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Friday and Saturday Evenings, November 20–21, 2015, at 7:30 Sunday Afternoon, November 22, 2015, at 3:00

Post-performance discussion with Thomas Adès and John Schaefer on Saturday, November 21

A Sadler’s Wells Production Thomas Adès: Concentric Paths— Movements in Music (U.S. premiere)

This performance is approximately two hours long, including two intermissions.

(Program continued)

Presented in association with New City Center

These presentations of Thomas Adès: Concentric Paths—Movements in Music are made possible in part by endowment support from the American Express Cultural Preservation Fund. These performances are made possible in part by the Josie Robertson Fund for .

New York City Center Please make certain all your electronic devices are switched off.

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MetLife is the National Sponsor of Lincoln Center. Join the conversation: #LCWhiteLight

Used by with European American Music Distributors Company, U.S. and Canadian agent for Faber Music Ltd., London, publisher and copyright owner.

Outlier was remounted by Sadler’s Wells in collaboration with Studio Wayne McGregor. It was originally commissioned by Ballet and had its premiere at Lincoln Center on May 14, 2010.

The Grit in the Oyster is a Sadler’s Wells production and commission. It was co-commissioned by DanceEast, with additional support from Arts Council , The Point, Aldeburgh Music, ResCen Middlesex University, and the kind support of Glanville.

Polaris is a Sadler’s Wells production and commis - sion, in collaboration with Kidd Pivot.

Thomas Adès: Concentric Paths—Movements in Musi c was partly rehearsed at New 42nd Street Studios.

For Outlier Studio Wayne McGregor Odette Hughes , Associate Director and Rehearsal Director Antoine Vereecken , Restaging Marc Happel , Costume Maker

For Life Story Adam Carrée, Re-lighting

For The Grit in the Oyster Mark Bowden, Consulting Composer Chris Fogg, Dramaturgy Elisabetta d’Aloia, Assistant to the Choreographer Dom Martin, Technical Director Jamie Platt, Re-lighter Donna Meierdiercks, Producer Nouska Hanly PR, Publicist

For Eric Beauchesne, Rehearsal Director Shay Kuebler, Cindy Salgado, Staging Ana Maria Lucaciu, Rehearsal Assistant

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 3

A Sadler’s Wells London Production Thomas Adès: Concentric Paths— Movements in Music (U.S. premiere)

Outlier (2010) Wayne McGregor , Choreographer Thomas Adès , Conductor of St. Luke’s Thomas Gould , Wayne McGregor and Lucy Carter , Set Design Moritz Junge , Costume Design Lucy Carter , Lighting Design Dancers: Catarina Carvalho, Travis Clausen-Knight, Alvaro Dule, Louis McMiller, Mbulelo Ndabeni, Daniela Neugebauer, Anna Nowak, James Pett, Jessica Wright

THOMAS ADÈS (“Concentric Paths”) (2005) Rings Paths Rounds

Intermission

Life Story (1999) Karole Armitage , Choreographer Thomas Adès , Anna Dennis , Soprano David Salle , Costume Design Dancers: Ruka Hatua-Saar and Emily Wagner

THOMAS ADÈS Life Story (1994)

Pause

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The Grit in the Oyster (2014) Alexander Whitley , Choreographer Thomas Adès , Piano Benjamin Jacobson, Violin Andrew Bulbrook, Violin Jonathan Moerschel, Viola Eric Byers, Cello Lee Curran , Lighting Design Jean-Marc Puissant , Costume Design Dancers: Natalie Allen, Antonette Dayrit, Wayne Parsons

THOMAS ADÈS Piano Quintet (2000)

Intermission

Polaris (2014) , Choreographer Thomas Adès , Conductor Orchestra of St. Luke’s Jay Gower Taylor , Set Design Linda Chow , Costume Design Tom Visser , Lighting Design Dancers: Shay Kuebler, David Raymond, Cindy Salgado, Jermaine Spivey, Spenser Theberge, Tiffany Tregarthen With students from Tisch School of the Arts Department of Dance, Seán Curran, Chair

THOMAS ADÈS Polaris (2010) 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 5

A Note on Outlier By Wayne McGregor

In 2010 I was asked to create a new work for the in their architec - ture and dance series. The Philip Johnson building that houses the David H. Koch Theater and is home to the New York City Ballet felt like a natural place to look for inspiration. Johnson was not only a great friend of and an influential architect, he championed the architects of the Bauhaus, like Walter Gropius and Mies van der Rohe, in the U.S. I am fascinated by that Bauhaus art period and by abstract minimalist painters like Josef Albers and Barnett Newman. The visual context for the piece has been greatly informed by the minimalists’ notion of simplicity and color theory.

When I think of minimalism in choreography, I often think of Balanchine: his pared-down, reductive, and essential overall aesthetic. It’s very communicative, with the bodies doing all of the talking without an explicitly “narrative” context. Meaning emerges rather than being dictated, and the audiences have to discover the work’s secrets. It is in this sense of minimalism, where the body is the prime communicator, that I am particularly inter - ested. In terms of physical action, though, I don’t have a pared-down formal language. Instead, I have looked to push the technology of the body between fast angularity, sharp - ness, and abstraction, with fluid, circular, and sensual movement—often encouraging the body to “misbehave.” These anomalies act as physical outliers.

I am a big fan of Thomas Adès, a composer who for me is a 21st-century Stravinsky. His Violin Concerto, fiendishly difficult to play, has this implicit sense of strangeness in the score. It is full of irregularities and unexpected events, structures that don’t quite obey the rules, musical events slightly out of sequence, circular patterns that collide and divert your attention—in other words, the score is full of outliers.

—Copyright © 2014 by Wayne McGregor A Note on Life Story By Karole Armitage

Life Story is a hilarious and heart-wrenching portrait of two people who spend the night together, sharing only their complete absence of intimacy. I was invited to create the work by producer Antonia Franceschi in 1999 for New York City Ballet principal dancers Wendy Whelan and Albert Evans. It premiered at the in London on the New York Ballet Stars season with soprano Mary Carewe. The costumes by painter David Salle capture the situation perfectly. The couple are half-dressed in clothes thrown on quickly. The vividness of the soprano’s words leaves no doubt as to what is going on in her mind. The text by Tennessee Williams clings to the piano, flies away from it, and builds toward a dark, comical thunderbolt at the end. Thomas Adès creates an atmosphere of foreboding and delicacy in just a few chords as the score moves toward its startling conclusion. The choreography rides the musical roller coaster: off-balance, precarious jolts of flying movement alternate with weird positions, expressing the couple’s increasing apathy, hesitation, slim hope, and anger. The dance embodies the score physically, making the vitality of the notes visible to the naked eye. Intricate partnering morphs into contrapuntal phrases in a technically challenging dance that unfolds around a casual core. Adès’s musical jewel packs a lifetime of experience into a miniature masterpiece as the characters reckon with the dysfunctional night.

—Copyright © 2014 by Karole Armitage

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Life Story with a bowl of melting ice cubes, or one Text: Tennessee Williams of you rises to pee and gaze at himself with the mild aston - After you’ve been to bed together for the ishment in the bathroom mirror. first time, And then, the first thing you know, before without the advantage or disadvantage of you’ve had time any prior acquaintance, to pick up where you left off with your the other party very often says to you, enthralling life story, Tell me about yourself, I want to know all they’re telling you their life story, exactly about you, as they’d intended to all along, what’s your story? And you think maybe they really and truly do and you’re saying, Oh, oh, oh, oh, oh, each time a little more faintly, the vowel sincerely want to know your life story, at last becoming and so you light up no more than an audible sigh, a cigarette and begin to tell it to them, the as the elevator, halfway down the corridor two of you and a turn to the left, lying together in completely relaxed draws one last, long, deep breath of positions exhaustion like a pair of rag dolls a bored child and stops breathing forever. Then? dropped on a bed. Well, one of you falls asleep You tell them your story, or as much of and the other one does likewise with a your story lighted cigarette in his mouth, as time or a fair degree of prudence and that’s how people burn to death in allows, and they say, hotel rooms. Oh, oh, oh, oh, oh, each time a little more faintly, until the oh —By Tennessee Williams, from The Collected Poems of Tennessee Williams , copyright is just an audible breath, and then of course © 1956 by The University of the South. there’s some interruption. Slow room Reprinted by permission of New Directions service comes up Publishing Corp.

A Note on The Grit in the Oyster By Alexander Whitley

It’s a huge honor for me to be able to present my work in New York for the first time as part of this special Sadler’s Wells production at the White Light Festival, and to do so in the company of choreographers I’ve long admired. When asked to choose from a handful of Thomas Adès’s works to choreograph to, I was immediately drawn to the complex range of textures and dynamics in the Piano Quintet. Its movement between searching melodies and driving rhythms, chaotic discordance and tender harmony held me on a knife-edge when I first listened to it. The strong character of the music goaded me to lis - ten again, to pay closer attention to it, to know it better, and get closer to something deeper within it that chimed with my instincts for dance.

Tom Service’s book of interviews with Adès and conversations with composer Mark Bowden helped me gain further insights into the thinking behind the music and its com - plex inner workings. Understanding the significance of its being set in sonata form sparked my interest in the merging of classical traditions and contemporary practices, my career in dance having moved between the two. The journey from familiarity through dif ference, 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 7

and back to the familiar inherent in the sonata structure informed my way of thinking about the roles and relationships of the dancers over the course of the piece. It was from Service’s interviews that I found a proposition for structuring the choreography from Adès’s mention of the F being a “fetish note” in the score and an “obsession around which a whole piece hinges.” How, I wondered, might a movement gesture fulfill a sim - ilar function in the dance?

The piece that has emerged from this, The Grit in the Oyster , is in many respects a study. It has been an exercise in how to navigate a pathway in step with the rich and nuanced movement of the music while respectfully negotiating some freedom for the dance to play its own tune. My task and my pleasure has been to playfully investigate the different ways in which the audible can be made visible, in how dance can make music be seen.

—Copyright © 2014 by Alexander Whitley

A Note on Polaris By Crystal Pite

The original impulse for this creation was, of course, the incredible Polaris created by Thomas Adès. I chose this piece because it seemed so wonderfully preposterous: I won - dered if I could ever meet the intensity of this music with human bodies. I imagined a cast of thousands. We have 66, which, as it turns out, is plenty.

My challenge was to embody the beauty and tumult of Adès’s score through these dancers, both as individuals and as a single entity made of 66 beings. The title of the score— Polaris— provided the thrust of content: polarity charges my mind. Some times I think, sometimes I am.* When I “think ”, I am a sealed self, separate from others. When I “am”, I am con - nected and expansive, part of everything that is. This creation is enlivened by the tension between the individual and the collective body, between self and others, between thinking and being.

Polarity is echoed in the stage design. Jay Gower Taylor’s backdrop is created from his own photographs of an Algonquin lake at dawn, the delicate trees and rocks mirrored by the serene surface of the water. Stood on end, these peaceful pictures transform into something that stirs with menace. The structures appear to spin, to exert pressure, to dis - place. With balance and stillness upended, the image is charged with action.

For me, a flock or swarm of humans aligned in their task is both chilling and beautiful; the collective body has enormous power. But synchrony does not require consciousness. It does not even require aliveness. What is fascinating for me is not so much how synchrony works, but how much we love it. It’s as if we humans are always divided and craving unity: when we experience synchrony, it touches us—its patterns delight us, and the conso - nance rings true.

—Copyright © 2014 by Crystal Pite

* Sometimes I Think, Sometimes I Am is the title of a book by Sarah Fanelli.

For more on the creation of Thomas Adès: Concentric Paths—Movements in Music, turn to page 32. WhiteLightFestival.org 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 8

Notes on the Music miered that April at the Festival. Adès views its three movements as a triptych By James M. Keller dominated by its central panel, which occu - pies more than twice the space of either of Violin Concerto (“Concentric Paths”), the others. He speaks of the piece using Op. 23 (2005) analogies of spatial, even galactic, motion. Life Story , Op. 8a (1994) That middle movement, he says, is “built Piano Quintet, Op. 20 (2000) from two large, and very many small, inde - Polaris , Op. 29 (2010) pen dent cycles, which overlap and clash, THOMAS ADÈS sometimes violently, in their motion towards Born March 1, 1971, in London resolution. The outer movements too are cir - cular in design, the first fast, with sheets of It is not surprising that the music of Thomas unstable harmony in different orbits, the Adès should inspire an evening of dance. third playful, at ease, with stable cycles mov - From the beginning, the works of this prodi - ing in harmony at different rates.” giously talented graduate of England’s Guildhall School of Music and Drama and of Music does not have to be fast to sound King’s College, Cambridge, captivated audi - alive. Life Story , for example, is drenched ences through the clarity of their movement. in humanity but is essentially slow. Its His music can dazzle with its instrumental poem, by Tennessee Williams, charts the color, and his melodies can lodge in the ear languid conversation between two very to a degree rare in contemporary classical newly acquainted persons who are relaxing music. But what especially sustains the lis - after excitement in bed. In a style allusive tener’s attention is his music’s sense of to cabaret, the soprano recounts the scene pace, its clearly charted sequence from one in a mood of spent exhaustion, though sonority to the next and from one idea to perking up with occasional spikes of energy another. His music moves from here to there (or libido), while the instrumental commen - in a way that is at heart choreographic— tary suggests the pointillistic gestures of a which is to say, as motion refracted through distilled sort of . Adès composed this the prism of human experience. piece in 1993 for soprano with an ensemble This sense of vitality has also served Adès of two bass and double bass; well as a pianist and conductor. He has con - here it is given in its alternate setting (1994) certized often as a pianist (in solo and col - with piano accompaniment. “It reflects all laborative roles), and he has presided from the double edges of the poem,” Adès the podiums of leading and remarks, “comic and tragic, relaxed and opera houses, including the Metropolitan formal, seedy and tender, with a toe- Opera, where he led his opera The stubbing punchline.” Tempest in 2012. Still, it is his output as a composer that has brought greatest recog - The 20-minute Piano Quintet , from 2000, nition. He held ’s composer exemplifies another Adès trait: his dialogue chair during the 200 7–08 season, was the with the musical past. Its melodic tracery Royal Stockholm Philharmonic Orchestra’s may evoke Renaissance secular music, its featured composer in 2009 –10 and a fea - conflicting meters perhaps recall late-14th- tured composer at the Holland Festival in century complexity, fleeting passages sug - 2011, and was fêted through an “Aspects gest a Beethoven , and its of Adès” festival at the cast in a sonata form that echoes the Philharmonic in 2012. Classical and early-Romantic eras. “You have to realize that any sonata—well, any Adès’s Violin Concerto (“Concentric structure—isn’t an empty form that you Paths”) was composed in 2005 and pre - just pour material into,” explains Adès. “It 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 9

should have been developed with the The British critic assumed the material in an organic way. All that I wanted role of Adès’s Boswell, and they jointly to do in my Piano Quintet was a sonata pub lished the fruits of their conversations form that gets from point to point, that con - in a fascinating volume titled Full of Noises veys from the beginning to the end.” (2012). The dynamic quality of music becomes a leitmotif in their exchanges, From 2010–11 comes the final work on where Adès often describes his works, and this program, Polaris . Adès has referred to those of other composers, as organic enti - it as a “voyage for orchestra,” which sug - ties. “The moment I put a note down on paper,” he states early in the book, “it gests traversing great space. It was con - starts to slide around on the page. And the ceived to be presented with projections by writhing that I could see when I look at a the film- and video-maker , but it note under the microscope, you would see can be performed as a strictly “audible” with any living thing…Often people aren’t concert piece or attached to a different aware that music is in motion in front of visual genre, as it is here. Writes Adès: them all the time, that with each note it’s “Polaris explores the use of star constella - either closer or further away, it’s not in the tions for naval navigation and the emo - same place that it was before.” The music tional navigation between the absent of Adès can truly be said to dance. sailors and what they leave behind.” Melodies are derived from what he calls “a James M. Keller is program annotator of magnetic series…in which all 12 notes are the New York Philharmonic (The Leni and gradually presented, but persistently Peter May Chair) and the return to an anchoring pitch, as if magne - . His book Chamber Music: A tized.” This piece, too, unrolls over three Listener’s Guide , published by sections before finally reaching its har - University Press in hardcover in 2010, is monic goal in the final pages: the note A, now also available as an e-book and an Oxford paperback. the pitch to which all instruments tune before a concert begins, the orchestra’s —Copyright © 2015 by Lincoln Center for the lodestar, the musician’s Polaris. Performing Arts, Inc.

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Illumination

Magnificat (Excerpt) by Bill Holm

The music begins. It curls, laves exalts, weeps, thumps, celebrates. Every two minutes a new galaxy dances through damp church air into the ears, then the body— ribbons of stars, garlands of planets, space full of nothing but light. It unlocks me and I weep…

—From “Magnificat,” from Playing the Black Piano by Bill Holm (Minneapolis: Milkweed Editions, 2004). Copyright © 2004 by Bill Holm. Reprinted with permission from Milkweed Editions. www.milkweed.org

For poetry comments and suggestions, please write to [email protected]. 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 11

Meet the Artists Music Award for Large-Scale Composition for , , and ; and a British Composer Award for The Four Quarters . His CD recording of The Tempest from House– Covent Garden (EMI) won a Gramophone E

C Award in 2010, and his DVD of the produc - O V

N

A tion from the Metropolitan Opera was I R B Thomas Adès awarded a Diapason d’Or de l’année, the Thomas Adès (composer, conductor, Grammy for Best Opera Recording in piano) has composed works in a wide vari - 2013, and an Echo Klassik Award in 2014. ety of genres, including two operas: (1995) and The Tempest Outlier (2004). His orchestral works include Asyla (1997), Tevot (2007), and (2013); among his chamber works are the string quartets (1993) and The Four Quarters (2011). Choral works include The D

Fayrfax Carol (1997), America: a Prophecy A E M

(1999), and January Writ (2000). K C I

N Wayne McGregor From 1999 to 2008 Mr. Adès was artistic Wayne McGregor (choreographer, set director of the Aldeburgh Festival. As a con - design) is an award-winning British chore - ductor, he appears regularly with the Los ographer and director, renowned for his Angeles Philharmonic, Royal Concert - collaborations across dance, film, music, gebouw Orchestra, and the and City visual art, technology, and science. He is of Symphony Orchestras, the artistic director of Studio Wayne among others. He has conducted The McGregor and resident choreographer of Rake’s Progress at the – , as well as professor of Covent Garden and Opera, and made choreography at Trinity Laban Conserv - his debut at the Metro politan Opera con - atoire of Music and Dance. Company ducting The Tempest . In 2015 Mr. Adès Wayne McGregor is resident company at conducted The Tempest at the Vienna State Sadler’s Wells. Opera and Totentanz with the New York Philharmonic and Concerto Budapest. His Mr. McGregor has created new works for recent piano engagements include solo Opera Ballet, , recitals at Carnegie Hall and London’s , New York City Ballet, Barbican Centre, as well as concerto Australian Ballet, Zurich Ballet, English appearances with the New York Philhar - National Ballet, I, monic. He appeared with Ian Bostridge in a and Rambert, among others. His works are European tour of Schubert’s Winterreise , also in the repertories of leading ballet performing in London, Vienna, Luxembourg, companies such as the , , Budapest, Bilbao, and Warsaw. Royal Danish Ballet, National Ballet of Mr. Adès also coaches piano and chamber , Boston Ballet, Joffrey Ballet, Alvin music annually at the International Ailey American Dance Theater, and Musicians Seminar Prussia Cove. . Most recently Mr. McGregor premiered Tree of Codes for Mr. Adès’s many awards include the Company Wayne McGregor, Woolf Works Grawemeyer Award in Music Composition for the Royal Ballet, and Kairos for Zurich for Asyla ; the Royal Philharmonic Society Ballet, and presented Thinking with the WhiteLightFestival.org 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 12

Body at Wellcome Collection, an exhibition enthusiasm for bringing classical music to new exploring his collaborative inquiry into audiences, and has headlined events such choreographic thinking. as Nonclassical, Platform 33, and Classical Kicks at Ronnie Scott’s, as well as per - Mr. McGregor’s work has earned him three formed at major festivals, including Latitude, Critics’ Circle Awards, two Time Out London Jazz Festival, and Festival No. 6. Awards, two South Bank Show Awards, two Olivier Awards, a Benois de la Danse Mr. Gould has recorded for multiple labels, Prize, and a Critics’ Prize at the Golden including Decca Classics, Harmonia Mundi, Mask Awards. Mr. McGregor holds an hon - Champs Hill Records, ACT, Pavillon, Basho, orary doctor of science degree from Hyperion, and Omnibus Classics. In 2014 Plymouth University, and in 2011 he was he signed exclusively with Edition Classics, awarded a CBE (Commander of the Order and he released Live in Riga with of the British Empire) for Services to Dance. Sinfonietta Riga in May 2015. He plays a 1782 J.B. Guadagnini violin and a six-string electric violin made by John Jordan.

Lucy Carter Lucy Carter (set design, lighting design) trained in dance and drama at the Roehampton Institute, University of Surrey, Thomas Gould then in lighting design at Central School of Born in London, Thomas Gould (violin) has Speech and Drama, and has worked as an performed as a soloist with major orches - international lighting designer for more than tras worldwide, collaborating with conduc - 20 years. She has worked in contemporary tors such as , Nicholas Collon, dance from the start, collaborating with Paul Daniel, Clark Rundell, and John Rutter. Company Wayne McGregor on productions Leader of Aurora Orchestra and associate including Atomos , FAR , Entity , and leader of , Mr. Gould UNDANCE . She has also worked with appears as soloist and director with both many ballet companies throughout the groups and also enjoys regular collabora - world, including San Francisco Ballet, Royal tions with Sinfonietta Riga , London Ballet London, New York City Ballet, Sinfonietta, and Mahler Chamber Orchestra, Australian Ballet, , the playing with the latter in the prestigious Bolshoi Ballet, and Canadian National Ballet. Lucerne Festival Orchestra under Andris Collaborations with companies and choreo - Nelsons in 2014. Recent orchestral engage - graphers include Shobana Jeya singh, ments include performances with the Rambert, Nederlands Dans Theater I, Sønderjyllands Symfoni orkester, Filarmonica Scottish Dance Theatre, CoisCéim Dance, de Stat Iasi, Philharmonie Zuidnederland, Fin Walker, and Javier de Frutos. Her most Kazan Philhar monic, City of Birmingham recent ballet collaborations with McGregor Symphony Orchestra, and Orchestre include Woolf Works, Infra , Limen , Live Fire Symphonique de Bre tagne. Exercise , Carbon Life , and Outlier .

A strong advocate for contemporary music, In addition to ballet and dance, Ms. Carter Mr. Gould has given numerous world, UK, also designs for opera. Recent productions and London premieres, including works include The Adventures of Mr. Brou cˇek , by , John Woolrich, Hans Dido and Aeneas , Acis and Galatea , and La Abrahamsen, , Krzysztof finta giardiniera . Her work for theater Penderecki, Tarik O’Regan, Joe Duddell, includes the world premiere of Emil and the and Mark Bowden. Mr. Gould has great Detectives , Medea , Blurred Lines , Saturday 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 13

Night and Sunday Morning , Love and École Supérieure de Danse de Cannes Money , and Othello . She received the Knight Rosella Hightower in France. After graduat - of Illumination Award for Dance in 2015 for ing, Ms. Carvalho joined Ballet du Rhin as Woolf Works and in 2008 for . an apprentice and performed works by Bertrand d’At. She also worked with Javier Moritz Junge de Frutos, Vasco Wellenkamp, Benvindo Moritz Junge’s (costume design) work for Fonseca, Cézar Moniz, and Rui Horta, ballet includes Outlier (New York City among others. Ms. Carvalho has taught for Ballet), Dyad 1929 (Australian Ballet), numerous dance schools and companies, L’Anatomie de la sensation (Paris Opera and is a certified BASI Pilates Mat work Ballet), and Renature (Nederlands Dans teacher. She recently choreographed for Theater). Other credits include Woolf Trinity Laban’s Centre for Advanced Works , Live Fire Exercise , Limen , Infra Training students’ final-year show, and in (Joffrey Ballet, Mariin sky Ballet), and 2014 she made Vuong 10 in collaboration Chroma for the Royal Ballet. Mr. Junge has with Nina Kov, a full-length dance and live also designed costumes for numerous music piece. Ms. Carvalho joined Company opera productions, including Cavalleria rus - Wayne McGregor in 2008 and took on the ticana /Pagliacci (Metropolitan Opera), role of rehearsal assistant in 2013. Rusalka (Lyric Opera Chicago), Béatrice et Bénédict (Theater an der Wien), Don Carlo (Bolshoi Opera), Daphne (La Monnaie, Brussels), (, Opéra de Lyon), and La Cenerentola (Glynde - S E R

bourne). For the Royal Opera his work P E E

D Travis

includes Les Troyens , , and The Temp- I V A

R Clausen-Knight est . Costume designs for theater include In the Republic of Happiness , The Kitchen , Born in Cape Town, South Africa, Travis Dido, Queen of Carthage , and The Hour We Clausen-Knight (dancer) moved to England Knew Nothing of Each Other (National and graduated from the Tring Park School Theatre). Mr. Junge also designed costumes for the Performing Arts in 2009 before join - for the London 2012 Para lympics opening ing Company Wayne McGregor in 2013. ceremony. He was the overall winner of the Mr. Clausen-Knight won several awards for Linbury Prize for Stage Design in 2001. dance and choreography within his school, and received awards from the National Youth Ballet and the International Com - petition of Dance, Spoleto. He performed with Matthew Bourne’s world tour of Swan Lake and was featured in the 3D film of S E R

P the production, was involved in Michael E E

D Catarina

I Clark’s th residency at the Tate Modern in V A

R Carvalho 2011, and performed with Tavaziva Dance Catarina Carvalho (dancer, rehearsal assis - in its re-mount of Double Take and its tant) was born in Lisbon, where she began recent creation Sensual Africa . Other cred - her dance training with Anna Mascolo. She its include work with A.D. Dance and then went to study on scholarship at the Combination Dance.

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E N E E D H

I P V E A T S R Alvaro Dule Mbuelo Ndabeni Alvaro Dule (dancer) was born in Albania. Originally from Ugie, South Africa, Mbulelo After winning a Prix de Lausanne scholar - Ndabeni (dancer) began his dance training ship, he graduated in 2007 from the John in Cape Town at Dance for All and studied Cranko School in Stuttgart and joined at the London Studio Centre. He has per - Zurich Ballet under the direction of Heinz formed with Matthew Bourne’s New Spoerli. In 2009 Mr. Dule danced for the Adventures, touring internationally with National Ballet of Portugal under the direc - the award-winning Swan Lake for two tion of Vasco Wallenkamp and worked years. From 2007–14 he worked with with choreographer Matteo Levaggi in Rambert, performing in works by choreog - Italy. He joined Aterballetto in 2011, raphers including Merce Cunning ham, danced many works by Mauro Bigonzetti, Christopher Bruce, Paul Taylor, Itzik Galili, and choreographed two works for the and Henrietta Horn. Mr. Ndabeni has Young Choreographer program, M/Ph and created works for the Cape Town City Trio . Mr. Dule joined Company Wayne Ballet, Bloom Festival, English National McGregor in 2013, and in 2014 he received Ballet School, Rambert’s Seasons of New the Léonide Massine Prize in Positano as Choreographies, and his own project dancer of the year in the contemporary company, N’da Dance Company. He is an scene. For the last few years Mr. Dule has Asso ciation of Dance of the African been studying history and philosophy at Diaspora trailblazer fellow for 2015–16. Mr. the University of Modena. Ndabeni is a guest artist with Company Wayne McGregor. S E R P E S E E D R

I P V E A E R

Louis McMiller D Daniela

I V A

R Neugebauer Louis McMiller (dancer) was born in the UK and started dancing at the age of seven. Born in Switzerland, Daniela Neugebauer He danced in the annual performances at (dancer) trained with Cathy Sharp in Basel the Royal Opera House–Covent Garden, before studying at the John Neumeier and with the Royal Ballet toured Japan and Ballet School in Hamburg and at Codarts performed in many productions. Mr. Rotterdam, finishing with a bachelor of arts McMiller joined Company Wayne McGregor degree. From 2000 –03 she received three in 2010, after graduating from the Royal scholarships for young dancers from Ballet School with a professional diploma Migros-Genossenschafts-Bund. Since 2005 in dance. In addition, Mr. McMiller is a Ms. Neugebauer has worked several times model for Abercrombie & Fitch. He has as a key dancer with Václav Kune sˇ as well been featured in several magazines, as with Pablo Ventura. She joined Dance well as in campaigns for New York Works Rotterdam under artistic director designer Patrik Ervell and Uniqlo. Ton Simons, where she performed works by Simons, Stephen Petronio, Dana 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 15

Casperson, Sjoerd Vreugdenhil, and oth - in performance. Mr. Pett has performed at ers, taking numerous solo roles, many of the Roundhouse in Underdrome , choreo - which were created for her. Ms. graphed by Darren Johnston, and worked Neugebauer has been a member of with Gill Clarke OBE, Patricia Lent, and Company Wayne McGregor since 2010. Kerry Nicholls, among others. From 2011– 13 Mr. Pett danced for Richard Alston Dance Company. He performed at Dance Umbrella in 2011, working with Robert Cohan on a revival of In Memory, and, in 2012, with Jeannie Steele on The Bride S E R P

E and the Bachelors exhibitions at the E D

I

V Barbican Centre. Mr. Pett joined Company A

R Anna Nowak Wayne McGregor in 2013. Born in Poland, Anna Nowak (dancer) grad - uated from the Fryderyk Chopin University of Music with honors, receiving a master’s degree in art with specialization in dance

teaching. She was awarded the prize N O S S R

for Best Ballet School Graduate in Poland E P

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in 2001, as well as a prime minister’s sci - A H O

J Jessica Wright ence scholarship for the highest achieving students in the same year. From 2001–07 Jessica Wright (dancer) was born in Ms. Nowak danced with the Polish , UK, and trained at Central National Ballet, and she joined Company School of Ballet in London. In 2005 she Wayne McGregor in 2008, dancing in all of was selected to join D.A.N.C.E., an inter - the company productions since. Ms. Nowak disciplinary program based in Brussels, regularly teaches at several dance compa - Aix-en-Provence, and Dresden directed by nies and schools in Poland. She has studied Wayne McGregor, William Forsythe, environment, international development, Angelin Preljocaj, and Frédéric Flamand. and globalization at the Open University. During this time Ms. Wright performed as a guest dancer with the Forsythe Company in Human Writes and with Ballet Preljocaj in an installation at the Centre Pompidou, and she danced in [memeri] by McGregor and A Success Story by Flamand. Ms. S E R

P Wright also began collaborating with E E D

I Morgann Runacre-Temple in 2005, creat - V A

R James Pett ing dance films and interactive perfor - James Pett (dancer) competed as a gym - mances. Out of Hand , their first short, was nast for ten years, representing Great selected for the CobraVision Shorts final. Britain at the World Gymnastrada in Other shorts include Mishandled (2011), Austria in 2007. He trained at Trinity Laban One Etunim (2012), and The Keeper Conservatoire of Music and Dance, gradu - (2013). She regularly teaches for Company ating in 2011, and received the Marion Wayne McGregor and for DV8, Central North Award for outstanding achievement School of Ballet, and Milano City Ballet.

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Life Story artist-in-residence grant at the Chinati Foundation, founded by Donald Judd in Marfa, Texas, and she received an honorary doctor of arts degree from the University of Kansas in 2013. She has been honored with two fellowships in 2015–16: a Radcliffe Fellowship at Harvard University and a Simons Fellowship at the University Karole Armitage of Kansas. Karole Armitage (choreographer) is re - nowned for choreography that blends dance, music, and art, drawing upon her technical knowledge of ballet and modern dance to engage with conceptual ideas from the frontiers of movement research. Known as the “punk ballerina,” Ms. Anna Dennis Armitage is the artistic director of the Armitage Gone! Dance Company based in Anna Dennis (soprano) studied at the Royal New York City, and is inspired by disparate Academy of Music with Noelle Barker. sources ranging from 20th-century physics Notable concert performances include and 16th-century Florentine fashion to pop Britten’s War with the Berliner culture and new media. In Ms. Armitage’s Philharmoniker, a program of Russian oper - hands, the classic vocabulary is given a atic arias with Philharmonia Baroque in San needed shock to its system, with speed, Francisco, Orff’s with the fractured lines, abstractions and symmetry Orquestra Gulbenkian in Lisbon, Bach’s countermanded by asymmetry. Ms. Christmas Oratorio with the Australian Armitage’s designers include artists like Chamber Orchestra in Sydney, and the Vera Lutter, Jeff Koons, Brice Marden, and Russian premiere of Thomas Adès’s Life David Salle, and her work is at once eso - Story in Moscow. Ms. Dennis’s BBC Proms teric and popular. Having choreographed appearances include performances with two Broadway productions, films, videos the City of Birmingham Symphony for and , as well Orchestra, the BBC Symphony Orchestra, as a show for Cirque du Soleil, Ms. the Britten Sinfonia, and the Orchestra of Armitage creates new works for compa - the Age of Enlightenment. nies from the Bolshoi Ballet in Moscow to the Tasmanian Dance Company, directs Recent operatic roles include Paride in operas for prestigious houses in Europe, Gluck’s Paride ed Elena (Nuremberg Opera and choreographs for the New York Phil - House), Katherine Dee in Damon Albarn’s harmonic as well as theaters at Harvard Dr Dee (English National Opera), Emira in and Yale Universities and MIT. Handel’s Siroe (Göttingen Händel Fest - spiele), Ilia in Mozart’s Idomeneo (Birming - From 1995–98 she directed the ballet com - ham Opera Company), Pamina in The pany MaggioDanza in Florence and in 2004 Magic (Lichfield Festival), and Straw - the Biennale of Contemporary Dance in berry Seller/Strolling Player in Britten’s Venice; from 1999 –2004 she served as res - Death in Venice (La Scala). Ms. Dennis has ident choreographer for Ballet de Lorraine created roles in premieres of Francisco in France. In 2009 Ms. Armitage was Coll’s Café Kafka (Royal Opera House– awarded France’s most prestigious award, Covent Garden/Opera North/Aldeburgh Commandeur dans l’Ordre des Arts et Music), Jonathan Dove’s The Walk from des Lettres. She is the recipient of the the Garden (Salisbury Festival) and The 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 17

Enchanted Pig (Young Vic), and Will age of ten as a scholarship student Tuckett’s Pleasure’s Progress (Royal Opera with the Miami City Ballet. He holds a House). Future plans include Rosmene in bachelor of fine arts degree in dance from Handel’s Imeneo at the Göttingen Handel Florida State University and a master of Festspiele, Bersi in Giordano’s Andrea fine arts degree in dance from Hollins Chénier at Opera North, Pergolesi’s Stabat University. An ACT-SO Dance Gold Mater with the Orquestra Gulbenkian in Medalist, Mr. Hatua-Saar has also received Lisbon, and a re-creation of the first perfor - fellowships from Alvin Ailey American mance of Monteverdi’s Combattimento di Dance Theatre and Dance Theatre of Tancredi e Clorinda in Venice. Harlem. He has danced with Dayton Contemporary Dance Company and Phila - David Salle danco, and alongside artists such as Maya David Salle (costume design) helped Angelou and Shirley Murdock. Mr. Hatua- define the post-modern sensibility by com - Saar is currently a member of Limón bining figuration with an extremely varied Dance Company. pictorial language, and his paintings have been shown in museums and galleries worldwide. Although known primarily as a painter, Mr. Salle’s work grows out of a long-standing involvement with perfor - mance. Over the last 25 years he has worked extensively with choreographer Emily Wagner Karole Armitage, creating sets and cos - tumes for many of her ballets and operas Emily Wagner (dancer) trained under schol - staged throughout Europe and America. In arships at Flint Youth Ballet, Virginia School 1995 Mr. Salle directed the feature film of the Arts, and . Search and Destroy , starring Griffin Dunne Her most influential training came from and Christopher Walken. Mr. Salle is also a Sabrina Pillars at New York City Ballet. Ms. prolific writer on art, with his essays and Wagner has performed with companies interviews featured in Artforum , Art in such as Ballet Vérité, Eglevsky Ballet, America , Modern Painters , and The Paris Ballet Noir, Terra Firma Dance Theater, Review , as well as numerous exhibition Penn sylvania Ballet, and BalletX. Notable catalogues and anthologies. He currently performances include dancing in Monte writes a monthly column on art for Town & Carlo for the Prince of Monaco in 2009 Country magazine. with Karole Armitage, and the role of the Vixen in The Cunning Little Vixen with the New York Philharmonic in 2012. Ms. Wagner has been an artist with Armitage’s Armitage Gone! Dance for the last seven seasons, and regularly freelances for choreographers in New York City. She has been invited to adjudicate at dance schools Ruka Hatua-Saar abroad, and has worked as the assistant Ruka Hatua-Saar (dancer) hails from choreographer for Harvard A.R.T.’s highly Aviano, Italy, and began his training at the praised play Marie Antoinette .

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The Grit in the Oyster productions, The Measures Taken and The Grit in the Oyster .

Mr. Whitley is a member of New Movement Collective, a group of dancers and choreographers who seek to redefine S M

E the landscape of contemporary dance A J

L Alexander E I through creating site-specific and multidis - N A D Whitley ciplinary performance work. He is a New Based in London, Alexander Whitley Wave Associate Artist at Sadler’s Wells (choreographer) has created work for and an associate artist at DanceEast, and several of the UK’s leading companies, his company is an associate of Rambert. including the Royal Ballet, Rambert, BalletBoyz, and . Mr. Whitley works with filmmakers, designers, digital artists, and composers to create innovative work that seeks to broaden the scope of dance.

Mr. Whitley trained at the Royal Ballet School and began his career at Birmingham Royal Ballet before moving into contempo - rary dance, where he worked with compa -

nies such as Rambert, Michael Clark E D L I W Company, Sydney Dance Company, and E D

N

Company Wayne McGregor. During this M U T U

time he was twice nominated for the Critics’ A Circle National Dance Awards for Outstanding Performance. Calder Quartet The Calder Quartet performs a broad Mr. Whitley started choreographing early in range of repertoire at an exceptional level, his dance career. In 2008 his piece Solo? always striving to channel and fulfill the was taken into Rambert’s repertoire and composer’s vision. Already the choice of toured the UK. He began presenting work such leading composers as Christopher independently at the Royal Opera House Rouse, Terry Riley, and Thomas Adès to through its Summer Collection and perform their works, the quartet has a Exposure:Dance programs, and from unique musical curiosity evident in every - 2012–14 he was an affiliate choreographer thing it performs, from works by of the Royal Ballet Studio Programme. He Beethoven, Mozart, and Haydn to sold-out was shortlisted for the 2012 Arts rock shows with bands like the National Foundation fellowship for his choreo - and the Airborne Toxic Event. Winner of graphic work. Mr. Whitley was also nomi - the 2014 Avery Fisher Career Grant, the nated as a Breakthrough Artist in the 2014 quartet is known for the discovery, com - South Bank Sky Arts Awards; that same missioning, recording, and mentoring of year he launched Alexander Whitley Dance some of today’s best emerging com - Company, which enjoyed sell-out perfor - posers. Inspired by innovative American mances at the Linbury Theatre, Royal artist Alexander Calder, the Calder Quartet Opera House–Covent Garden, and Sadler’s has a desire to bring immediacy and con - Wells Theatre, as well as being nominated text to the works it performs to create an for a Critics’ Circle Award with its first two artfully crafted musical experience. 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 19

Recent highlights include performances at Hamlet , Much Ado About Nothing , and the Metropolitan Museum of Art, London’s Blindsided (Royal Exchange ); Wigmore Hall and Barbican Centre, and the Love’s Sacrifice (Royal Shakespeare Edinburgh International Festival. The en - Company); Mametz (National Theatre semble returned to the Los Angeles Phil - Wales), Protest Song (National Theatre, harmonic’s Minimalist Jukebox Festival, and Shed), The Oresteia (Home Man chester); in 2013 it performed Terry Riley’s The Sands Regeneration and Dancing at Lughnasa with the . The quartet (); and The Sacred Flame also returned to Australia for the Ade laide (English Touring Theatre/Rose Kingston). Festival with Iva Bittová, and appeared at Mr. Curran was nominated for the 2013 the Laguna Beach Music Festival alongside Olivier Award for Best Lighting Design for Joshua Bell and Edgar Meyer. his work on Constellations at the Royal Court and in the West End. Opera credits The Calder Quartet was formed at the include Orphée et Eurydice (Royal Opera University of Southern California Thornton House), Ottone , Life on the Moon (English School of Music and continued studies at Touring Opera), and Nabucco (Opera the Colburn Conservatory of Music with National de Lorraine). Ronald Leonard and at The . The quartet regularly conducts master Jean-Marc Puissant classes and has taught at the Colburn Jean-Marc Puissant (costume design) School, The Juilliard School, Cleveland designs sets and costumes for opera, the - Institute of Music, University of Cincinnati ater, musicals, ballet, and contemporary College–Conservatory of Music, and USC dance. Several of his productions received Thornton School of Music. Olivier and Critics’ Circle Awards. Dance credits include numerous productions for Lee Curran the Royal Ballet ( Aeternum , DGV: Danse à Lee Curran’s (lighting design) dance light - grande vitesse , Electric Counterpoint , and ing design work includes Sun , Political Balanchine’s Jewels ), New York City Ballet Mother , The Art of Not Looking Back , In (Klavier , Les Carillons ), American Ballet Your Rooms , and Uprising , all with Hofesh Theatre ( VII I), Australian Ballet, Rambert, Shechter, and Untouchable , choreo - and the San Francisco, Boston, and Joffrey graphed by Shechter for the Royal Ballet. ballets, among many others. Opera and Collaborations with Alexander Whitley theater designs include The King And I include The Measures Taken and All That (Théâtre du Châtelet, Lyric Opera of Is Solid Melts into Air at the Royal Opera Chicago), Aida (Royal Opera), Madame House –Covent Garden, The Grit in the Butterfly (Santa Fe Opera, LA Opera), Oyster at Sadler’s Wells, and Frames for Richard the Lionheart (Opera Theatre of Rambert. Other design credits include Saint Louis), Pippin (Menier Chocolate Bastard Amber and Interloper with Liz Factory), and Dangerous Lady (Theatre Roche Company, There We Have Been Royal Stratford East). Mr. Puissant trained and Everything and Nothing with James at the Motley Theatre Design Course in Cousins at Sadler’s Wells, and works for London and studied art history at the Rafael Bonachela, Jonzi D, and Candoco. Sorbonne in Paris. A guest tutor for theater design at the Royal Central School of Mr. Curran’s theater credits include Speech and Drama, he is on the board of Splendour (Donmar Warehouse); Constel - directors of Dance Umbrella, London’s lations (New York/West End/Royal Court); international contemporary dance festival.

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freelance dancer and teacher, and became a certified Pilates instructor earlier this year. S N O M Y S

N E

B Natalie Allen S N O S R

Natalie Allen (dancer) trained at the A P

E N

Western Australian Academy of Performing Y A

W Wayne Parsons Arts. With the Sydney Dance Company, Ms. Allen worked with guest choreogra - Wayne Parsons (dancer) has danced for phers Adam Linder, Emanuel Gat, Jacopo some of the world’s leading contemporary Godani, Larissa McGowan, and Alexander dance companies, including Sydney Dance Ekman. She has performed works by many Company, Richard Alston Dance Company, Australian choreographers and directors, and National Dance Company of Wales. As such as Leigh Warren, Gary Stewart, and a freelancer he has worked with Oguike Natalie Weir, and in 2014 she re-staged Dance, Motionhouse, Joe Moran Dance, Rafael Bonachela’s The Land of Yes and the Mark Bruce Company, Shobana Jeyasingh, Land of No at her alma mater. Recently Ms. and more. Mr. Parsons choreographed Allen performed an improvised solo for the three works during his time at NDC Wales, do it (Adelaide) exhibition at the Samstag and for his new company, Wayne Parsons Museum and Organic Matter , a self- Dance, he choreographed Meeting , which devised solo for Strut Dance, and Short premiered in London and was a finalist in Cuts in Perth. She is researching a new the Copenhagen International Chore - work with Perth choreographer Kynan ography Competition in 2013. In 2014 Mr. Hughes, and joins Alexander Whitley Dance Parsons was commissioned to create Company for the 2015–16 season. Habitus for Intoto Dance Company, Like This? for London Contemporary Dance School’s graduation showcase, and Enter After Dark for Arts Active’s Dawns Haf sea - son in , Wales. N O P P

A Polaris T

E R R E I

P Antonette Dayrit

Born in London, Antonette Dayrit (dancer) 3 1 0 2 trained at the Debra Bradnum Ballet School, _ N A I D

the Royal Ballet School, and Central School O B O L S

of Ballet, graduating with a bachelor of arts L E A

degree with honors in professional dance. H C I

M Crystal Pite Ms. Dayrit has worked with CeDeCe, the Curve Foundation Dance Company, Canadian choreographer and performer Malgorzata Dzierzon, Patricia Okenwa, Crystal Pite (choreographer) is a former Renaud Wiser, New Movement Collective, company member of Ballet British Alexander Whitley Dance Company, and Columbia and William Forsythe’s Ballett Rambert, performing in works by renowned . Ms. Pite’s professional chor- choreographers such as Christopher Bruce, eographic debut was in 1990, at Ballet Michael Clark, , Siobhan British Columbia. Since then, she has cre - Davies, Javier de Frutos, Itzik Galili, Ashley ated over 40 works for companies such as Page, and Paul Taylor. She is currently a Nederlands Dans Theater I, Cullberg Ballet, 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 21

Ballett Frankfurt, the National Ballet of in 1982, and has worked in theater, dance, Canada, Les Ballets Jazz de Montréal (res - opera, and film as a cutter and seamstress. ident choreographer, 2001–04), Cedar Lake Through dance she incorporated design Contemporary Ballet, Ballet British into her work, and collaborated with chore - Columbia, and /Fou ographer Crystal Pite on Uncollected Work Glorieux. She has also collaborated with in 2003. This led to costume design credits Electric Company Theatre and Robert for Lost Action , Dark Matters , and The You Lepage. Ms. Pite is an associate choreog - Show for Pite’s company Kidd Pivot. Ms. rapher of Nederlands Dans Theater, associ - Chow’s other collaborations with Pite ate dance artist of Canada’s National Arts include Arietta and Short Works: 24 for Centre, and associate artist at Sadler’s Ballet British Columbia, Emergence for the Wells, London. National Ballet of Canada, and Ten Duets on a Theme of Rescue for Carte Blanche. In 2002 she formed her own company, She has also worked with Aszure Barton Kidd Pivot, in . Kidd Pivot tours on Konzert fur Violine und Orchester for nationally and internationally, performing Bavarian State Ballet and Awaa for Aszure works such as Dark Matters and Lost Barton & Artists. Through Ballet BC, Ms. Action . Kidd Pivot’s residency at the Chow worked with choreographers José Künstlerhaus Mousonturm in Frankfurt Navas, Emily Molnar, , (2010–12) provided Ms. Pite the opportu - Serge Bennathan, Gioconda Barbuto, nity to create and tour The You Show and Medhi Walerski, and Shawn Hounsell. The Tempest Replica . Currently touring is the Kidd Pivot/Electric Company Theatre Tom Visser production of Betroffenheit , co-created by Tom Visser (lighting design) grew up in the Ms. Pite and . countryside of West Ireland. At the age of 18 he started working in music theater Jay Gower Taylor through his theatrical family, and after six Jay Gower Taylor (set design) started out years Mr. Visser collaborated with the in theater as a professional dancer, enjoy - Nederlands Dans Theater. Since 2005 he ing an international career spanning more has created original designs for choreogra - than 20 years. Parallel to his dance career, phers Crystal Pite, Alexander Ekman, Mr. Taylor developed his skills as a Johan Inger, Stijn Celis, Lukas Timulak, designer. Some of his first opportunities Sharon Eyal, Joeri Dubbe, and more. Art designing for theater were collaborations installations and interactive media have with Serge Bennathan on Absences , The been Mr. Visser’s focus recently, and he Invisible Life of Joseph Finch , Conver - has been creating his own projects. sation , and Elles . More recently, Mr. Taylor designed the Virtual Stage and Electric Company Theatre’s live-cinematic interpre - tation of Jean-Paul Sartre’s No Exit . In the works of Crystal Pite, Mr. Taylor has designed Plot Point , Solo Echo , Parade , and Frontier for Nederlands Dans Theater, Shay Kuebler Emergence for the National Ballet of Canada, and Dark Matters , The Tempest At age five, Shay Kuebler (dancer) studied Replica , and Betroffenheit for Kidd Pivot. dramatic arts at Stage Polaris Theatre Academy and martial arts in Shito-Ryu Linda Chow Karate, which would lead to dance and a Linda Chow (costume design) graduated versatile background in hip-hop, jazz, tap, from the Ryerson Theater School program contemporary, and ballet. He travels and WhiteLightFestival.org 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 22

studies music, theater, dance, and martial danced for Aszure Barton and Artists on arts throughout North America, as well as projects such as Busk , Mikhail Brazil, Japan, and China. Mr. Kuebler has Baryshnikov’s Hell’s Kitchen Dance tour, done dance work for Les Grands Ballet and choreographed for various perfor - Canad iens, London Contemporary Dance mances around New York and Frankfurt. School, Moment Factory, ’s Ms. Salgado has assisted in pre-production Pachamama Theatre, and the 2010 for Andy Blankenbuehler on multiple Olympic Games. He co-founded the 605 Broadway shows and performed for Mia Collective, and is the founder and current Michaels in various concert and commer - artistic director of Shay Kuebler Radical cial projects. She is currently on faculty System Art in Vancouver. with New York City Dance Alliance and was recently assistant rehearsal director for Cedar Lake Contemporary Ballet. Ms. Salgado co-founded Artists Striving to End Poverty, and a collective called Shook Ones with poet/actor Alejandro Rodriguez and G L _ multimedia artist Yazmany Arboleda. D

Y D N E

W David Raymond A native of British Columbia, David Raymond (dancer) formed Over the Influ - ence, a collective with four street dancers who trained and performed together. In 2004 he and dancer Tiffany Tregarthen took Jermaine Spivey up a two-year residency in , Belgium as they began their collaborative Jermaine Spivey (dancer) graduated with a partnership and continued to develop move - bachelor of fine arts degree in dance from ment language. The two co-founded Out The Juilliard School in 2002. He then Innerspace Dance Theatre in Vancouver in moved to Europe, where he began his pro - 2007 as the home for their creative work fessional career with Ballet Gulbenkian and a platform to share their research and from 2002–05, and with the Cullberg Ballet practice with young aspiring artists. In addi - from 2005–08. In addition to being a mem - tion to dance, Mr. Raymond captures and ber of choreographer Crystal Pite’s com - designs video for theater and installation. He pany, Kidd Pivot, Mr. Spivey has performed has worked with the 605 Collective, Wen as a guest artist with the Hofesh Shechter Wei Dance, Response Dance, Dana Company, and most recently with the Gingras, Simone Orlando, Beijing Modern Forsythe Company from 2013–15. He is a Dance Company, Vancouver Opera, and recipient of the Princess Grace Award MOVE: the company. (2001) and a National Foundation for the Advancement of the Arts Award (1998). Z T L U H C S

N O S I L L

A Cindy Salgado Spenser Theberge Cindy Salgado (dancer) graduated from The Juilliard School in 2005, and has been a Portland native Spenser Theberge (dancer) is member of Kidd Pivot since 2009. She has a National YoungArts winner, a Presi dential 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 23

Scholar in the Arts, and a Princess Grace the world’s greatest artists and performs Award recipient. He received dance training approximately 80 concerts each year, from the School of Oregon Ballet Theatre, including its Carnegie Hall Orchestra Vancouver School of Arts and Academics, Series, Chamber Music Series at the and Columbia Dance, and graduated from Morgan Library & Museum and Brooklyn The Juilliard School in 2009 under the direc - Museum, and summer residency at tion of Lawrence Rhodes. Mr. Theberge Caramoor Music Festival. OSL has com - danced with the Netherlands Dance Theater missioned more than 50 new works; given I and II until 2013, and worked as a guest more than 175 world, U.S., and New York artist with Forsythe Company in 2013–15. City premieres; and appeared on more His own choreography has been presented than 100 recordings, including four by the Korzo Theater in the Hague, and his Grammy Award winners and seven current collaboration with Jermaine Spivey releases on its own label, St. Luke’s has been supported by Hollins University Collection. Pablo Heras-Casado is OSL’s (Virginia) in collaboration with the Forsythe principal conductor. Company and Frankfurt LAB, and through residencies in Torino, Italy and PACT OSL grew out of a chamber ensemble that Zollverein in Essen, . began giving concerts at the Church of St. Luke in the Fields in Greenwich Village in 1974. Today, the 21 virtuoso artists of St. Luke’s Chamber Ensemble make up OSL’s artistic core. OSL owns and operates the DiMenna Center for Classical Music in Manhattan, where it shares a building with Tiffany the Baryshnikov Arts Center. Since opening Tregarthen in 2011, the DiMenna Center has welcomed Born in Prince George, British Columbia, more than 100,000 visitors, including more Tiffany Tregarthen (dancer) has been a mem - than 400 ensembles and artists such as ber of Kidd Pivot since 2013. She has Renée Fleming, Susan Graham, Itzhak worked with Mia Michaels RAW, Wes Perlman, Emanuel Ax, Joshua Bell, Valery Veldink Movement, POZ Dance Theatre, Gergiev, , James Taylor, and Radix Theatre, Beijing Modern Dance . OSL hosts hundreds of neighbors, Company, Vancouver Opera, 605 Collective, families, and schoolchildren at its home Wen Wei Dance, and Justine Chambers, each year for free community events. am ong others. Ms. Tregarthen has created works for dance institutions in South Through its education and community pro - Korea, Belgium, the Netherlands, Italy, and grams, OSL has introduced audiences Canada as well as Les Grands Ballets across New York City to live classical Canadiens through its National Young music. OSL brings free chamber concerts Choreographer Competition. With her part - to the five boroughs; offers free interactive ner David Ray mond, Ms. Tregarthen co- music programs at the DiMenna Center; directs Vancouver-based Out Innerspace provides chamber music coaching for adult Dance Theatre and post-secondary dance amateurs; and engages 10,000 public program Modus Operandi. school students each year through its Free School Concerts. In 2013 OSL launched Orchestra of St. Luke’s Youth Orchestra of St. Luke’s (YOSL), an Orchestra of St. Luke’s (OSL) is one of intensive in- and after-school instrumental America’s most versatile and distinguished coaching program emphasizing musical orchestras. It collaborates regularly with excellence and social development.

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New York University Tisch School launched Encores! Off-Center, a series fea - of the Arts Department of Dance, turing landmark musicals filtered through Seán Curran, Chair the lens of today’s most innovative artists. New York University’s Tisch School of the Dance has been integral to the theater’s Arts Department of Dance seeks to mission from the start, and dance pro - develop and prepare fully realized dance grams, including the annual Fall for Dance artists to be critical thinkers, fearless lead - Festival, remain central to City Center’s ers, and fluent performers. A conservatory identity. Vital partnerships with arts organi - dance program housed within New York zations including Jazz at Lincoln Center and University, Tisch Dance offers intensive London’s Sadler’s Wells Theatre enhance dance training alongside a world-class lib - City Center’s programmatic offerings. City eral arts education. Offering a BFA and Center brings dance and musical theater to MFA in dance, the program emphasizes over 9,000 New York City students each ballet and contemporary techniques from a year through its robust education program, distinguished faculty with uniquely diverse and other learning opportunities are offered backgrounds. The program encourages the to seniors, families, and the general public. formation of the complete dance artist, City Center is expanding its programming encouraging students’ development as beyond the proscenium and activating its both performers and choreographers while alternative spaces with pre-show talks, expanding their knowledge of anatomy, master classes, exhibitions of visual art, dance science, music, and dance history and intimate performances that give an up- and criticism. Students have the opportu - close look at the work of the great theater nity to perform regularly throughout their and dance artists of our time. In October time in the program, and in their final year 2011, City Center completed an extensive become members of the Second Avenue renovation project to revitalize and modern - Dance Company, through which guest ize its historic theater. choreographers, faculty, and students develop new pieces, reconstruct master - White Light Festival works, present repertory, and perform I could compare my music to white light, throughout the year. which contains all colors. Only a prism can divide the colors and make them appear; New York City Center this prism could be the spirit of the listener. New York City Center (Arlene Shuler, pres - —Arvo Pärt. Celebrating its sixth anniver - ident and CEO) has played a defining role in sary, the White Light Festival is Lincoln the cultural life of the city since 1943. It Center’s annual exploration of music and was Manhattan’s first performing arts cen - art’s power to reveal the many dimensions ter, dedicated by Mayor Fiorello La Guardia of our interior lives. International in scope, with a mission to make the best in music, the multidisciplinary festival offers a broad theater, and dance accessible to all audi - spectrum of the world’s leading instrumen - ences. Today, City Center is home to many talists, vocalists, ensembles, choreogra - distinguished companies, including Alvin phers, dance companies, and directors Ailey American Dance Theater, City complemented by conversations with Center’s Prin cipal Dance Company, as well artists and scholars and post-performance as Manhattan Theatre Club; a roster of White Light Lounges. renowned national and international visiting artists; and its own critically acclaimed and Lincoln Center for the Performing popular programs. The Tony-honored Arts, Inc. Encores! musical theater series has been Lincoln Center for the Performing Arts hailed as “one of the very best reasons to (LCPA) serves three primary roles: presen - be alive in New York.” In 2013, City Center ter of artistic programming, national leader 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 25

in arts and education and community rela - Swing, the Mostly Mozart Festival, and the tions, and manager of the Lincoln Center White Light Festival, as well as the Emmy campus. A presenter of more than 3,000 Award–winning Live From Lincoln Center , free and ticketed events, performances, which airs nationally on PBS. As manager of tours, and educational activities annually, the Lincoln Center campus, LCPA provides LCPA offers 15 programs, series, and festi - support and services for the Lincoln Center vals including American Songbook, Great complex and the 11 resident organizations. Performers, Lincoln Center Festival, Lincoln In addition, LCPA led a $1.2 billion campus Center Out of Doors, Midsummer Night renovation, completed in October 2012.

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T T A M

Orchestra of St. Luke’s Pablo Heras-Casado, Principal Conductor

Violin Viola Krista Bennion Feeney, David Cerutti Melanie Feld Michael Powell Concertmaster Maureen Gallagher Timothy Gocklin Kenneth Finn Mayuki Fukuhara Louise Schulman Kathy Halvorson John Rojak Robin Bushman Daniel Panner Conrad Harris Ann Roggen Karl Kawahara Liuh-Wen Ting Jon Manasse Kyle Turner Anca Nicolau Gerhardt Koch Ellen Payne Cello Liam Burke Robert Shaw Daire FitzGerald Maya Gunji Mineko Yajima Rosalyn Clarke Basia Danilow Claire Bryant Charles McCracken Percussion Keats Dieffenbach Maxine Neuman Thomas Sef cˇovi cˇ Barry Centanni Simon Gollo Alberto Parrini Jeff Robinson Samuel Budish Gregor Kitzis Javier Diaz Fritz Krakowski Bass Horn John Leister Elizabeth Lim-Dutton John Feeney Joseph Anderer John Ostrowski Andrea Schultz Anthony Falanga Lawrence DiBello Joseph Tompkins Laura Seaton Lewis Paer Patrick Pridemore Robin Zeh Pawel Knapik Eric Reed Harp Sara Cutler Flute Grace Paradise Elizabeth Mann Carl Albach Sheryl Henze Jason Covey Keyboard Tanya Dusevic Witek John Dent Margaret Kampmeier Lyn Schoch

Orchestra of St. Luke’s Administration James Roe, President and Executive Director Valerie Broderick, Vice President and General Manager Charles Hamlen, Artistic Advisor 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 27

Dancers from New York University Tisch School of the Arts Department of Dance

Seán Curran, Chair

Berit Ahlgren Lauren Gifford Rebecca Loevy Lauren Settembrino Avery-Jai Andrews Jennifer Gonzalez Angie Lu Charlotte Settle Chad Balen Sarah Gottfried Tara Lynch Donald C. Shorter Jr. Jack Blackmon Michael Greenberg Alessandra Marconi Donald Shorter Alonzo Blanco Maxfield Haynes Emma Massarelli Eiren Shuman Janae Bonnen Wynne Huo Bridget Metzger Sydney Sorenson HyeYong Borden Michael Kelly Paul Morland Rachel Stone Kimberly Ann Clarete Stephanie Kies Kyle Mullins Philip Strom Angie Conte Dasol Kim Tiffany Ogburn Kelsey Sweeting Haleigh Dalke Jihyun Kim Shannen O’Neill Matthew Taylor Adam Dyer Lisa Krainik Madeline Parrish Devon Travis Brooke Fera Morgan Lamb Allegra Preuss Taylor-Rose Walker Aurora Fitch Alice Lambert Andrea Pugliese Marissa Wiley Zuri Ford Holly LaRoche Hayoung Roh Libby Wolf Max Friedstein Katya Lazor Jordan Ryder Kaitlyn Yiu Claire Gieringer Justine Lee Carley Santori Evita Zacharioglou Claudia Germuga Lepore

Special thanks to Dean Allyson Green of New York University’s Tisch School of the Arts and The Schubert Foundation for their support of the Department of Dance.

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Mauricio Lomelin, Producer, Contemporary Programming Julia Lin, Associate Producer Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Madeleine Oldfield, House Seat Coordinator Kathy Wang , House Program Intern

For the White Light Festival Stefanie Lehmann, Company Manager Neil Creedon, Production Manager Liz Howell, Production Assistant

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For Sadler’s Wells Alistair Spalding CBE, Chief Executive and Artistic Director Suzanne Walker, Executive Producer Ghislaine Granger, Producer Isabelle Drummond, Producing and Touring Coordinator Dawn Prentice, Head of Touring Lucy White, Marketing Manager Caroline Ansdell, Press Manager Agnish Ray, Press Officer

Sadler’s Wells Technical Team Adam Carrée, Production Manager Emma Basilico, Company Stage Manager Zeynep Kepekli, Deputy Stage Manager MJ Urbanek, Technical Stage Manager Will Frost, Re-lighter Mark Jones, Costumes Supervisor Roxanne Armstrong, Costume Assistant Laura Hartney, Hair and Make-up

Sadler’s Wells would like to thank Sally Cavender, Angela Dixon, Studio Wayne McGregor, Donna Meierdiercks, Jim Smith, Seán Curran, Hala Ann Shah, and New York University Tisch School of the Arts Department of Dance.

Crystal Pite Acknowledgements I could not have built this work without the help of six Kidd Pivot dancers who were the original backbone of this piece: Katherine Cowie, Shay Kuebler, Yannick Matthon, David Raymond, Cindy Salgado, and Tiffany Tregarthen. In addition to their essential contribu - tions as interpreters and performers, they were each assigned nine or ten student dancers to lead and coach through the creation process. Several scenes in Polaris are a collage of smaller units of material, created and finessed by these six Kidd Pivot dancers. I also want to acknowledge the immense efforts of my rehearsal director, Eric Beauchesne, who in addition to teaching, facilitating, and documenting our process, has coordinated no less than seven different organizations in order to make this creation hap - pen. I am also so grateful for Kidd Pivot’s intrepid management team in Vancouver and all that they do to keep Kidd Pivot kicking. Heartfelt thanks to costume designer Linda Chow, set designer Jay Gower Taylor, and lighting designer Tom Visser. These collabora - tors are truly a dream team and I could not have created the world of this piece without their vision and skill. Thank you to Barry Kootchin at Vancouver Scenic Arts for his gen - erosity and support for this creation. Thank you to the School for the Contemporary Arts at Simon Fraser University, Arts Umbrella Dance Company, and Modus Operandi for pro - viding us with their students for an essential part of our early process. We’ve loved work - ing with the students of our original cast in London, too. Thank you to London Contemporary Dance School and the Central School of Ballet for allowing us to manifest Polaris with their excellent dancers, and to the dancers of NYU/Tisch for bringing this work back to life with such rigor and commitment. Thank you to Sadler’s Wells for your vision in connecting us all with Thomas Adès. I’m so grateful to have the chance to work with this phenomenal music, to hear it performed live, and to express it through an enor - mous and amazing group of dancers. This is a rare and precious opportunity. This is something I will never forget. 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 29

NEW YORK CITY CENTER

New York City Center Board of Directors Stacey Mindich Richard E. Witten Co-Chairmen Arlene Shuler President & CEO Raymond A. Lamontagne Chairman Emeritus

Stacy Bash-Polley Perry B. Grano Barry F. Schwartz Luigi Caiola David Hallberg Nicole Seligman Theodore S. Chapin Elizabeth Harpel Kehler Alfred J. Shuman Victoria Clark Mark Kingdon Paul Spivey Stuart H. Coleman Jeanette W. Loeb Joseph S. Steinberg Isaac D. Corré Patricia W. Lovejoy Alan G. Weiler Harris Diamond Kelli O’Hara Elizabeth H. Witten Maurice DuBois William A. Perlmuth Damian Woetzel Bobbie Frankfort Ira M. Resnick Barbara Zalaznick Richard A. Goldstein Pablo J. Salame Merryl S. Zegar

Emeriti Council Douglas S. Cramer Anne Strickland Squadron John Philip Falk Dolores D. Wharton Stanley Plesent Judy Wilpon Frederic M. Seegal

Ex O cio Bill de Blasio, Mayor, City of New York Tom Finkelpearl, Commissioner, New York City Department of Cultural A airs Scott M. Stringer, Comptroller, City of New York Jessica Lappin, Comptroller’s Designee

Public Support New York City Center, created and owned by the City of New York, is very grateful for the support of the following public agencies and ocials: National Endowment for the Arts New York City Council New York City Council Speaker Melissa Mark-Viverito New York City Council Member Daniel R. Garodnick New York City Council Member Helen Rosenthal New York City Department of Cultural A airs New York City Department of Education New York City Department of Youth and Community Development New York State Council on the Arts New York State Assembly Member Helene E. Weinstein New York State Assembly Member Richard N. Gottfried Oce of Manhattan Borough President Gale A. Brewer Oce of the Mayor 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 30

NEW YORK CITY CENTER

Special Thanks to New York City Center’s 2015-2016 Season Sponsors

2015–2016 Dance Season Studio 5 Series Barbara and David Zalaznick Barbara and David Zalaznick

Dance Leadership Support 2015–2016 Education Programs The Harkness Foundation for Dance The Pasculano Foundation Nathalie and Pablo Salame 2015 Fall for Dance Festival The Travelers Companies, Inc. Jody and John Arnhold Bloomberg Philanthropies Major support for the 2015–2016 Season Ford Foundation Livingston Family Fund Perry and Marty Grano Henry and Lucy Moses Fund, Inc. Caroline Howard Hyman The Horace W. Goldsmith Foundation MetLife Foundation Elaine and Alan Weiler The Shubert Foundation The Jerome Robbins Foundation The Artistic Innovation Fund is generously made Blanchette Hooker Rockefeller Fund possible by The Fan Fox and Leslie R. Samuels Foundation The Howard Gilman Foundation Lisa and Richard Witten Sylvie Guillem – Life in Progress Denise R. Sobel New York City Center is a city-owned facility Pacific Northwest Ballet and is supported by funds from the New York City Margee and John Falk Department of Cultural A airs in partnership with the New York City Council, the New York State Whelan/Watson: Other Stories Council on the Arts and the National Endowment The Ted & Mary Jo Shen Charitable Gift Fund for the Arts. Virginia B. Toulmin Foundation

New Dance Commissions for the 2015–2016 Season Virginia B. Toulmin Foundation

2016 Encores! Season Margot and John Ernst Roz and Jerry Meyer Stacey and Eric Mindich Daryl and Steven Roth Nathalie and Pablo Salame The Ted & Mary Jo Shen Charitable Gift Fund The Shubert Foundation, Inc. Stephanie and Fred Shuman Joseph S. and Diane H. Charitable Trust

2016 Encores! O -Center Season American Express Stacy Bash-Polley Luigi Caiola and Sean McGill The Frederick Loewe Foundation Andrew Martin-Weber Stacey and Eric Mindich Paula and Ira Resnick Nathalie and Pablo Salame Stephanie and Fred Shuman Alec Stais and Elissa Burke Listing as of October 22, 2015 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 31

NEW YORK CITY CENTER New York City Center Annual Support New York City Center is grateful to the many individuals, foundations, corporations and government agencies whose generous gifts provide vital support for its artistic, educational and outreach programs. Listed below are those patrons whose annual gifts of $1,250 or more are indispensable to the success of our season.

, and over Bloomberg Philanthropies New York City Department of Joseph S. and Diane H. Steinberg Coach Foundation Cultural A airs Charitable Trust The Howard Gilman Foundation Dance Foundation Elaine and Alan Weiler The Harkness Foundation for Dance Nathalie and Pablo Salame Lisa and Richard Witten Stacey and Eric Mindich Barbara and David Zalaznick , and over Jody and John Arnhold Mark and Anla Cheng Kingdon Stephanie and Fred Shuman Stacy Bash-Polley Livingston Family Fund Denise R. Sobel McGill Caiola Family The Frederick Loewe Foundation Virginia B. Toulmin Foundation Ford Foundation Henry and Lucy Moses Fund, Inc. Bobbie and Lew Frankfort The Pasculano Foundation Perry and Marty Grano The Shubert Foundation

, and over American Express Elizabeth and Dean Kehler The Ted & Mary Jo Shen Stuart H. Coleman and Meryl Rosofsky The Andrew W. Mellon Foundation Charitable Gift Fund The Horace W. Goldsmith Foundation Paula and Ira Resnick , and over Doris Duke Charitable Foundation New York State Council on the Arts Frederic and Robin Seegal Ira and Leonore S. Gershwin Diana Newman and Isaac Corré The Travelers Companies, Inc. Philanthropic Fund Newman’s Own Foundation Zegar Family Foundation Caroline Howard Hyman Blanchette Hooker Rockefeller Fund The Blanche and Irving Laurie Foundation Daryl and Steven Roth Andrew Martin-Weber The Fan Fox and Leslie R. Samuels MetLife Foundation Foundation, Inc. Roz and Jerry Meyer Barry F. Schwartz , and over Allen & Company, Inc. The Kaplen Brothers Fund The Weininger Foundation, Inc. Ste and Robert Berne The Katzenberger Foundation Jane and Warren Weiss Rose Caiola Jeanette W. Loeb Judy and Fred Wilpon Dyson Foundation Patricia W. and Jesse Robert Lovejoy Barbara L. Zinman Robert R. Dyson McCann Worldgroup Anonymous William and Dewey Edelman The Ambrose Monell Foundation Charitable Trust National Endowment for the Arts The Enoch Foundation William A. Perlmuth Margot and John Ernst The Jerome Robbins Foundation Barbara and Karen Jeremy T. Smith Gilder Foundation Sony Corporation of America Linda and Richard Goldstein Alec Stais and Elissa Burke , and over The Aeroflex Foundation The DuBose and Dorothy Heyward Beverly and Arthur Shorin Anne H. Bass Memorial Fund Diane Winter Sunshine The Thomas and Agnes Carvel Aaron Lieber and Bruce Horten Viacom Inc. Foundation Joyce F. Menschel Anonymous DeWitt Stern Group, Inc. The Louis and Harold Price The Jean and Louis Dreyfus Foundation, Inc. Foundation, Inc. PricewaterhouseCoopers Margee and John Falk Richenthal Foundation The Grand Marnier Foundation Frederick W. Richmond Angela and William Haines Susan and Elihu Rose 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 32

NEW YORK CITY CENTER

, and over Karen and Ed Adler Trudy K. Lampert Svetlana and Herbert Wachtell Edwin Bacher and Johanna Weber Hillary Lane and Steven Hochberg The Winston Foundation, Inc. Diana and Dick Beattie Kate Lear and Jon LaPook Anonymous (2) Barbara and Gary Brandt Richard H. M. and Gail Lowe Maidman Nancy and Robert L. Brown Mr. and Mrs. Peter L. Malkin Jill and Irwin Cohen Fred Nelson Con Edison Company of New York, Inc. Roy Peters and Mark Spreitzer Douglas S. Cramer and Hubert Bush Bonnie and Frank Pratt The Walt Disney Company Benjamin and Donna Rosen Jay Franke and David Herro Janet and Marvin Rosen Dr. Margie and Roy Furman The Ida and William Rosenthal Carol Lippert Gray and Harold Perlmutter Foundation, Inc. Larry Hirschhorn and Melissa Posen Pam and Scott Schafler Judith M. Ho man Nicole Seligman Daniel Clay Houghton The Peter Jay Sharp Foundation Jujamcyn Theaters Susan and Victor Shedlin The William H. Kearns Foundation Fred and Irene Shen Kathryn Keneally and Thomas Marshall The Ted Snowdon Foundation Jane Parsons Klein Spencer Stuart Michael D. Kors The Dorothy Strelsin Foundation, Inc. C.L.C. Kramer Foundation, Inc. Laurie M. Tisch Illumination Fund , and over Robert L. Aaron and Stuart E. Bloom Ellen B. Harrison, Lisa and David T. Schi Deborah and Charles Adelman in loving memory of Alice Steven Schmidt Alyson K. Adler and William H. Green Brian and Darlene Heidtke Phyllis and Ivan Seidenberg American Friends of Joyce Hergenhan Anne Strickland Squadron the Paris Opera & Ballet Marlene Hess and James D. Zirin Jolyon F. Stern Mr. and Mrs. Mark Angelson Susan E. Hochberg Jane and R.L. Stine Billie and Peter Anker Interpublic Group Dhuanne and Douglas Tansill Norma Ketay Asnes Betty S. Iu Beth M. U ner Claudia Bjerre and Andrea Senich Sherry and Stephen Jacobs Edward W. & Stella C. Van Houten Allison M. Blinken Randall and Kathleen Jones Memorial Fund Mendell Calabia Susan Kaplan Judy and Lee Wasserman Ted and JoAnna Chapin Jill and Peter Kraus Evelene Wechsler Consulate General of Israel Laura and Lewis Kruger The Isak and Rose Weinman Ms. Margaret Cowett Judi and Douglas Krupp Foundation Curtains Up! Mrs. Wilbur A. Levin Anonymous (2) Marguerite D’Aloia Leon Levy Foundation Deborah Goodman Davis and Toby D. Lewis Gerald R. Davis Ellen Lipschitz and Christine LaSala The Gladys Krieble Delmas Foundation Linda and Harry Macklowe Jennie L. and Richard K. DeScherer Robert Menschel and Janet Wallach The Max and Victoria Dreyfus Sandy and Ed Meyer Foundation, Inc. Cheryl and Philip Milstein Susan Drury (PLM Foundation) Nancy and Jerry Falk Vivian Milstein Marge and Bob Feder Kathryn Myers Patrick A. Flanagan and Ruth T. Nelkin Elizabeth F. Howell New York State Education Department Ella Foshay and Michael Rothfeld Carol and Melvin Newman Alice and Nathan Gantcher Stanley Newman and Dr. Brian Rosenthal Barbara and Michael Gartner Dr. and Mrs. William H. Olson Barbara Gibbs Abraham Perlman Foundation Joy and Ernest Gilmont Elizabeth I. Peters Herman Goldman Foundation In Loving Memory of Nancy Pfi erling Goldman, Sachs & Co. Rajika and Anupam Puri Joan and Charles Gross Allan V. and Maxine Rose Michael Grover and Nunzio Lupo Bonnie Sacerdote Jill and Martin Handelsman Nathan E. Saint-Amand Dorothy and Peter Samuels 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 33

NEW YORK CITY CENTER

, and over Jen Ablon Mr. and Mrs. Steven M. Jacobson Joanne Sage Linda L. Ackerman and Alice A. Strehan Alice Jarcho Christie C. Salomon H. Andress Donald and Barbara Jonas Mikelynn Salthouse and Carol Atkinson Alexandra Jones David Sheehan Claudia Baez Patricia S. Joseph/Joseph Samantha and Mark Sandler Jodi and Craig Balsam Family Charitable Trust Mr. and Mrs. Andrew Saul Lillian and Maurice Barbash Thomas G. Kahn Jeri and Scott Schaefer Susan Barbash and Eric Katz Mr. and Mrs. Carl I. Kanter Joyce and Eric Segal Alice M. Berdan Sharon Karmazin Frank M. Shanbacker Cheryl Bergenfeld Thomas Kazmark and Michael Schi Lynne C. Shaw Brook and Roger Berlind Eric Kelho er Leslie Shreve and James H. Miller In Memory of Bertha Bennett Berman Drs. Ken and Julie Kendall Lauren Shuler Donner Margaret and Paul Bernstein Nancy and Bill Killen Goldie and John Si ert Dr. and Mrs. Je rey S. Borer Donald King John Leland Sills and Elizabeth Bourque Sharon and A. Koplin Elizabeth Papadopoulos Andrea Brown and Robert Levande Lillian Kraemer Mr. and Mrs. Steven D. Singer Noreen and Kenneth Buckfire Hilda Kraker The Sirus Fund Catherine Cahill and William Bernhard Loeber and Barbara Landau David A. Sokol Jane and Jamie Cameron Mr. and Mrs. Paul Le Sherwin Soo Capezio/Ballet Makers Jill L. Leinbach Gregory St. John Dance Foundation, Inc. Susan Lerner Ruth S. Stanton Lisa and Dick Cashin Ellen G. Levine Carl Steele Marc Castle and Tom Keegan Marjorie Riche Lewis Betty Lee and Aaron Stern Mr. and Mrs. Jerome A. Chazen Dr. Claire Li / Wendy Schantzer Miriam and Howard N. Stern Andrew T. Chen Belda and Marcel Lindenbaum Mr. and Mrs. Jon Stern The Cowles Charitable Trust Margot and Robert Linton Mary Syiek Linda and Ronald F. Daitz Margot R. London Victor Syrmis Dick and Maryanne Davis The Dorothy Loudon Foundation Stephen Tabb Elisabeth de Picciotto Nancy and Duncan MacMillan Mr. and Mrs. L. Stanton Towne Jamie deRoy Scott Mallalieu Lee Traub Ann and Norb Donelly Ellen F. Marcus Diane and Tom Tuft Mr. and Mrs. Maurice DuBois Marion and Terry Martin Sue Velleman and Paul Kilrain Amy Engel and Michael Citron Elizabeth R. Martinez Frederick E. Wallach Giovanni D. Favretti Mr. Robert Matlo Dawn Watson Fiona Fein Meryl and Robert Meltzer Marshall Watson and Paul Sparks Linda and Martin Fell Richard and Ronay Menschel Cathy and Stephen Weinroth Burton and Helaine Fendelman Mr. Keith A. Meritz, M.D. Doreen and Martin Weisfuse Jay Fialko Frederick Meyer Barbara Whitman and David Carlyon Edmée and Nicholas Firth Betsy S. Michel Lois Q. Whitman Bart Friedman and Wendy Stein Richard J. Miller, Jr., Esq. Susan J. Willen Friedman Dorothy and Elihu Modlin Richard and Linda Willett Dr. Gail Furman Sheila Nevins Margaret and Glen Wood Barbara A. Gallay Henna Ong and Peter D. Lawrence Jane Zimmy and Ronald Neumann Council Member Daniel R. Garodnick Lisa Orberg Anonymous (2) Bernice and Gary Garson Jessie K. Palmer Gideon and Sarah Gartner Mary Ann Peglar Lynn Gilbert Mr. and Mrs. Steven M. Pesner Sandra Gluck Dr. Deborah Pilla Barbara L. Goldsmith Sylvia T. Pope Terina Golfinos and Robert Lisi Ursula Post Gould Paper Corporation Lisa and Tom Redburn Kim and Mason Granger Catherine A. Rein The Gray Family Mr. and Mrs. Robert E. Rich, Jr. Antonia and George Grumbach The Rodgers & Hammerstein Jane and Randolph Guggenheimer Organization Amy Hagedorn Fran and Eric Rosenfeld Joy Henshel Elizabeth and Robert Rosenman Bill Hoover and Jon Rupp Council Member Helen Rosenthal Lois and John Horgan Dr. Jane Halperin and Mrs. Henry W. Howell Dr. Allan Rubenstein Sally B. Huxley Pete and Becky Ruegger 11-20 Ades.qxp_GP 11/12/15 4:17 PM Page 34

NEW YORK CITY CENTER

, and over Caryl and Herbert Ackerman Robin A. Jones Dr. and Mrs. Scott Spector Andrea Anson Ms. Sondra N. Jones Ellen and Sam Sporn Sheila Blank James Kardon David Swope Dr. Paula W. Brill Thomas M. Kelly Barbara Tarmy and Gary Fradin Nancy A. Brown and Scott F. Smith Edythe Kenner Foundation Frances Tsou Sally and Samuel Butler Helen Kornblau/The Kornblau Judith and Peter Valente Ronni and Ronald Casty Family Foundation William Vance Deborah Chapin Mr. and Mrs. Richard L. Kraner Eleanor and Mark Walfish Pamela and Jerome Charnizon Joan and Albert Kronick Bette Jane and Lenny Weisenthal Lillian and Joel J. Cohen Joan M. Leiman Malin Yhr Mr. Stuart M. Cohen Dr. and Mrs. Martin Leshner Julia A. Ziercher Susan and Bruce Cohen Gabrielle and Samuel Lurie Anonymous (3) Mr. and Mrs. D. Ronald Daniel Leslie Mann Peggy Danziger Eileen Marzola Patricia B. Debrovner David Mayo and Carol Quinn Richard Eggers/Eggers Tracey McCabe Charitable Foundation Suzanne S. Mirra Alice and David Elgart Alice and Halsey North Lynn Ellenberg Frances and Rajmiel Odinec Melissa L. Elstein and Eric Katzman Michael and Gabrielle Palitz Michael L. Emmel Mr. and Mrs. Lee Perlman A. Theodore Flum Mr. and Mrs. Toby Ritter Barbara Freitag Richard V. Robilotti Sally Froelich Mr. and Mrs. Kenneth Roman Bruce Geismar/The Monterey Fund, Inc. Beverly and William Roso Margaret L. Goodman Sharon and Stuart Ruben Kris Heinzelman May and Samuel Rudin Edythe F. Heyman Family Foundation, Inc. Barbara Ho man Irving Scher and Amy Katz Thomas and Maren Hood Gary and Rocio Selmonsky George Iadarola and Michael Guarnieri Karen and Steven Seltzer Lola Ja e Mr. and Mrs. John Settel Todd Jick Gil Shiva Andrea Jolles Carolyn J. Smith , and over L. Boskey Mary K. McGregor and Eric H. Schultz Richard B. Turner Carrie and Timothy Buchman Richard and Merle Milder Alan H. Weinhouse John Calcagno Roberta Moutal Mr. and Mrs. Jack Wertenteil Leonard and Lucille DiRe Kathleen O’Grady Karen and Ron Wertheimer Mr. and Mrs. Robert Fenton Susan Owens Mr. and Mrs. John Wight Barbara G. Fleischman The Cole Porter Musical and Mr. and Mrs. Harold Tanner Nicholas Gordon Literary Property Trusts Anonymous Harriet and Leonard Holtz Grace M. Rose David Jaroslawicz Estelle and Norman Rosen Alan E. Kahn Miriam K. Rothenberg Dore LaPosta Robert Schulman Kevin R. Lyle Dozie Sheahan Barbara and Jesse Margolin/ Honorable Burton S. Sherman The Diamondston Foundation Inc. Rita and Thomas Sweeney

Listing as of October 22, 2015

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NEW YORK CITY CENTER

NEW YORK CITY CENTER PRODUCTION Arlene Shuler ...... President & CEO Mark Mongold ...... Director of Production Mark Litvin ...... Sr. VP & Managing Director Z achary Spitzer ...... Associate Production Manager Hawley Abelow . . .VP, Marketing & Communications Victoria Nidweski . .Production Management Assistant James Farkas ...... VP, Finance Gerry Griffin ...... Master Carpenter Stanford Makishi ...... VP, Programming Eric Schultz ...... Master Electrician Robert Palm ...... VP, Information Technology James McWilliams ...... Property Master David Ward . . .Sr. Director, Facilities & Capital Planning Vanessa J. Wise ...... VP, Development TICKETING John Toguville ...... Box Office Treasurer FINANCE Jon Ferreira ...... Assistant Treasurer Cheryl August ...... Controller Charlotte Tuomey ...... CityTix Manager Andrea R. Williams ...... Payroll Administrator Sharon Quinn ...... Assistant CityTix Manager Quin Bommer ...... Finance Associate Jeffrey Bynum ...... CityTix Supervisor

BUILDING M NAGEMENT DEVELOPMENT Jane Penn ...... Director of Institutional Giving Nicholas Litrell ...... A ...... Building Manager Jonathan Raymond ...... Director of Major Gifts Jackee Terbay ...... Facility Operations Manager Susan Strebel ...... Director of Special Events & Aubrey Ball ...... Receptionist Development Operations Maximo Perez ...... Chief Engineer Brent Radeke ...... Asst. Director, Individual Giving Ramdhan Ramdeen, Sorash Ramdeen, Karla Salguero . . . . .Asst. Director, Individual Giving Dorian Vasjari, Antonio Rivera ...... Engineers Siri Comeau ...... Manager, Institutional Giving Erin Debold ...... Major Gifts Manager OUTSIDE SERVICES Michael Mariano ...... Database Manager Franklin, Weinrib, Rudell & Vassallo, P.C. . . . .Counsel Matthew Wright ...... Manager, Special Events Eliot H. Brown Kimberly Boston . . . .Asst. Manager, Institutional Giving Kauff McGuire & Margolis LLP...... Counsel Lanie Trafford ...... Membership Associate Kenneth Margolis Matt Sanger ...... Research Assistant Universal Protection Service LLC . . .Building Security Lutz & Carr, Fred Martens, CPA . . . . .Certified Public MARKETING & COMMUNICATIONS Accountants Thomas Mygatt ...... Director of Marketing DeWitt Stern Group ...... Insurance Brokers Joe Guttridge ...... Director of Communications Sweet Hospitality Group ...... Lobby refreshments Kate Noonan ...... Marketing Manager www.SweetHospitalityGroup.com Matt Weinstock ...... Communications Associate Paul Gaschler ...... Graphic Designer CREDITS Janie Willison ...... Marketing & Digital D&B Audiotechnik ...... Loudspeaker Systems Content Coordinator DIRECTORY OF THEATER SERVICES PROGRAMMING OFFICES: 212-247-0430. 10am–6pm M–F Jack Viertel ...... Artistic Director, Encores! Membership Desk, Lost & Found. CITYTIX: 212-581-1212. Rob Berman ...... Music Director, Encores! Jeanine Tesori . .Artistic Director, Encores! Off-Center Call for tickets and performance info on Mon-Sat,

Chris Fenwick . . .Music Director, Encores! Off-Center Noon-8pm; Sun, Noon-7:30pm. Josh Clayton . . . . .Assistant Music Director, Encores! WEBSITE: www.NYCityCenter.org Beth Renoni ...... Company Manager, Encores! Alexandra Felicetti ...... Manager, Programming/ MAINSTAGE SERVICES Executive Asst. to the President & CEO BAR: Orch., Grand Tier levels Lily Alia ...... Manager, Musical Theater Programs CHECK ROOM, BOUTIQUE: Orch., Meg Brown ...... Administrative Assistant Grand Tier level REST ROOMS: every level INFORMATION TECHNOLOGY ELEVATOR: east and west sides of building Thomas O’Malley . . . .Web & New Media Administrator Don Lavis ...... Systems Administrator New York City Center is accessible to people with Brett Biggs ...... Network Administrator disabilities and has a hearing augmentation system. Please advise of needs at time of purchase. EDUCATION Chelsea Goding ...... Interim Director of Education RESUSCITATION MASKS AND LATEX GLOVES AVAILABLE Laura Apruzzese ...... Education Manager AT HOUSE MANAGER’S OFFICE. NEW YORK CITY CENTER IS A HEART SAFE FACILITY. Benji Ashe ...... Education Associate Liz Charky ...... Education Associate

Kimberly Olsen ...... Education Assistant

OPERATIONS Andrey Shenin ...... Director of Operations Carol Brannigan ...... House Manager Pam Tanowitz ...... Studio Coordinator Julie Williams ...... Associate House Manager Alex Johnson ...... House Manager, Stages I & II Maria Cortez ...... Operations Assistant Rosa Mieses ...... Operations Assistant Tia White ...... Head Usher We are a proud member of The League of Historic American Theatres.

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LC Kids Artists at the Atrium

C Kids—Lincoln Center for the LPerforming Arts’ program aimed at young audiences which promotes a life-long love of the performing arts— presents a monthly series of free music performances, LC Kids Artists at the Atrium. Formerly known as Meet the Artist Saturdays, these informal, interactive, one-hour free presentations at Lincoln Center’s David Rubenstein Atrium Jazzy Ash and the Leaping Lizards (scheduled for the first Saturday morning of each month, excluding Dumplings (February 6, 2016), a January) include a wide range of reimagining of traditional children’s performances by artists from different songs from East Asia with western folk disciplines, specially created for family and rock instruments; and The Itty appeal and enjoyable for all ages. Biddies (March 5, 2016), who take Showcasing a diverse range of musical audiences on an interactive, playful styles from leading artists from across journey of the imagination through the country, these programs showcase storytelling and song. a unique blend of performance, LC Kids Artists at the Atrium is produced participation, and education to give by Lincoln Center Education, a global family audiences opportunities to leader in arts education and advocacy. experience the arts up-close and Lincoln Center Education believes first-hand with world-class performers. that the arts cultivate a unique skill Sometimes featuring interactive set that is indispensable for the 21st components, these presentations also century: problem-solving, collaboration, include Q&A’s with the artists. communication, imagination and Upcoming LC Kids Artists at the creativity. Through this work, Lincoln Atrium performances include The Center equips young people for Okee Dokee Brothers (November success in their careers and to serve as 7, 2015), a Grammy-winning blend of active participants in their communities. American folk music, witty lyrics, and stories of thrilling outdoor adventures; Jazzy Ash and the Leaping Lizards (December 5, 2015), which leads audiences on a musical tour of New 4 decades of thinking like an artist Orleans culture; Rabbit Days and

Learn more about Lincoln Center Education: LincolnCenterEducation.org Learn more about LC Kids Artists at the Atrium: Kids.LincolnCenter.org

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4 decades of thinking like an artist

incoln Center Education (LCE) engaged in school reform efforts that Lwas founded 40 years ago with a apply arts-based solutions to current simple objective: work with teachers, challenges such as adolescent literacy, principals and parents to redefine the family participation, and engaging role of the arts in classrooms. From students with special needs in equi- the beginning, the focus was not on table experiences with their peers. the next generation of professional Placing the arts at the center of educa- artists, but rather to cultivate in every tion in order for students to become student a deep appreciation for the more collaborative, communicative arts while infusing their education with and creative is imperative for today’s creativity, imagination, and grit; skills society. Through our many offerings, associated to “thinking like an artist.” from field trips to schools co-founded The initial programs—collaboratively by LCE, this work now reaches more designed by Columbia University’s than 25,000 students each year in Dr. Maxine Greene (LCE’s Philosopher more than 250 schools. Considered Emeritus), artists and educators— the birthplace of teaching artistry, ambitiously innovated the classic field LCE boasts of a roster of more than trip experience by including teacher 50 professional artists who partner training programs and pre- and post- with teachers daily to make sure that viewing workshops for students... students of all ages, neighborhoods ideas that are now the international and socio-economic backgrounds industry standard. In 1975, LCE began have uncompromised access to piloting this work with 90 students quality arts education. in 16 schools across Manhattan, the Bronx and Westchester. LCE believes that the arts cultivate a unique skill set that is indispensable Forty years later, LCE has expanded for the 21st century: problem-solving, its mission across New York City, collaboration, communication, the country and the world reaching imagination and creativity. Through more pre-kindergarten, kindergarten, this work, Lincoln Center equips young elementary, middle and high school people for success in their careers and students than ever before, and by to serve as active participants in their becoming a global destination for communities. teacher training. LCE is actively

Learn more about Lincoln Center Education: LincolnCenterEducation.org

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eflecting a quote by Lincoln Center venues. Another major R Center’s first president John D. component of Accessibility is its Rockefeller III that “the arts are not for longstanding “Passport to the Arts.” the privileged few, but for the many,” The program annually distributes to Lincoln Center has had as a central children with disabilities thousands mission from its start making the of free tickets to a variety of Lincoln arts available to the widest possible Center performances, including audiences. In 1985, that led to the New York City Ballet and the New establishment of the Department of York Philharmonic—a welcoming Programs and Services for People with introduction to the arts. A parent who Disabilities to ensure full participation participated in a recent “Passport” in the thousands of events presented event commented “It allowed my annually across the Lincoln Center family and I to enjoy and learn along campus. It was the first such program with everyone else. The accessibility… at any major performing arts center made it easier for our family to “relax” in the U.S. and has long- and truly enjoy the served as a model for experience.” other arts institutions Accessibility is around the country. expanding the Celebrating its 30th ways it serves anniversary with a new adults with name, Accessibility disabilities. It at Lincoln Center, introduced and the program oversees American continues to provide Sign Language- exceptional guest led official tours care to all visitors, of Lincoln Center, as well as training and offers live in accessibility to audio description colleagues at Lincoln for select Lincoln Center’s resident Center Festival organizations, including performances. the Film Society of Accessibility Lincoln Center, the looks forward to growing its inclusive New York Philharmonic, and Jazz programs in the years to come. at Lincoln Center. Accessibility oversees the production To learn more about Accessibility of large-print and Braille programs at Lincoln Center, please contact for hundreds of performances taking [email protected] or call place each year at various Lincoln 212.875.5375.

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Learn More, Take the Tour

N LINCOLN CENTER, THE WORLD’S O T

N LEADING PERFORMING ARTS A T

S CENTER, is a premiere New York

N

A destination for visitors from around I R

B the globe. Did you know that tours of its iconic campus have made the Top Ten Tour list of NYC&CO, the official guide to New York City, for two year’s running? All tour options offer an inside look at what happens on and off its stages, led by guides with an encyclopedic knowledge of Visitors get a concert preview at rehearsal Lincoln Center, great anecdotes, and a passion for the arts. The daily one-hour Spotlight Tour covers the Center’s history along with current activities, and visits at least three of its famous theaters. Visitors can now also explore broadcast operations inside the Tisch WNET-TV satellite studio on Broadway, and see Lincoln Center’s newest venue, the Elinor Bunin Munroe Film Center, home to the largest Plasma screen in the nation on public display. Want more? A number of specialty tours are available: RADIO CITY MUSIC HALL & LINCOLN CENTER COMBO TOUR Experience two of New York City’s “must-see” attractions with one ticket. This package combines the Music Hall’s Stage Door tour of its Art Deco interior—which might include meeting a world-famous Radio City Rockette—with Lincoln Center’s Spotlight Tour, where a sneak peak at a rehearsal happens whenever possible. ART & ARCHITECTURE TOUR Lincoln Center’s 16-acre campus has one of New York City’s greatest modern art collections, with paintings and sculpture by such internationally acclaimed artists as Marc Chagall, Henry Moore, and . The tour not only examines these fine art masterworks, it also explores the buildings and public spaces of visionary architects like Philip Johnson, as well as the innovative concepts of architects Diller Scofidio+ Renfro with FXFOWLE, Beyer Blinder Belle, and Tod Williams Bille Tsien, designers of the campus’ $1.2 billion renovation. Inside the David H. Koch Theater

EVEN MORE TOUR OPTIONS Lincoln Center offers Foreign N O

Language Tours in five languages: French, German, Italian, T N A

Japanese, and Spanish, in addition to American Sign T S

Language tours. Visitors with a special interest in jazz can take N A I

the Jazz at Lincoln Center Tour of the organization’s gorgeous R B venues at the Times Warner Center, the only facilities created specifically for the performance of jazz music. And Group Tours of more than 15 people get a discount. For more information, click on LincolnCenter.org/Tours.To book a tour, call (212) 875.5350, email [email protected], or visit the Tour and Information Desk in the David Rubenstein Atrium at Lincoln Center, located on Broadway between 62nd and 63rd Streets. –Joy Chutz