ella Baff, Nick & Maura Balaban, Daniel Baldini, Marsh, Diane & Adam E. Max, Sean McCain, Ann McChord, James McElwee, Kate Baldus, Astrid & John Baumgardner, Henry Baumgartner, Nathaniel Nion McEvoy, Joseph McHugh, George McNeely IV, Craig McNutt, Carl & Beck, Peter Beckman, Eve Beglarian, Stephanie Berger, David Bither & Ruth Meier, Ellen Mezzera, Jeremy Mindich & Amy Smith, Stephen Moldof & Elizabeth Bailey, Nathaniel Beck, Eve Beglarian, Stephanie Berger, Mary & Mike Noble, Peggy Monastra, Meredith Monk, Thomas Moran, Gayle Morgan, Sheldon Berlow, Alice Bernstein & Jack Crouch, Ian Berry, Roslyn Biskin, Mark Movic, Miles Morgan, Marjorie Mueller, Gert Mulder, Karl Mullen, Jeffrey Bishop and Jill Baker, David & Elizabeth Bither, Robert Black, Deborah Jascha Narveson, Marilyn Neimark, Edward Nersessian, Yuka Nishino, Bonnie & Mark Blackman, Judith Blau, David Bloom, Linda & Steven Blotner, David Nowakowski, Katherine O’Donnell, Corey Okada, Rita Ormsby, Jennifer Ortega, Blythe, Rocio Bolanos, Bill Bragin & Lisa Philp, Ethan Braun, Martin Bresnick Jenna Osman, Lois & Richard Pace, Jules Painchaud, Lara Pappas, Annie-B & Lisa Moore, Thatcher Brown, Robert Browne, Peter Buckland, Charles Parson, Walter Parsons, Anne Patterson, Tristan Perich, Vivian Perlis, Frederick Campbell, William Campbell, Joseph Castiglione, Margaret Chaplan, Adele Peters, Roger Phillips, Alan Pierson, Edward Pierson, Scott Pollard, Rebecca Chatfield-Taylor & John Guare, Alissa Cheung, Laura Christensen, Robert Purdum & Thomas Moran, Lauren Radnofsky, Patricia Raley, Wayne Ransier, Ciernik, Prue Clarke, Hilary & Michael Cohen, John Cone, Contemporaneous, Ann Rauch & Michael Goldblum, Vicki Ray, Joel Reed, Steve Reich & Beryl Paula Cooper, Kathleen Coughlin, Anthony Creamer, Karen Curlee & Mark Korot, Bonnie & Ken Resinski, Laura & Mark Rosenthal, George Rowbottom, Stewart, Daniel Cwirka, Andrew & Ellen Dannenberg, Michael Daugherty, Mary Rowell, Billy Ryan, Ruth & Marvin Sackner, David Saltonstall, Elissa Catherine Davies, Gilles Debelut, Werner Defoe, Paul Dellevigne, Elizabeth Sampson, Robert Savelson & Susan Bianchi, Christina Schenker, Reiner Desjardins, Sarah Douglas, Pamela Drexel, Larry & Arlene Dunn, George Schimkat, Karl Schnaitter, Henry Schwartz & Beverly Semmes, Ric Scofidio Eberstadt & Cynthia Young, Rachel Elliot, Rachel Elson, ETHEL, Kim Evans, & Liz Diller, Peter Serling, Arlene Shechet, Elaine Sherr, Yoko Shioya, Rich Randy Ezratty & Jo Ann Corkran, Joan Faber, Ralph Farris, Susan Feder & & Jackie Shulman, Ruth Shuman, Eugenia Siegler, Milan Simich, Joseph Todd Gordon, Lainie Fefferman, Janet Fink, Brendan Fox, Richard Frank, Kevin Simonetti, Matthew Sirovich & Meredith Elson, Kellen Smith, Mark Solomon, Frey, Maurice Frontz, Ruby Fulton, Katie Geissinger, Oscar Gerardo, Monica Beverly Sonnenborn, Clay Spence, Frederick Spielberg, Jack & Sash Seaver Germino, Daniel Glidden, Carol Golden, Matthew Goldenberg, Claudia Gould, Spielberg, Alanna Stang, Axel Stawski, Tom Steenland, Corinne Steensma, Nick Grabar & Jennifer Sage, Dana Grajauskas, Judd Greenstein, Susan Christine Stonbely, Pamela Summey, Michael & Diana Sworakowski, Sandy Griffiths, Elias Gross, Lisa Guido, Harry Hagendorf, Rachel Hands, Luming Tait & Hal Foster, Irene Talbott, Karen & Billy Tanzer, Jim Thirwell, Erin Hao, Michael Hardin, Michael Harrison, Jane Heirich, Liv Hempel, Joanne Thomas, Philippa Thompson, Tim Thomas, Torin & Patricia Thurston, Jill Henry, Michael Hill, Andrew Hipius, Lily & Joel Hoffman, Van Hoisington, Jack Tieman, David Tochen, Ceci & Jim Tripp, Ann Tsubota, Henry Van Der Meulen, Homer, Justin Hower, Jon Hurd, Megan Ihnen, Lynette & Richard Jaffe, Alan Vanetta Vancak, Val Vasilevski, Libby & Jack Vees/Van Cleve, Aleksandra Johnson, Molly Joyce, Susan Kalish, Dimitar Kambourov, Kathryn Kaminsky, Vrebalov, Neil Wallace, Daryl Wallace, Andrew Wallach, Elizabeth Weitzman, Aaron Kernis & Evelyne Luest, Paul Kirk, Sarah Kirkland Snider, Wendy & David Weller, Lawrence Weschler, Richard White, MJ Wise, James & Elaine Michael Kirst, Eric Klein, Jonathan Kohrs, Kristen & Jeff Kusama-Hinte, James Wolfensohn, Bonnie Wright, Theodore Yanow, Pamela Z, Peter Zirnite. Lampe, Lisa Lang & Jonathan Bush, Richard Kuczkowski & Mia Leo, Dorothy ©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 Oct 2017

Contents

State of Siege 17c

Photo: Jean Louis Fernandez Photo: Ian Douglas Emmanuel Demarcy-Mota directs Camus’ play about Big Dance Theater draws from the diaries of Samuel fascism. Pepys.

by Brian Scott Lipton Q&A with Annie-B Parson by Adriana Leshko The Fountainhead Ayn Rand’s novel is brought to the stage by Thomas Ostermeier and Schaubuhne Berlin. by David Cote BAMbill Cover

Sara Greenberger Rafferty is the 2017 Next Wave Festival BAMbill Cover Artist—part of BAM’s tradition of visual art on the cover of BAMbill. Greenberger Rafferty reimagined the BAMbill cover in a commissioned artwork. Since 1983, dozens of artists have participated, including Roy Lichtenstein, Andy Warhol, Chuck Close, and Rosemarie Trockel.

Sara Greenberger Rafferty has exhibited widely since 2001, including solo exhibitions at The Kitchen and MoMA PS1 in New York; Eli Marsh Gallery (Amherst College, MA); The Suburban (IL); and a commissioned sculpture for the Public Art Fund. In 2014, she participated in the Whitney Biennial; the Hammer Biennial; and had solo exhibitions in Portland, OR; Riga, Latvia; and NYC. In 2015, her work was shown at Museum of Contem- porary Art (San Diego), Atlanta Contemporary Art Center (GA), and Galerie Andreas Huber (Vienna). In 2016, she presented her fourth solo exhibition at Rachel Uffner Gallery and this year a traveling exhibition—Sara Green- berger Rafferty: Gloves Off—is at the Dorsky Museum in New Paltz, NY.

Published by: Season Sponsor: Rafferty has participated in group shows including the Aspen Art Museum; Sara Greenberger Rafferty and in New York at Neuberger Museum (Purchase); Gagosian Gallery; Comedian’s Costume: Cover for 2017 Next and Jewish Museum. She is included in the collections of the Museum of Wave Festival BAMbill, 2017. Courtesy of the Modern Art and Whitney Museum of American Art, among others. Rafferty artist and Rachel Uffner Gallery, New York lives and works in Brooklyn. @BAM_Brooklyn #BAMNextWave

Ongoing Photo: Jean Louis Fernandez State of Siege By Brian Scott Lipton R-E-S-I-S-T. While a commonplace word, it has November 2—4. (Camus, for reasons of his come back strongly into the American linguistic own, set the scene in Cadiz, Spain, although the vogue this year—seen every day on badges, work is written in and performed in French.) Twitter walls, and protest signs—as many believe that our recently-elected federal government Never one to shy away from his own beliefs, is impinging on, or taking away, our long- Camus alienated the play’s original audience held freedoms. by calling the regime in question “The Plague,” but has the show’s plot differ from his 1947 But, truth be told, this word has been uttered novel of the same name. Yet as depicted here, countless times throughout history, most notably “The Plague” is less a disease (though people during the 1930s and 1940s during the reigns do die of that dreaded illness when decreed) of such dictators like Franco, Mussolini, and than an odious bureaucrat, one who confounds Hitler. Equally true, the question has remained and confronts the townspeople with endless on the minds of many in the four corners of the regulations—some depriving them of their world if resistance can be anything more than a livelihood, their ability to live with their families mere word in the wake of a truly fascistic regime. (the sexes are segregated), irrational laws, and, above all, their right to speak out against any Unsurprisingly, this conundrum fascinated the form of injustice. French writer and philosopher Albert Camus, who put the query front and center in his Along with “The Secretary,” his right-hand highly allegorical 1948 play State of Siege. woman, he is the embodiment of every fear a BAM is co-producing acclaimed French director citizen might have about losing their liberties— Emmanuel Demarcy-Mota’s visually stunning both without reason and essentially without and emotionally complex production of this little- warning. (The play begins with the appearance seen work at the Howard Gilman Opera House, of a comet, which the town’s citizenry see as #BAMNextWave Nov 2—4 a portent, but have no clear idea of its exact of the resurgence of the extreme right. Camus meaning or what fate is to befall them.) Naturally, gave him “a passion for theater, love for words in the wake, man quickly turns against man, and thoughts.” He is a writer who symbolized the oppressed becomes the oppressor, and hope “the defender of a life sharpened by revolts and gives way to despair. rendered meaningful by it, but never became aggressive to others.” With his company, they Indeed, as Camus wrote in a preface to the tried to find contemporary resonance in this published play. “I focused my play on what 70-year-old text. seems to me the only living religion in the century of tyrants and slaves—I mean liberty. And yet, though one would hardly classify Camus My avowed aim was to divest the stage of as an optimist, he does (at least briefly) deliver a psychological speculations in muffled voices so beacon of hope—here in the form of the doctor that it might ring with the loud shots that today Diego, who finds the one quality within himself enslave or liberate the masses of men.” (and every man) that can “defeat” the forces against him. This is also what haunts Demarcy-Mota, who whetted his directorial appetite with Camus’ As he reminds us, both through deeds and Caligula when he rounded up his high- words, “resist” is not just a slogan, it’s an schoolmates at the tender age of 17. Now the action—something every citizen needs to artistic director of Théâtre de la Ville-Paris, whose remember in today’s turbulent times. Six Characters in Search of an Author and Rhinoceros (Next Wave 2014 and Next Wave Brian Scott Lipton is an arts writer in New York 2012, respectively) were box office hits, he felt City. His work currently appears in IN New York compelled to return to Camus “to question the and on numerous websites, and he is the former existential implications of freedom” in an age editor-in-chief of TheaterMania.com. Photo: Jean Louis Fernandez WORKING IN CONCERT KAUFMAN ELLIOTT PHOTO: IS WHAT WE DO. Fly toward something better with the help of 80,000 Delta employees who do everything they can to help you explore what’s possible. @BAM_Brooklyn #BAMNextWave Photo: Bylan Douglas

Writing the self by Adriana Leshko For more than two decades Big Dance Theater The sources for each piece are unique, yet I’ve has been making uncategorizable, galvanizing noticed themes of human contradictions that work that gleefully interrogates the absurdity consistently make their way into each work: of genre distinctions. They have influenced a our desire to live against the immutability of our generation of artists while continuing to produce mortality, our desire to be autonomous in the vital work like 17c, a witty new ensemble piece face of our inter-connectedness, and the playful that considers the diarist Samuel Pepys as a nature of theater against the innate tragedy of startling precursor to our own social media reality. By way of training I am a choreographer, culture (BAM Harvey, Nov 14—18). Annie-B and my early works were dances. By the time Parson, company co-founder with Paul Lazar, I created my company, I was in collaboration answered some questions. with Paul Lazar, an actor and director, and the theatrical elements organically entered the work. How would you describe Big Dance Theater’s body of work to someone who has never seen it? What are some themes/ideas explored in 17c?

Big Dance Theater, as its simple name What does it mean to be hyper-generative? suggests, has been in a protracted, aesthetic, How have our technologies of “writing the self” alchemical conversation with dance and theater evolved and how has that affected who we are? simultaneously from the beginning. All elements What does it mean not to have a diary endure from both camps are in play: costumes, props, through time, not to be read, a question linked language, structuralism, the use of space, time, to a legacy of erasing women’s lives while line, causation, relationship, shape, literature, simultaneously maintaining men’s narratives sound design, singing, dancing, etc. In a Big via the publishing of their “selves.” How do we Dance piece, form and content intersect and retrieve identities that have been erased? Has have equal sway in expressing the world. anything in 350 years changed in the way more Meaning: what we say and how we choose to powerful men perceive and treat less powerful say it are equally important. women (citation: Uber, Trump, Murdoch)? Why BAM

Salutes #BAMNextWave Nov 14—18

have dance and theater become so much less Mad Madge, as she was called, was a 17th- valuable than in the past? century playwright, largely unpublished in her time, who lived in the same city and time as What drew you to Pepys initially? Pepys, and intersected a bit with him. She was a radical feminist thinker and an infant terrible My first induction into Samuel Pepys’ diaries was type. I had the idea to include a play in the piece through an abridged one, and I was charmed that Pepys and Bess may have seen; I wanted to and vindicated by how much he valued learning include the voice of a woman. Most of the women to dance, going to the theater (he saw it as a I read wrote in the flowery Restoration style of vice he couldn’t quite quit), and daily singing the day, while Margaret Cavendish did not. Her and music classes. Here was a chronicle of a subject matter is women and their lives and time when art mattered greatly, enough to live for freedom. I was instantly smitten. I include an edit and fight for—very unlike our own. And Pepys of her play The Convent of Pleasure in 17c, as a was eye opening in how unusual he was for his play within a play. time, not because he was a diarist, but because of his compulsive, plain spoken and uncensored Could you talk a bit about the importance of writing. It reminded me of a Facebook page! movement/choreography in illuminating the But then I got a hold of the unabridged diaries character of Bess, Pepys’ long-suffering wife? and saw a darker, uglier side of Pepys. While he has a contemporary self-awareness, he is In reading the diaries over many years there was also totally emboldened by and oblivious to a gnawing wonder about Bess’ voice; I strongly his unacknowledged bias against women and suspected that she too had written a diary but if aggression toward them. This contradiction so where was it? Finally, last year I stumbled on makes him fascinating and valuable to observe, a passage that answered my question: in a rage interrogate, and challenge. at her Pepys admits to finding her diaries: “I burnt them all,” he admits. So. Dance was my way of Who was Margaret Cavendish and what is her letting Bess speak without access to her diaries. role in the work? Adriana Leshko is senior publicity manager at BAM. Photo: Ian Douglas BAM Directory

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Meby David Cote first Photo: Jan Versweyveld

By his own admission, Ivo van Hove had never romantic interests—in a climactic plot twist, Roark heard of Ayn Rand or The Fountainhead. But dynamites a housing complex he designed for on opening night of Roman Tragedies at the Keating, altered against his wishes. Replete with 2008 Avignon Festival, an assistant heaved the feeble-minded businessmen, corrupt journalists, 700-page tome onto his lap, with the inscription and rape victims who become lovers (Rand’s “This is for you and you have to read this now,” sexual politics are not exactly feminist), the book he recalls via Skype from Amsterdam. “So on a is a mélange of pulp fiction and anti-socialist holiday, I opened the book and thought, Well, political soapbox. In the end, it trumpets the moral I’ll read 20 pages and then say, ‘Thank you. superiority of selfishness. It’s not my thing,’ and get on with my life. But I started to read it and I didn’t stop. It was really How does van Hove square his admiration for like the classic page-turner for me.” Like countless Rand’s Great Man fanaticism with being a good readers since The Fountainhead published in socialist European? “For myself, my position is 1943, van Hove was irresistably drawn into Rand’s actually very clear,” he states. “As an artist, I Manichean struggle between rugged invividualists would hope to be Howard Roark. Not to give in and craven compromisers against a bustling to the taste of whoever, just follow what I think backdrop of American industry and capitalism. I should do onstage and do that in as extreme a way as possible. But as a citizen in a society, I The Fountainhead is about the repeated rise and probably wouldn’t want to be Howard Roark.” fall of the arrogant, idealistic architect Howard Roark, who fiercely believes his vision should Many American right-wing politicians would not never be influenced by public approval—or even agree. Rand has practically become a byline those who commission his blueprints. Roark’s for reactionary politics. Through her handmade nemesis is rival architect Peter Keating, who joins philosophy, Objectivism, she fashioned a world a prestigious firm and is only too eager to flatter view in which rational self-interest should be clients and pander to conventional taste. Roark prized above collective needs. Translated into late- and Keating’s paths intersect over business and 20th-century libertarian policy that means tax cuts #BAMNextWave Nov 28—Dec 2

for the wealthy, and fewer social services for the coolness, there’s always chaos and animal poor, criminal, and ill. Speaker of the House Paul passion breaking through. Ryan says Rand’s work propelled him into politics. Ex-Fed chairman Alan Greenspan credits her As a prolific and successful theater director, with with his intellectual awakening. The list of Rand nonstop global gigs and collaborators you would fanboys goes right up to our current president, assume van Hove is a dictator in rehearsals. who told USA Today how much he admired “Mine is an art of collaboration,” he admits. The Fountainhead. “I’m not a painter. A painter is alone and he paints whatever he wants. I have to do this The queasiness with adapting such material together with collaborators, so I know it’s like extended to van Hove’s Holland-based company, a contradiction, but within that context, pure Toneelgroep Amsterdam. “Everybody said, ‘Don’t democracy does not exist.” do that. This will be totally misunderstood,’” he says. “I read the novel, didn’t know anything about Since democracy—its glories and flaws—is on the author, didn’t know anything about the political everyone’s mind these days, does van Hove think context. I consider this a clash of ideas onstage.” that his Fountainhead will please or outrage Rand fans? Will it sneakily soften the hearts of The Fountainhead was adapted into a 1949 doctrinaire Obectivists? “I think that theater should movie starring Gary Cooper as Roark (Rand present us with sharp choices that you have to insisted director King Vidor retain Roark’s make for yourself,” van Hove counters. “I’m not five-minute courtroom rant). But van Hove’s there to say this is good and this is evil because, adaptation is more characteristic of his cerebral, as we have experienced over the last month and minimalist mise-en-scène, which New York last year, it changes every day. You don’t know. theatergoers have seen for the past 20 years. As We don’t live in a world anymore where good and always, the sleek design is by Jan Versweyveld— evil is so easy to distinguish. I’m deeply convinced an environment of large video screens above of that.” a sprawling, loft-like space of offices, sliding windows, and drafting tables. Still, the production David Cote is an arts journalist, playwright and retains a sense of Randian excess: like the book, opera librettist. He was the longest serving it’s divided into four parts, and runs four hours. theater editor of Time Out New York (2003—17) And for all the production’s restraint and modern and now writes for The Village Voice and others. Photo: Jan Versweyveld 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.

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2017 NEXT WAVE FESTIVAL BAMCINÉMATEK

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 18, 2016—July 18, 2017)

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BAR GRANGER BOQUERIA APIZZA REGIONALE CRABBY SHACK EGG AT THE BIRD FLIP BIRD MASON JAR MJ STATION

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gothammarketashland.com @GMAshland theashlandbk.com Special thanks to our Next Wave Festival supporters

Season Sponsor: Support for the Signature Artist Series Major support for Discounted Ticket provided by: Initiatives provided by the Jerome L. Greene Foundation.

Programming in the BAM Howard Gilman Leadership support for dance at BAM Leadership support for every season Opera House is supported and endowed provided by: provided by the BAM Board of Trustees, by the Howard Gilman Foundation. led by Adam E. Max, Chair & Programming in the BAM Harvey Theater William I. Campbell, Vice Chair. is endowed by the Doris Duke Charitable Foundation. Programming in BAM’s Xavier Cha is the recipient of Support preserving the vitality of Lepercq Space is supported by The The Harkness Dance Residency at BAM programming provided by the Lepercq Charitable Foundation. the BAM Fisher in 2017. Lichtenstein family and generous donors to the BAM Harvey Fund. Major support for Crossing provided by Official Airline of BAM: Robert L. Turner. Next Wave Festival supporters: Rose M. Badgeley Residuary Major Sponsor Charitable Trust Official Healthcare Provider of BAM: BNY Mellon brigittenyc Leadership support for opera at BAM The Gladys Krieble Delmas Foundation provided by: Epstein Teicher Philanthropies Aashish & Dinyar Devitre Fribourg Family Foundation The Andrew W. Mellon Foundation The Francena T. Harrison Title Sponsor of BAM Rose Cinemas Foundation Trust Major support for The Fountainhead and BAMcinématek: The DuBose and Dorothy Heyward and Bangsokol provided by Memorial Fund Edward Jay Wohlgemuth. The Kovner Foundation M&T Bank Major support for The Fountainhead BAM Rose Cinemas are named in The Ambrose Monell Foundation provided by The Dutch Performing Arts recognition of a major gift in honor of Morgan Stanley Fund NL. Jonathan F.P. and Diana Calthorpe Rose, Henry and Lucy Moses Fund, Inc. and have been generously supported by Samuel I. Newhouse Foundation, Inc. Onassis Programs at BAM supported by: The Peter Jay Sharp Foundation, and the Stavros Niarchos Foundation Estate of Richard B. Fisher. Donald A. Pels Charitable Trust Pfizer Inc. The Steinberg Screen at the BAM Harvey The Reed Foundation Major support for Principles of Theater is made possible by The The Jerome Robbins Foundation, Inc. Uncertainty, Buffer, and A Billion Nights Joseph S. and Diane H. Steinberg The Morris and Alma Schapiro Fund On Earth provided by Agnes Gund. Charitable Trust. The Scherman Foundation, Inc. The SHS Foundation Leadership support for BAM Visual Major support for BAM Hamm Archives The Shubert Foundation, Inc. Art provided by Agnes Gund and provided by Charles J. & Irene F. Hamm. The Harold and Mimi Steinberg Toby Devan Lewis. Charitable Trust BAM would like to thank the Brooklyn The TinMan Fund Major Sponsor of BAM Community Delegations of the New York State Virginia B. Toulmin Foundation Programs: Assembly, Joseph R. Lentol, Delegation Leader; and New York Senate, Senator The BAM facilities are owned by the Velmanette Montgomery. City of New York and benefit from public funds provided through the New York Endowed funds supporting the Next City Department of Cultural Affairs Wave Festival: The Howard Gilman Your tax dollars make BAM programs with support from Mayor Bill de Blasio; Foundation; Lila Wallace-Reader’s possible through funding from: Cultural Affairs Commissioner Tom Digest Endowment Fund for Community, Finkelpearl; the New York City Council Educational, and Public Affairs Programs including Council Speaker Melissa Mark at BAM; The Andrew W. Mellon Viverito, Finance Committee Chair Julissa Foundation Fund for Opera and Music- Ferreras, Cultural Affairs Committee Chair Theater; The SHS Foundation; The Peter Jimmy Van Bramer, Councilmember Jay Sharp Fund for Opera and Theater; Laurie Cumbo, and the Brooklyn The Ford Foundation Fund to Support Delegation of the Council; and Brooklyn Collaborative Creativity Among U.S. Borough President Eric L. Adams. Artists; Estate of Richard B. Fisher; BAM Fund to Support Emerging and Local Official Piano for BAM: Musicians; The Starr Foundation; Next Wave Forward Fund: Altria Group, Inc./ Founding Sponsor “Supporting the Spirit of Innovation”; and The Devitre Fund. BAM Supporters & Patrons

Daniel Gonzalez Matthew & Sabrina Leblanc Brandon Nelson & Iman Karen Schlesinger Constance Casey & Dr. I. Michael Goodman & Abdul-Rahman Lediju & Criner Nelson Miriam Schneider Harold Varmus Judith Uman Angela Nurse-Lediju Consulate General of The Dr. Michael Schober Peter Ventura & Adria Crum Erwin Gorostiza Janice Lee Netherlands in New York Florian Schodel Raymond & Priscilla Vickers Larry E. Dumont, M.D. & Lisa Lee New York State Assembly – Patricia Schoenfeld Diana Viñoly Interiors Martin Gould Roseanne Legrand Peter Abbate Christopher J. Scholz & Patricia Voight & Rachel Stephen R. Greenwald & Sue Lehmann New York State Assembly – Ines Elskop Wolff Rebecca A. Sullivan Barbara Lemperly Grant James F. Brennan Ellen Schonfeld Mr. Bernd Vollmuth The Green-Wood Cemetery Garrick Leonard & Leslie Sheila Nevins Nancy Schwartz Sternoff David Wagner Mimi & Bill Grinker Feder Kiersten Nieuwejaar Richard Schwartz & Gita Ethan J. Wagner & Thea Bill Grogan Susana T. 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Migdal Susan and Elihu Rose Gabrielle Tana Loukin Timothy Milford & Liza Foundation Inc. Julie Tarney Peter Keegan Velazquez Andrea M. Rosen Cadogan Tate Susan Kellman Jason Miller & Ileana Lawrence Rosenthal Ronald & Adele Tauber Jessie Kelly Salazar Beverly & William Rosoff Josephine & Philip Teverow Suzanne Greene & John Judith Scofield Miller & James & Eliza Rossman Win & Lisa Thin Kelly David C. Miller Elizabeth A. Rovere Grace & John Timberlake David Kemp Virginia & Timothy Millhiser Melissa Bowen Rubin & Narcissa & John Titman Younghee Kim-Wait & Jarett Iliana F. Mindlin Joshua Rubin Dr. Irena Tocino F. Wait Sandra & Lowell Mintz Maisie Rubinstein Coralie Toevs Cubie King Jr. Michele Mirman Ann Rudovsky Limor Tomer Mr. Steve Reich & Ms. Donald & Gwen Moffat Lisa & Jonathan Sack Jenny Tolan & Catesby Beryl Korot Claire Molloy & Seth Lloyd Josh Safran & Jess Perrin Bennette Kramer & Eliot Maria Montoya Camacho Manny Torrijos & Jing Long Marissa M. Moore Jennifer Sage & Nicolas Shang Tan Kenneth & Susan Kramer Norma & Randy Moore Grabar Stephen Touhey Ashwin Krishnan Evangeline Morphos S. Gerald Saliman & Lane Trippe & Marian Joan Kronick Kathy Morton & David Raymond Vallejo Sabety Rob Krulak Nadelman Mina Samuels & David Linnet Tse & John Forsyth Roberta Krumholz Sammy & Merle Moultrie Foster Jonathan & Cynthia Uejio Edward & Phyllis Edward Nahem Val Schaffner Bill Updegraff & Aliza Kwalwasser Mr. Robert Napier & Ms. Michele & Jose Bartfield Helen & James Lally Sharon Napier Scheinkman Chauncey Upson Robert S. Langley Charles M. Nathan & Alisa Douglas & Ans Schickler Valery Upson Drs. John & Judie LaRosa F. Levin Evan & Lee S-K Sonia Valentin & Frank Jess Latham Laura Naylor Anthony Schlesinger & Fernandez Raymond Learsy Brian Negri Anne Forward BAM greatly appreciates all contributions in support of our work. We apologize for any inaccuracies. Please contact the Development Department at [email protected] with any corrections. BAM Board

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

BAM Staff

Katy Clark, President ARCHIVES Laura Williams, Production Stacey Dinner, Artist Services Joseph V. Melillo, Executive Sharon Lehner, Director of Archives Coordinators Manager Producer Louie Fleck, Archives Manager Eamon Boyland, Hayley Rowland, Jeannine Baca, Lucy Petropoulos, Alice Bernstein, Executive Vice Jan Carr, Evelyn Shunaman, Interns Britney Polites, Artist Services President Processing Archivists Jovian Dixon, Danny Perez, Bria Representatives Coco Killingsworth, Vice President Anita Goss, Volunteer Librarian Robinson, Fellows in Stagecraft of Education & Community Denis Azaro, Volunteer SECURITY Engagement Charlotte Dair-Gadler, Intern STAGE CREW Roger Davis, Security Manager Bill Kramer, Vice President of Thomas Paulucci, Crew Chief Bobby Arnold, Asst. Security Development BAM ROSE CINEMAS Oscar Gruchalski, Head Carpenter, Manager John Lanasa, Vice President of Gina Duncan, Assoc. Vice OH Collie Dean, Supervising Attendant Marketing & Communications President, Cinema Amy Domjan, Head Electrician, OH Guard Keith Stubblefield, Chief Financial BAMCINÉMATEK Nicholas Varacalli, Master of Kenneth Aguillera, Michael Whyte, Officer and iceV President of Ashley Clark, Senior Film Properties, OH Senior Attendant Guards Finance & Administration Programmer Marc Putz, Sound Engineer, OH Juan Lebron, Lead Guard Jesse Trussell, Programmer Wayne Brusseau, Asst. Carpenter, Marlon Desouza, Yasmin Diaz, PRESIDENT’S OFFICE Ryan Werner, Programmer at Large OH Kevin Lemon, Teonia Smith, Andel Alexandra Biss, Director of Board Natalie Erazo, Department Asst. James Kehoe, Head Carpenter, HT Thomas, Kelly Wheaton, Attendant Relations CINEMA OPERATIONS Joseph Werner III, Asst. Carpenter, HT Guards Michael Doyle, Manager Efi Shahar, Cinema Executive John Manderbach, Head Andrea Montesdeoca, Manager Electrician, HT THEATER MANAGEMENT Administrative Asst. Michael Katz, Projectionist Sean Kelly, Asst, Sound & Video Christine M. Gruder, Theater Adam Goldberg, Asst. Manager Edward Donohue, Master of Manager HUMAN RESOURCES Andreea Drogeanu, Anthony Properties, HT John L. Jones, Assoc. Theater Seth Azizollahoff, Assoc. Vice Shields Jr., Patrece Stewart, Alison Dabdoub, Sound Engineer, HT Manager President, HR Head Floor Staff Tom Holler, Richard Wurzbach, Sonia Clayton, Jacqueline David, Samara Alexander, Assoc. Utility Men Leroy Houston, Theater Staff Director HUMANITIES Ginger Blake, Wardrobe Supervisor Supervisors Cynthia Smith, Payroll Manager Molly Silberberg, Humanities Alexis Boehmler, Benefits Manager Manager GENERAL MANAGEMENT EDUCATION Gerard Franco, HR Coordinator Madeleine Rojas, Humanities Asst. Patrick J. Scully, Assoc. Vice EDUCATION & FAMILY Courtney Best, Administrative Asst. President & General Manager PROGRAMS VISUAL ART Sara Danielsen, Assoc. General Steven McIntosh, Director of ARTISTIC PROGRAMMING Holly Shen, Curator of Visual Arts Manager, Fisher Building Education & Family Programs Stonie Darling, Dept. Manager Alli Arnold, Visual Arts Development Alexander Orbovich, Assoc. John P. Tighe, Asst. Director of Juan Pablo Siles, Coordinator of Sales Manager General Manager Education Artistic Planning Mary Gordanier, Visual Arts Liz Zieminski, GM Budget Manager Eveline Chang, Mikal Lee, Verushka Eva Vargas, Artistic Planning Intern Coordinator Jaclyn Bouton, Senior Project Wray, Program Managers Manager Patreece Jackman, Education PROGRAMS & CURATORIAL PRODUCTION Liana Agredo, Project Manager Programs Intern Amy Cassello, Assoc. Producer, R. Michael Blanco, Director of Johanie Olivero, Project Supervisor Next Wave Festival Production Chris Mode, GM Coordinator, EDUCATION OPERATIONS Sarah Horne, DanceMotion USASM Dylan Nachand, Production Budgets & Contracts Shana Parker, Director of Project Director Manager Samuel Denitz, GM Coordinator Operations for Education Meghan Rose Murphy, DanceMotion Collin Costa, Assoc. Production Cady Knoll, Fisher FOH Jennifer Leeson, Operations USASM Project Manager Manager Representative and Rentals Manager for Education Jason Collins, Deanna Martinez, Paul Bartlett, Senior Production Coordinator Sasha Metcalf, Program Analyst DanceMotion USASM Project Assts. Supervisor Sarah Kelly Konig, GM Intern Nora Tjossem, Education Danny Kapilian, Producer, R&B Ryan Gastelum, Brian Sciarra, Coordinator Festival, MetroTech Courtney Wrenn, Production ARTIST SERVICES Leo Paredes, Admin. Asst. Steven Serafin, Special Consultant & Supervisors Mary Reilly, Director of Artist JP Diaz, Education Operations Editor, BAM: The Complete Works Heli Soell, Project Manager Services Intern Palmer Johnston, Evan Kutcher, BAM Staff

LEAD INSTRUCTORS Rhea Daniels, Allison Ramzi Awn, Director of Patron Yossess Allen, Ludlow Jen Armas, Mtume Gant, Arts Kadin, Marketing Managers Services Chamberlain, Isaias Flores, & Justice Lori Zakalik, Cinema Marketing Barbara Cummings, Director of Mayra Guillen, Ron Rathan, Jenny Rocha, Dancing into the Manager Development Akeon Thomas, Custodians Future Britt Aronovich, Marketing Maayan Dauber, Director of Michael LoMonico, Shakespeare Revenue Manager Patron Programs FINANCE Teaches Teachers Anna Troester, Marketing Brent Radeke, Major Gifts Officer Kozue Oshiro, Controller Lonnie Woods III, Brooklyn Coordinator, Education & Michael Kendrick, Senior Tameka White, Asst. Controller Interns for Arts and Culture Community Manager of Patron Services & Claudia Bailey, Adam Sachs, Lindsay Brayton, Marketing & Donor Relations Assoc. Directors of Finance TEACHING ARTISTS Publicity Asst. Jessica Hindle, Patron Services Brian Gee, Accounting Manager Raquel Almazan, Jennifer Grace Finley, Admin. Asst. to VP of Manager Tyler Cleveland, Staff Accountant Armas, Gideon Bautista, Morris Marketing & Communications Deema Salem, Patron Programs Iman Bance, Budget Analyst Beasley, Rebecca Bliss, Stacey Angelica Wilson, Marketing Intern Coordinator Chaya Coppersmith, AP Bone Gleason, Mahogany Annie Steingold, Patron Services Administrator Brown, Melissa Brown, Chia-Ti AUDIENCE DEVELOPMENT & Coordinator Meaghan McLaughlin, Fiscal Chiu, Darian Dauchan, Harris STRATEGIC PLANNING Lorraine Githiora, Major Gifts and Coordinator Eisenstadt, Imani Faye, Okai Sharlene Chiu, Customer Loyalty Patron Programs Asst. Paige Haroldson, Finance Asst. Fleurimont, Kimani Fowlin, & Strategy Manager Olivia Jacobs, Patron Services Asst. Samara Gaev, Mtume Gant, Claire Frisbie, Content Marketing GOVERNMENT & COMMUNITY Ingrid Gordon, Pat Hall, Mel Manager MEMBERSHIP & DEVELOPMENT AFFAIRS House, Albert Iturregui-Elias, Nathan Gould, Marketing OPERATIONS Schawannah Wright, Director of Devin Kawaoka, Gwendolyn Manager, Development Claire Charlesworth, Director of Community Programs Kelso, Abigail Levine, Spencer Matt Frazier, Advertising Coordinator Membership & Development Dewonnie Frederick, Community Lott, Gladys Maldonado, Farai Chris Tyler, Content Marketing Operations Affairs & Bazaar Manager Malianga, WT McRae, Anthony Coordinator Sarah Mischner, Assoc. Director, Merchant, Elia Monte Brown, Operations & Analytics INFORMATION TECHNOLOGY Michael Mullen, Kwesi Nkroma, TICKET SERVICES Travis Calvert, Senior Manager, William Allen Lee III, Director of Janet Onyenucheya, Pamela G. Scott Kubovsak, Director of Budget & Operations Information Technology Patrick, Machiko Takeuchi Phillip, Ticket Services Cheryl Miller, Membership Ira Sibulkin, Assoc. Director of IT Mike Ramsey, Gwenyth Reitz, Kevin McLoughlin, Head Manager Thomas Brown, Business Efeya Sampson, Victor Sanchez, Treasurer Elizabeth Sarkady, Project Man- Analytics Manager Jashua SaRa, Billy Schultz, Russell Grier, First Asst. Treasurer ager, Crediting & Operations Svetlana Mikhalevskaya, Lauren Sharpe, Jen Shirley, Victor Jouvert, Charlie Dolce, Kyle Richard Serrano, Research Manager Database Developer Elizabeth Simmons, Marcus Williams, Asst. Treasurers Bruce Smolanoff, Telefundraising Jason Q. Minnis, IT Project Smalls, Sara Stranovsky, Taylor Royda C. Venture, Ticket Services Manager Manager Steele, Karen Thornton Daniels, Manager Steven Knudsen, Development Matthew Taylor, Andrei Iliescu, Jono Waldman, Sarah Wansley, Georgina Richardson, Customer Operations Asst. Web Developers Adia Whitaker, Todd Woodard Care Manager Emily Searles, Membership Asst. Jersy Rodriguez, Technical Latasha McNeil, Asst. Manager Support Manager MARKETING & Ryan Mauldin, Ticket Services SPECIAL EVENTS Tamar Audate, Technical Support COMMUNICATIONS Coordinator James Vause, Special Events Tech COMMUNICATIONS Miranda Gauvin, Ticket Services Director Susan Bishop, Admin. Sandy Sawotka, Director of Senior Representative Grace Eubank, Special Events Coordinator Communications Saul Almiachev, Anaïs Blin, Lucca Manager Lucas Austin, Desktop Analyst Sarah Garvey, Assoc. Director Damilano, Justin Dash, Robert Lucile Russo, Special Events of Publicity Ebanks, Greg Garner, Warren Ng, Coordinator STRATEGIC PLANNING & Susan Yung, Senior Editorial Elsie Pacella, Edward Raube- Gina Dyches, Special Events Asst. PROJECTS Manager Wilson, Angela Romualdez, Ellen Leszynski, Project Adriana Leshko, Senior Publicity Allyson Steele, Noel Vega, Ticket FINANCE & ADMINISTRATION Manager Manager Services Representatives CAPITAL PROJECTS David Hsieh, Maureen Masters, Jonathan Jones, Director, Capital Publicity Managers DEVELOPMENT Projects Audience Research & Analysis Christian Barclay, Publicist Petra Laohakul, Admin. Asst. to Daniel Costa, Capital Projects George A. Wachtel James Sutton, Publications Asst. the VP of Development Manager Merisa Sahin, Intern Katerina Patouri, Capital Projects Bookseller CORPORATE RELATIONS & & Government Affairs Manager Greenlight Bookstore CREATIVE SERVICES SPONSORSHIP Andrew Sloat, Creative Director Chantal Bernard, Director of BUILDING OPERATIONS European Production Patrick Morin, Assoc. Director Corporate Relations & Wendy Berot, Project Manager Representative of Design Sponsorship Danny Jiang, Operations On Tour Ltd., Roger Chapman Rebecca Brooker, Joseph Kaplan, Terrance Knox, Director of New Manager Kyle Richardson, Alison Business Development Lynn Alexander, Facilities Film Buyer Whitworth, Designers Rebecca Carew, Senior Manager Manager Adam Birnbaum Ben Katz, Video Producer of Corporate Relations & Markee Glover, Logistical Services Joseph Barglowski, Kaitlyn Sponsorship Coordinator Immigration Counsel Chandler, Video Editors Mari Ogino, Sponsorship Asst. Ahmad Ghany, Raul Gotay, Jonathan Ginsburg, Fettman, Dorothea Trufelman, Asst. Video Anthony Sam, Building Tolchin and Majors, PC Editor INSTITUTIONAL GIVING Services Assocs. Andi Floyd, Blue Skies Jenny Choi, Publications Manager Clemente Luna, Director of Immigrations Services, LLC Farah Haidari, Seán McKeithan, Institutional Giving BUILDING MAINTENANCE Copywriters Kailin Husayko, Senior Manager Anthony Shields, Maintenance Insurance Broker Kati Rehbeck, Creative Services Asst. of Institutional Giving Supervisor Dewitt Stern Semra Ercin, Institutional Giving Steve McDowell, Lead DIGITAL MEDIA Manager Maintenance Technician Medical Consultants Aaron Weibel, Director of Digital Stephanie Caragliano, Institutional Allan Boyce, Calvin Brackett, Ahmar Butt, MD Production Giving Coordinator Ronald Hunter, Maintainers Miles Bridges, Sarah Hayes, Carl Blango, Asst. Maintainer Legal Counsel Alison Kozol, Digital Media MAJOR GIFTS & PATRON Mark Jackson Coordinators PROGRAMS CUSTODIAL SERVICES Stacy Margolis, Assoc. VP of Ramon Cabassa, Custodial Restaurateur MARKETING Major Gifts & Patron Programs Supervisor Great Performances Raphaele de Boisblanc, Senior William Lynch, Director of Elaine Colon, Jean Smith, Lead Marketing Manager Leadership Giving & Special Custodians Sep 1, 2017 Projects