2009 Next Wave Festival

BAMbill NOV 2009 2009 Next Wave Festival

Adam Fuss, 2009

BAM 2009 Next Wave Festival is part of New Works and Diverse Voices at BAM sponsored by: 2009 Next Wave Festival

Brooklyn Academy of Music

Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board

Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer

Presents Really Real Approximate BAM Harvey Theater running time: Nov 17, 19—21, 2009 at 7:30pm 75 minutes, no intermission Wally Cardona / WC4+

Featuring Phil Kline and Brooklyn Youth Chorus Choreographed and directed by Wally Cardona Original music by Phil Kline Lighting design by Roderick Murray Conducted by Dianne Berkun Other music Darby R. Slick, June Carter and Merle Kilgore, Jack Bruce and Peter Brown Text and sound edit (“He Led a Somewhat Uneventful Life”) Wally Cardona Text (“Repetition”) and lyrics by Phil Kline based on the writings of Søren Kierkegaard Sound design by Dave Cook Production manager Aaron Rosenblum Stage manager Parker Pracjek Assistant stage managers Caroline Carbo and Erin Kohout Assistant to the choreographer Joanna Kotze Costume consultant Stephanie Sleeper

Performers Julian Barnett, Wally Cardona, Kana Kimura, Joanna Kotze, Omagbitse Omagbeni, Stuart Singer, Francis A. Stansky

Live music performed by Brooklyn Youth Chorus

Commissioned by BAM for the 2009 Next Wave Festival

BAM 2009 Next Wave Festival is part of New Works and Diverse Voices at BAM sponsored by Time Warner Inc.

Leadership support for the Next Wave Festival provided by The Ford Foundation.

Major support for BAM dance provided by The Harkness Foundation for Dance and The SHS Foundation, with additional support from Mary L. Griggs & Mary Griggs Burke Foundation, and Capezio/Ballet Makers Dance Foundation. Really Real

He Led a Somewhat Uneventful Life Cristian Amigo, Moira Cutler, Kate Fenner, Mary Mailhot, Marie Morrow, Kita P, Michael Reboulis, Garth Edwin Sunderland, Karen Tarapata, Craig Tooman and Jessie Arlen, Robert William Asch, Courtney Bryant, Elizabeth Bueno, Andrew Champlin, Ally Davis, Benjamin Dornbush, Mollie Fox, Zina Goodall, Jesse Hart, Aleksandra Maglich, Kate Messinger, Angelica Pasquini, Joshua Quat, Gillian Walsh, Alex Webb

Repetition Kai Rizzuto, Diamond Qiana Roach, Marissa Siewert, Elizabeth Streeter, Kalei Tooman, Austin Zambito-Valente, Ashlee Crewe*, Aleek Rodriguez*, Cristine Sanchez* (*understudy)

Brooklyn Youth Chorus Rose Adams, Emily Akpan, Miranda Alquist, Lucy Bales, Dominique Callahan, Malorie Casimir- Sainton, Bess Cohen, Sofia D’Alessandro, Ariella De Los Santos, Arielle De Souza, Peter Diller, Emily Donato, Claire Epstein, Talia Fuchs, Margaret Grabar-Sage, Maxine Gross, Maija Hall, Miranda Halle, Grace Hamilton, Erin Hartnett, Sarah Hill, Genevieve Hynes, Imani Isaac, Sarah Jensen, Caterina Kenworthy, Raquel Klein, Eve Kummer-Landau, Zayyir Lee, Ariel Lindo, Juliana LoPiccolo, Lily Maass, Michelle Madias, Alice Markham-Cantor, Lucy McCabe, Solomon McDougall, Mykel Miller, Jake Montagnino, Shayla Mulzac, Emma Orme, Kristal Pacific, Nadege Philogene, Kyla Randall, Nathaniel Redding, Helen Rouner, Roselise Russo, Christina Santa Maria, Mina Seckin, Sydney Shepard, Sophia Sherman, Ilanah Torres, Veronica Towers-Dioso, Danielle Trupiano- Rodriguez, Tiarah Vergara, Anne Wenk, Bolivia Williams, Susan Yassky

“Somebody To Love” Written by Darby R. Slick All rights owned and administered by IRVING MUSIC, INC. on behalf of COPPERPENNY MUSIC©/[BMI] Used by permission

FUNDING CREDITS: A production of WCV, Inc., Really Real is co-commissioned by Brooklyn Academy of Music and the International Festival of Arts & Ideas. • The creation of Really Real was made possible by a commissioning residency at the International Festival of Arts & Ideas (New Haven, CT). • The music for Really Real, developed on the Brooklyn Youth Chorus Academy, was commissioned by WCV, Inc. and the American Music Center Live Music for Dance Program. Support for creation and live performance of the score has been provided by The O’Donnell-Green Music and Dance Foundation, the Surdna Foundation, and funded in part through Meet The Composer’s MetLife Creative Connections program. Leadership support for Meet The Composer’s MetLife Creative Connections program is generously provided by MetLife Foundation. Additional support is provided by The Amphion Foundation, Argosy Foundation Contemporary Music Fund, BMI Foundation, Inc., Mary Flagler Cary Charitable Trust, Aaron Copland Fund for Music, Inc., The William & Flora Hewlett Foundation, The James Irvine Foundation, Jerome Founda- tion, mediaThe foundation, National Endowment for the Arts, New York City Department of Cultural Affairs, New York State Council on the Arts, Pennsylvania Council on the Arts and Virgil Thomson Foundation, Ltd. • Funds for the creation of Really Real were made possible, in part, by the National Endowment for the Arts and Bossak/ Really Real

Heilbron Charitable Foundation, Inc. • This program is supported, in part, by public funds from the New York City Department of Cultural Affairs and made possible with public funds from the New York State Council on the Arts. In Kings County, the Decentralization Program is administered by the Brooklyn Arts Council, Inc. (BAC). WCV, Inc. has received funding from the 2008 JPMorgan Chase Regrant Program, administered by the Brooklyn Arts Coun- cil, Inc. (BAC). • Development residencies for Really Real were supported by the Maggie Allesee National Center for Choreography, “MANCC” (Tallahassee, FL); Massachusetts Museum of Contemporary Art, “MASS MoCA” (Mas- sachusetts); The White Oak Plantation (Jacksonville, FL), owned by The Howard Gilman Foundation; and BRIClab (Brooklyn, NY). The work was created at New 42nd St. Studios, Brooklyn Academy of Music, Joyce SoHo, Danspace Project, and Mark Morris Dance Group studios. Really Real is also made possible by Lower Manhattan Cultural Council’s Swing Space program (Project space is donated by Capstone Equities.).

Really Real Lyrics very long becoming for it is divine. Midnight Hour a leap To be able Men (When the truth is found to to transform be lies, all this distance Men are accustomed to travel- And all the joy that’s in you into one ing the world, dies…) normal step looking for rivers and snow- into life covered mountains, There comes a midnight hour is the single When everyone has to take off miracle Men are intent on discovering their mask. new stars, Do you not believe it? To be able races of men, incredible fishes Do you think that life can be to fall free and birds. mocked in this way? as one walking normally They abandon themselves to Are you not terrified? an impulse Do you suppose you can just To be able to gaze open-mouthed at life, slip away to express believing that they have seen While no one watches the sublime something And silently disappear? simply of real importance.

Men lie until the truth Men are accustomed to travel- Becomes unknown to them, The Greater ing the world, And at the stroke of twelve looking for rivers and snow- The mask is slowly removed The greater covered mountains, to reveal the number Nothing, no one, nobody. of things that Men are intent on discovering a person new stars, The man who cannot see forgets, races of men, incredible fishes himself and birds. Cannot reveal himself and The greater cannot love the number Possessed by an animal And he who cannot love of changes pleasure Must be the most unhappy his life can they follow the smell of ad- man of all. attain. venture, but this kind of adventure The greater does not interest me at all. A Leap the number of things that (I fell in…) a person Like the Lilies recalls, Can we not Become like the lilies and the think of this The better birds. moment the chances Become silent. for a while he ever it need not be will have of Who’s Who

Wally Cardona (artistic director, choreographer, and sound installations to songs, choral, theater, dancer), brought up in California and New and chamber music. Raised in Akron, OH, he Mexico, was a competitive gymnast and clarinetist came to New York to study English Literature at before beginning to dance at age nineteen, moving Columbia. After graduation, he became part of the to New York City in 1986 to study dance at The downtown New York arts scene: founding the rock Juilliard School (BFA). In the summer of 1987, band The Del-Byzanteens with Jim Jarmusch and invited by Benjamin Harkarvy, he attended the James Nares, collaborating with Nan Goldin on Ballet Project at Jacob’s Pillow, met choreographer the soundtrack to The Ballad of Sexual Depen- Ralph Lemon and danced with his company until dency, and playing guitar in the notorious Glenn 1995. During this time, Cardona’s first work, Solo Branca Ensemble. His earliest compositions grew Alone/Add One (1992), premiered at the Festival out of his work as a solo performance artist and International de Danse à Cannes; his next work, often used boombox tape players as a medium, Made In Voyage (1995), was commissioned by most notably in the Christmas piece Unsilent Danspace Project (NYC) and performed in seven Night, which debuted in the streets of Greenwich countries; and an invitation by French choreog- Village in 1992 and is now performed annually rapher Hervé Robbe/Le Marietta Secret led to the in cities around the world. Other compositions creation of a double purpose/à double emploi include Zippo Songs, a song cycle based on for four French and four American dancers. In poems Vietnam vets inscribed on their Zippo 1997, Wally Cardona Quartet (WC4) was founded lighters; Locus Solus, a music theater piece based and WCV, Inc. was formed. Several of Cardona’s on the proto-surrealist novel of Raymond Rous- recent large-scale works have used objects, sel; The Blue Room and Other Stories, written geometry, and the performance setting itself as an for string quartet Ethel; and Exquisite Corpses, integral partner in creating movement and stages commissioned by the Bang on a Can All-Stars. within a stage: Morph: Live Remix (2002)—a More recent works include the choral Mass John techno-performance-installation made to be seen the Revelator, written for vocal group Lionheart, from multiple vantage points; Him, There, Them commissioned by WNYC and premiered at the (2004)—a work for eight large cubes, fake grass, World Financial Center Winter Garden in 2006; two ramps, ten snare drummers, and a pianist and scores for two evening-length dance pieces by playing Brahms; Everywhere (2005)—a work for Wally Cardona: Everywhere and Site. The sound the string quartet Ethel, five dancers, and 300 installation World on a String opened the season objects weighing fifteen pounds each, demand- at the Krannert Center in Champaign-Urbana, ing that all action be shaped around the object IL, in September 2007. This year has seen the and vice-versa; and Site (2007)—a craft-work for premieres of SPACE for String Quartet, written for wood, paper, tape, and the Capital High School Ethel as part of the Alice Tully Hall reopening fes- Band of Helena, MT. A new work cycle began tivities; The Long Winter, a sonata commissioned with A Light Conversation (2008)—a work that by pianist Sarah Cahill; and Really Real. Recent begins to use words and ideas as objects to be releases include Around the World in a Daze, a navigated by performer and viewer, made in surround sound audio DVD on the Starkland label, collaboration with Swiss-born, London-based cho- and the CD of John the Revelator on Cantaloupe. reographer Rahel Vonmoos. This exploration continues with Really Real, a work marking Cardona’s Brooklyn Youth Chorus, now in its eighteenth tenth collaboration with lighting designer Roderick season, is a Grammy® Award-winner. Brooklyn Murray and fourth with composer Phil Kline, and Youth Chorus (BYC) is one of the country’s leading an upcoming collaboration with American-in-Paris children’s choruses and is the ensemble of choice choreographer Jennifer Lacey. The recipient of a for internationally renowned orchestras and art- 2006 John Simon Guggenheim Memorial Founda- ists. Under the direction of Founder and Artistic tion Fellowship in choreography and a New York Director Dianne Berkun, BYC has an international Dance and Performance (Bessie) Award for the cre- reputation for programmatic and artistic excel- ation of Everywhere (marking his company’s BAM lence. The Chorus studies and performs a wide debut), Cardona is currently teaching Performance/ range of music—classical and non-classical—and Phenomenon: Theory and Philosophy into Physical has an active commissioning program to develop Practice at The New School and composition at new works across a variety of genres. The Chorus The Juilliard School. He resides in Brooklyn, NY. has performed with renowned artists such as Elton John, Lou Reed, John Legend, and Grizzly Phil Kline (composer) makes music in many Bear, and has performed under the batons of genres and contexts, from experimental electronics Lorin Maazel, Marin Alsop, James Levine, Robert Who’s Who

Spano, Esa-Pekka Salonen, Leon Botstein, and final installment of his Geography Trilogy, Come many others. In 2002, BYC debuted with the Home Charley Patton, and his recent Rescu- New York Philharmonic in John Adams’ On the ing the Princess for the Lyon Opera Ballet (and Transmigration of Souls, for which the Chorus will be designing Lemon’s next work in 2010); won a Grammy® Award. The Chorus receives Sekou Sundiata’s epic 51st (dream) state; Paul its training from the Brooklyn Youth Chorus Simon’s Songs from the Capeman, at BAM; Academy— a performance-based vocal music four world premieres by Benjamin Millepied education program serving nearly 300 students at venues in Europe and the US including for annually in five ensembles. The Chorus draws ABT, Ballet du Grand Théâtre de Genève, and students from all over the city and reflects the the Lyon Festival de la Danse; and the environ- broad diversity of the metropolitan area. ments, lighting, and even the audience seating for Yanira Castro’s site-specific works. He has Dianne Berkun (conductor) is the founder and an ongoing collaborative relationship with Luca artistic director of the Brooklyn Youth Chorus Veggetti for whom he has designed three world Academy (BYCA), a performance-based vocal premieres, including both the set and lights for music education program, serving students from Iannis Xenakis’ Oresteia at the Miller Theater throughout New York City. Under Berkun’s lead- in NYC (a US premiere), and for Cedar Lake ership, BYC has become the ensemble of choice Contemporary Ballet. Murray has also designed for collaborative performances with internation- the lighting for Ballett Dortmund, ABTII, Donna ally renowned orchestras and artists. Berkun has Uchizono, Paradigm, Scotty Heron, Pepatian, Hot prepared choruses and soloists for performances Mouth, Risa Jaroslow and Dancers, Bill Young with acclaimed conductors. She prepared BYC and Dancers, Dusan Tynek, Kriota Willburg, for its 2002 debut with the New York Philhar- Ricochet Dance, and many others. Since 2000 monic in John Adams’ On the Transmigration of he has pursued a career teaching design, and is Souls, the Grammy-winning recording. Berkun on staff at Purchase College. He continues to be has served as a workshop clinician and guest inspired by Kimberly Bartosik and is delighted by conductor for organizations such as ACDA, their incredible baby daughter. NYSSMA, the NYC Department of Education, the New York Philharmonic, and The Weill Music Julian Barnett (dancer) was born in Tokyo, Institute at Carnegie Hall. Her groundbreaking Japan and transplanted to California, where Cross-Choral TrainingSM program—a unique meth- he grew up breakdancing and studying maps. od for teaching musicianship skills and vocal Barnett began his training at the Idyllwild Arts technique developed with BYCA voice specialist Academy and continued exploration at the Joffrey Jeannette LoVetri—has been presented at New Ballet and NYU’s Tisch School of the Arts. Soon York University and other area venues. Berkun after, he began influential friendships with Larry earned her BS degree in Music Education and Keigwin, Lar Lubovitch, Doug Elkins, and Doug Piano magna cum laude from New York Univer- Varone, and performing with the Metropolitan sity and holds a graduate diploma in the Kodály Opera Ballet and Johannes Wieland, where Concept from the University of Calgary. he worked alongside Pina Bausch Tanztheater Wuppertal. As a choreographer, Barnett has been Roderick Murray (lighting designer) has had a able to share his interpretations internationally, varied career in the performing arts and received creating work for Hubbard Street Dance Chicago his first paycheck for $6.25 in 1983. His work and The Juilliard School, receiving commis- back stage began professionally in 1989, and he sions from Danspace Project and Dance New has been designing lighting and installations for Amsterdam, and having his work presented in performance both nationally and internationally China, Germany, Austria, Mexico, Canada, and ever since. Murray has been designing the light- throughout New York and the US. Barnett ini- ing for Wally Cardona’s work since 2001 and tially began working with Wally Cardona on Site received a Bessie award for “a shifting alchemy (2007) and has been deeply inspired by Really of a dancing space” for his work on Cardona’s Real. He is grateful to Wally and the crew for this Trance Territory. He has also created the lighting amazing experience. and environments in all of Kimberly Bartosik’s choreographic works since 2000, and will be Kana Kimura (dancer) was born in Hiroshima, designing her upcoming premiere The Material- Japan, where she began her ballet training at ity of Impermanence at DTW in February 2010. the age of four at Sawada Dance School. She Murray created the lighting for Ralph Lemon’s continued her contemporary dance training with Who’s Who Takako Asakawa and Ko Yukihiro at Ishihara Bal- Francis A. Stansky (dancer), originally from let Academy until the age of eighteen when she Worcester MA, is a graduate of Connecticut Col- entered The Juilliard School. At Juilliard, Kimura lege, currently residing in Brooklyn. Since moving performed works by Jose Limon, Lar Lubovitch, to New York in 2003 he has been fortunate to Dwight Rhoden, Robert Battle, and William For- work with many great artists and study under sythe. She also attended summer dance festivals the direction of Barbara Mahler. His most recent in Sweden, Austria, Montreal, and Japan. Kimura collaborations have been with Jeremy Nelson, began working with Wally Cardona Quartet after Luis Lara Malvacias, and David Dorfman. This graduating from The Juilliard School in 2005. will be Stansky’s first performance with the Wally She has performed in Cardona’s Everywhere, Site Cardona Quartet. and Slowly, Nearly, Little: An Andante (created for Chamber Dance Project). Dave Cook (sound designer), a native New Yorker, has been a sound engineer for 24 years and Joanna Kotze (dancer) A native of South Africa, comes from a background immersed in record- Kotze completed her BA in Architecture at Miami ing studios, theaters, and concert settings. His University, OH, while dancing with the Miami work in the pop/rock world has landed him Gold University Dance Theatre. Since moving to New and Platinum album credits with artists such as York in 1998, she has danced for Kimberly 10,000 Maniacs, The B-52’s (he engineered Bartosik, Netta Yerushalmy, Daniel Charon, the everyone’s favorite backyard barbecue song, “The Metropolitan Opera including their works by Doug Love Shack”) and others, including Nick Cave, Varone, Nina Winthrop, Mimi Garrard Dance Graham Parker, The Golden Palominos, Juliana Theater, and Company Appels. She has choreo- Hatfield, and many more. He has engineered and graphed several pieces for Miami University and mixed live broadcasts with David Bowie, Radio- has presented work in New York through Move- head, and Morphine, to name a few. Cook has ment Research at the Judson Church. Along with also engineered sessions with jazz artists such as performing and choreographing, she studies Klein/ Dave Holland, Kenny Washington, George Mraz, Mahler technique with Barbara Mahler, studies Jimmy Cobb, and Warren Bernhardt. Live concert and performs various styles of swing dancing, touring/mixing credits include Elvis Costello with and is a freelance architectural model builder. She the Charles Mingus Orchestra, Carly Simon, Nine has been a member of the Wally Cardona Quartet Circles Chamber Theater, Maya Beiser, Ethel, Ravi since 2000. Shankar, Anoushka Shankar, and Marc Cohn. Cook lives with his family in Saugerties, NY. Omagbitse Omagbemi (dancer) received her BFA in dance at Montclair State University. She Aaron Rosenblum (production manager) is cur- has performed nationally and internationally with rently working on Dan Hurlin’s Disfarmer, Big Kevin Wynn Collection, Sean Curran Company, Dance Theater’s Comme Toujours: Here I Stand, Shapiro & Smith Dance, Urban Bush Women, and Ethel’s Wait for Green. Other projects have Risa Jaroslow, Barbara Mahler, Neta Pulverm- included work with Cynthia Hopkins and Ac- acher, and Christopher Williams. She is happy cinosco, Suzanne Bocanegra, Roosevelt Live, The to currently be working with Ralph Lemon, Keely Chocolate Factory, St. Ann’s Warehouse, Dance Garfield, Jeremy Nelson, Pearson/Widrig Dance, Theater Workshop, and Lou Reed. Rosenblum is a and Gerald Casel. Omagbemi would like to thank graduate of Emerson College. Wally for this wonderful opportunity. Parker Pracjek (stage manager) works in the Stuart Singer (dancer), a Western Massachusetts areas of performance poetry, literacy through the native currently residing in Brooklyn, began his arts, children’s literature, dance theater, and stage formal dance training at the Pioneer Valley Per- management. Pracjek has trained with various bu- forming Arts Charter High School. He earned his toh masters and holds a Masters in Performance BFA from the Purchase College Conservatory of Studies from NYU. Pracjek’s own work has been Dance. Singer was a member of the Bill T. Jones/ seen in community arts festivals, Mulberry Street Arnie Zane Dance Company from 2004—08, Theatre, the Puffin Room, NYC Fringe Festival, with which he performed throughout North Amer- New York Butoh Festival, WOW Café Theatre, and ica, South America, Europe, Asia, and Australia, a limited edition artist’s book, Slurring at Bottom: and currently serves as a company teaching artist. A Printer’s Book of Errors by publisher Robin He enjoys continued work with Doug Varone and Price. Dancers, Gwen Welliver, and Mollye Maxner. Who’s Who UL=Uneventful Life. R=Repetition Andrew Champlin (UL), of Portland, OR, studied classical dance at Oregon Ballet Theatre and The Cristian Amigo (UL) award-winning composer, School of American Ballet. He has performed in guitarist, producer, writer, aspirational sartorialist, works by Miguel Gutierrez and Todd Williams and and a enthusiastic about Really Real for WC4. lives in Brooklyn. Cultural products @ cristianamigo.com. Ally Davis (UL) is pursuing Dance/Arts in Context Moira Cutler (UL) is a writer, director, and set de- at The New School in NYC. Ally loves travel, signer grateful for another adventure as a performer creating art, and performing. with this show. Benjamin Dornbush (UL) is from Massachusetts Kate Fenner (UL) is a singer/songwriter based in and is an acting student at Lang College making a NYC. For information and music: katefenner.com. dance debut in Really Real.

Mary Mailhot (UL) is a dancer and lives for Mollie Fox (UL) has come to know herself better creative experience. She is thrilled to have this through her many theatrical performances. opportunity. Thank you Wally and company! Zina Goodall (UL) is a student at the New School studying theater and education. Marie Morrow (UL), originally from San Fran- cisco, has been performing in NYC since 2002. Jesse Hart (UL) was born and raised by loving She represented the US in 2006 as an arts and “liberal” parents in Dallas, TX. He believes every- culture envoy in Kosovo. thing is “Relative.”

Kita P (UL) recently received her BFA from the Aleksandra Maglich (UL) is continuously explor- New School. Her goal in life is to inspire from the ing the phenomenon that is her life, with the goal stage. to be a part of it, not a witness.

Mike Reboulis (UL), inspired by his mother’s love Kate Messinger (UL) is a student at Eugene Lang of swing music and dance, began studying Lindy College studying Psychology and Theater. She is a Hop in 1998. playwright and an actor.

Garth Edwin Sunderland (UL) is a composer/ Angelica Pasquini (UL) is a 21-year-old perfor- interdisciplinary artist. He is Artistic Director of the mance artist living in NYC. Her art ranges from Lost Dog New Music Ensemble, and Music Editor the rock and roll dance-based band MILLIONS to for the Leonard Bernstein Office. multi-media theatre adaptation, film, and dance performance. Karen Tarapata (UL) is a writer, a rower, a sculp- tor of metal, and very proud to be part of Really Real. Joshua Quat (UL) most recently appeared in The Suicide at The New School. Craig Tooman (UL) is a partner in the firm Cutsogeorge Tooman & Allen Architects, PC. He Gillian Walsh (UL) grew up in Brooklyn with an is thrilled to be part of a production in which his interest in creative movement. She started danc- sons Kai and Kalei are also performing. ing in high school, and still dances at Eugene Lang College at the New School. Jessie Arlen (UL) loves to sing and groove. She recently recorded a jazz vocal album. To hear Jes- Alex Webb (UL) is a student at the New School sie, visit www.myspace.com/jessiearlen. University. He is currently training to become an actor. Robert William Asch (UL) is from New Jersey. He loves performance and the ocean. He owes Kai Rizzuto (R), eleven, is a member of the everything to his parents and theirs. KidSTREB Company where he performs with his brother Kalei. He is in sixth grade at the Brooklyn Courtney Bryant (UL) is a singer. She is pas- School for Collaborative Studies. sionate about people, poetry, coffee, and identity politics. Diamond Qiana Roach (R), fifteen, is a sophomore dance major at Talent Unlimited High Elizabeth Bueno (UL), born in Colombia and School. She has been dancing for ten years with raised in Queens, grew up on salsa beats. She Restoration Youth Arts Academy. discovered capoeira three years ago and has since been exploring various dance forms, from under- Marissa Siewert (R), sixteen, is a dance major at ground house to modern. Talent Unlimited High School pursuing her love Who’s Who for the arts while building a strong educational Meeks, MANCC and the enthusiastic and talented background. students and teachers of the dance department of Florida State University; Sue Killam, Eric Nottke, Elizabeth Streeter (R) is a junior at Talent Unlim- Mass MoCA and the people of North Adams; ited High School in Manhattan. She also dances White Oak Plantation; Ben Kerrick and Lower with the PeriChild Ensemble. Manhattan Cultural Council; Rachel Chanoff, Stephanie Pacheco, Jack Walsh and BRIC Studio; Kalei Tooman (R), thirteen, is a member of the Young Dance Collective and the KidSTREB Com- Judy Hussie-Taylor and Danspace Project; Amy pany where he performs with his brother Kai. He Kohn and Poly Prep Country Day School; Kim is in eighth Grade at MS447 in Brooklyn. Cullen and Young Dance Collective; Vikki Cappielo and Talent Unlimited High School; Daniel Catnach Austin Zambito-Valente (R) has been performing and Henry Street Abrons Arts Center; D’Agostino’s in musical theater since age five. He is part of the Supermarket; the BRIC cast—Donna Costello, TADA! ensemble and attends the Berkeley Carroll Jobs DaCosta, Marie Doherty, Meredith Fages, school in Park Slope. Niall Jones, Gabriel Levey, Mary Mailhot, Nadia Mathys, Marie Morrow, Eva Moore, Paul Singh, Ashlee Crewe (Understudy—R), fifteen, has been Mary Sullivan, Hsiao-Jou Tang, Benjamin Van dancing in the Bronx since she was five. She has Buren and Danielle Vialpando; the Arts & Ideas danced at Talent Unlimited High School and many cast —Lindsey Bauer, Lisa Gesler, Toviah Narva, other places. Irwin Krieger, Sarah Taylor, Kathryn Seethaler, Aleek Rodriguez (Understudy—R), fifteen, a Rachel Bernsen, Luis Rodriguez, Meredith Lyons, sophomore at Talent Unlimited High School, has Rebecca Hite, Leah Moriarty, John Layseca, and studied ballet and modern there, and flamenco, The Betsy Ross Chorus; the 2008 and 2009 tap and jazz at Bronx Dance Academy. students of Performance/Phenomenon at The New School; Julieta Cervantes; Cathy Eilers, David Cristine Sanchez (Understudy—R) is a dancer Gordon; Dena Hurst; Estate of Søren Kierkegaard; and student at Talent Unlimited High School in Phyllis Lamhut; Randal Lynch; Richard Maxwell; Manhattan. Adele Myers; Georgiana Pickett; Pat Roberts; Kathryn Sanders; John Schupf; Valda Setterfield; SPECIAL THANKS/Director’s Note: Lucy Sexton; Gail Stone; Rahel Vonmoos; Micki Wally Cardona would like to extend his deepest Wesson; Parker and Aaron; Phil, Roderick and gratitude to the many generous and hard-working Dave; Barbara, Stephanie, Bessie, and Julie; the people and organizations who made Really Real six most dedicated, hard-working, hugely talented real: first and foremost—each individual on the and big-hearted people who created, taught, orga- stage tonight; Joseph V. Melillo, for the gracious nized, coached, auditioned, and kept it brilliantly invitation, and the Brooklyn Academy of Music; real—Julian, Kana, Joanna, Omagbitse, Stuart, Cathy Edwards, Mary Lou Aleskie, and everyone and Francis; and Kelly, Susan, Beatrice, and Ain. at International Festival of Arts & Ideas; Dianne Berkun, Valerie Lewis and the Brooklyn Youth Chorus Academy; Jennifer Calienes, Lindsay

WCV, Inc./Wally Cardona Quartet Wally Cardona, Artistic Director 140 Second Avenue, #501 Barbara Bryan, Project Manager New York, NY 10003 Stephanie Cali and Bessie Thayer, Administrative tel/fax: 212.375.8283 Associates email: [email protected] web: www.wcvismorphing.org WCV, Inc. is a 501c3 not-for-profit organization committed to introducing new forms to people Board of Directors through creating, performing, experimenting, col- Lisa Avilla laborating and teaching, with a particular focus on Barbara Bryan making dance part of the fabric of society through Wally Cardona direct interaction. All contributions to WCV, Inc., Pat Roberts are tax-deductible to the full extent of the law. Checks may be made payable to WCV, Inc., 140 Second Avenue Suite 501, New York, NY 10003.