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UMASS Performing Arts Ad.indd 1 6/13/2013 2:36:54 PM 3

5 MESSAGE FROM OUR DIRECTOR

Welcome to the Fine Arts Center’s 40th Anniversary! I’m so glad that you’re joining us to celebrate the great music, dance, theatre and art on offer this year. To commemorate 40 years of performing and visual arts at the FAC, we’re bringing back crowd favorites and introducing you to acclaimed newcomers who are reinventing their genres. We’re also hosting free events throughout the Pioneer Valley and beyond that we hope you’ll enjoy. With dynamic performances and thought-provoking exhibitions, this season is guaranteed to get you thinking, dancing, singing and talking!

The FAC first appeared in the University’s 1962 Master Plan, a grand building to be constructed at the core of campus for performing arts (Center Series) and the University Gallery (now the University Museum of Contemporary Art). The Fine Arts Center officially opened on October 10, 1975, with a performance by the Boston Symphony Orchestra, conducted by Seiji Ozawa. The Boston Pops, conducted by Arthur Fiedler, performed the next night. Enthusiastic patrons camped outside the Box Office, and tickets sold out within 2 hours!

Since then, we’ve hosted Broadway shows such as Hair, top dance companies Alvin Ailey and Joffrey Ballet, and larger-than-life-personalities such as Marcel Marceau, Patti LuPone and Willie Nelson. Our patrons have seen jazz and Blues royalty like Ray Charles and BB King, and heard acclaimed symphony orchestras from across the US and around the world. Throughout its history the FAC has sought to enrich the experience of audiences by presenting visual and performing arts that represent a diverse world view, such as Children of Uganda, The Nile Project concert and the renowned Buena Vista Social Club, to name a few. Our aim is to bring the world to you, without the hefty price tag.

For 40 years, the FAC has never wavered from its mission of engaging and inspiring the community with exemplary art that enriches lives and broadens perspectives. We bring the best in national and international artists right here to your backyard along with opportunities to engage with the artists and each other on a deeper level. And we hope to keep it that way with your continued support.

Thanks to our returning patrons, subscribers and donors for supporting the FAC year after year. And an especially big welcome to first-time visitors – we hope you’ll be back again and again to sample more of what the FAC has to offer, this season and the next. Here’s to another 40 years!

Director, UMass Fine Arts Center

6 The best kept secrets about credit unions really MESSAGE FROM OUR DIRECTOR

Welcome to the Fine Arts Center’s 40th Anniversary! I’m so glad that you’re joining us to celebrate the shouldn’t be secrets: great music, dance, theatre and art on offer this year. To commemorate 40 years of performing and visual arts at the FAC, we’re bringing back crowd favorites and introducing you to acclaimed newcomers who are reinventing their genres. We’re also hosting free events throughout the Pioneer Valley and beyond that we hope you’ll enjoy. With dynamic performances and thought-provoking exhibitions, this season is guaranteed to get you thinking, dancing, singing and talking! The FAC first appeared in the University’s 1962 Master Plan, a grand building to be constructed at the Credit Unions are cooperatives. core of campus for performing arts (Center Series) and the University Gallery (now the University 1. Museum of Contemporary Art). The Fine Arts Center officially opened on October 10, 1975, with a Think of the word cooperative—its very essence is to performance by the Boston Symphony Orchestra, conducted by Seiji Ozawa. The Boston Pops, conducted by Arthur Fiedler, performed the next night. Enthusiastic patrons camped outside the Box work together for a common goal. Cooperatives are Office, and tickets sold out within 2 hours! democratic organizations controlled by their member-

Since then, we’ve hosted Broadway shows such as Hair, top dance companies Alvin Ailey and Joffrey owners. In cooperative organizations, members actively Ballet, and larger-than-life-personalities such as Marcel Marceau, Patti LuPone and Willie Nelson. Our participate in setting policies and making decisions patrons have seen jazz and Blues royalty like Ray Charles and BB King, and heard acclaimed symphony orchestras from across the US and around the world. Throughout its history the FAC has sought to enrich through a volunteer Board of Directors. Cooperatives are the experience of audiences by presenting visual and performing arts that represent a diverse world view, most empowering to the members they serve—YOU. At such as Children of Uganda, The Nile Project concert and the renowned Buena Vista Social Club, to name a few. Our aim is to bring the world to you, without the hefty price tag. a financial cooperative like UMassFive, you’re part of a local banking community that puts people before For 40 years, the FAC has never wavered from its mission of engaging and inspiring the community with exemplary art that enriches lives and broadens perspectives. We bring the best in national and profits, while serving all your banking needs. international artists right here to your backyard along with opportunities to engage with the artists and each other on a deeper level. And we hope to keep it that way with your continued support. For more of the many benefits of joining a credit union, Thanks to our returning patrons, subscribers and donors for supporting the FAC year after year. And an especially big welcome to first-time visitors – we hope you’ll be back again and again to sample more of visit umassfive.coop. what the FAC has to offer, this season and the next. Here’s to another 40 years!

Director, UMass Fine Arts Center

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In this Issue . . .

6 MESSAGE FROM THE DIRECTOR 18 CLOUD GATE DANCE THEATRE of TAIWAN 28 THE HOT SARDINES 30 BRIDGMAN|PACKER DANCE: TRUCK 38 RAKUGO: COMICAL TALES FROM JAPAN

41 Fine Arts Center Board and Staff

42 Friends of the Fine Arts Center

45 Evacuation Diagram

47 Patron Services Information

48 Symbols of Support

14 9 Transformative Design for the Next 100 Years •renovation •new construction • net zero • passive house

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16 CheckCheck outout What’sWhat’s NewNew ATAT THETHE SPRINGFIELDSPRINGFIELD SYMPHONYSYMPHONY ORCHESTRAORCHESTRA

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2015-2016 CLASSICAL SERIES 2015-2016 POPS SERIES Kevin Rhodes, Music Director & Conductor Opening Night Gala Faithfully: Saturday, October 3, 2015 The Music of Journey Saturday, October 17, 2015 Haydn Trumpet Concerto Saturday, November 7, 2015 Home for the Follidays Holiday Concert Grieg Piano Concerto Saturday, December 5, 2015 Saturday, February 6, 2016 Gershwin’s Porgy and Bess, Centennial Sinatra – Celebrating the Music of Copland, Schwantner & Ellington Saturday, February 27, 2016 “Ole Blue Eyes” Saturday, February 13, 2016 Stravinsky “The Firebird” Saturday, March 12, 2016 Blockbuster Movie Scores: Kevin Rhodes Conducts Beethoven & Brahms John Williams Saturday, April 9, 2016 Saturday, April 23, 2016 Season Grand Finale Saturday, May 7, 2016 Season Sponsor For Tickets & Info, call 413.733.2291 or visit Spring eldSymphony.org SSO Box Of ce: 1350 Main Street, Spring eld MA 01103 • Mon-Fri 9:30am – 4:30pm, Concert Saturdays 1 - 3:30pm 17 Wednesday, September 23, 7:30 p.m. Fine Arts Center Concert Hall

CLOUD GATE DANCE THEATRE of TAIWAN

This tour is made possible by the grants from the Ministry of Culture, and the Ministry of Foreign Affairs, Republic of China (Taiwan).

Rice is a Spotlight Taiwan event funded in part by the Ministry of Culture, Republic of China and Special patron Dr. Samuel Yin, with additional support from the Five Colleges, Incorporated

Sponsored in part by the Five College Consortium, celebrating over 100 years of cooperation, and the 50th anniversary of the creation of Five Colleges, Incorporated, a non-profit educational corporation serving Amherst, Hampshire, Mount Holyoke and Smith Colleges and UMass Amherst.

Event Sponsors:

18 Concept/Choreography Lin Hwai-min Music Hakka traditional folk songs Drum music by LIANG Chun-mei “Monochrome II” by ISHII Maki performed by Ondekoza “Casta Diva” from opera Norma by Vincenzo Bellini “Le Rossignol et la Rose” by Camille Saint-Saëns Symphony No. 3 in D minor Forth Movement by Gustav Mahler Set Design LIN Keh-hua Lighting Design Lulu W.L. LEE Projection Design Ethan WANG Videographer CHANG Hao-jan (Howell) Costume Design/Executio ANN Yu Chien, Li-Ting HUANG and Department of Fashion Design from Shih Chien University Creative Assistant to Mr. Lin LIANG Chun-mei Commission Wen C. KO Co-productions National Theater & Concert Hall, the National Performing Arts Center, R.O.C. (Taiwan) Esplanade –Theatres on the Bay (Singapore) New Vision Arts Festival (Hong Kong) Sadler’s Wells Theatre (London) HELLERAU European Center for the Arts Dresden (Germany) Premiere November 22, 2013, National Theater, Taipei, Taiwan Duration Approximately 70 minutes without intermission

RICE is inspired by the life circle of a rice paddy in Chihshang in the East Rift Valley of Taiwan - home of “Emperor’s Rice.”

19 PROGRAM

Soil YANG I-chun CHEN Mu-han CHENG Hsi-ling FAN Chia-hsuan KO Wan-chun KUO Tzu-wei LEE Tzu-chun LIU Hui-ling YEH Yi-ping

Wind KO Wan-chun SU I-ping TSAI Ming-yuan CHEN Tsung-chiao CHENG Hsi-ling FAN Chia-hsuan HOU Tang-li HUANG Mei-ya HUANG Pei-hua LIU Hui-ling CHEN Mu-han HUANG Hsiao-che HUANG Li-chieh KUO Tzu-wei LIN Hsin-fang WANG Po-nien YANG I-chun YEH Yi-ping

Pollen I CHEN Mu-han CHEN Tsung-chiao FAN Chia-hsuan HUANG Hsiao-che KUO Tzu-wei LEE Tzu-chun LIN Hsin-fang WANG Po-nien WONG Lap-cheong YEH Yi-ping

Pollen II HUANG Li-chieh KO Wan-chun

Sunlight HOU Tang-li HUANG Lu-kai HUANG Mei-ya LIU Hui-ling SU I-ping WONG Lap-cheong

Grain CHOU Chang-ning

CHENG Hsi-ling FAN Chia-hsuan HUANG Pei-hua KUO Tzu-wei LEE Tzu-chun LIU Hui-ling YEH Yi-ping

Fire CHEN Tsung-chiao HOU Tang-li HUANG Hsiao-che HUANG Li-chieh HUANG Lu-kai LIN Hsin-fang TSAI Ming-yuan WANG Po-nien WONG Lap-cheong

Water YANG I-chun CHEN Mu-han CHENG Hsi-ling CHOU Chang-ning HUANG Mei-ya HUANG Pei-hua KO Wan-chun KUO Tzu-wei LEE Tzu-chun LIU Hui-ling SU I-ping

The music used in RICE is given permission by Wind Music International Corporation; Nightingale Classics AG.; Warner Classics; Universal Music Publishing Group; Victor Entertainment, Inc.; and Deutsche Grammophon GmbH.

20 ABOUT RICE On the occasion of Cloud Gate Dance Theatre of Taiwan’s 40th anniversary in 2013, the internationally renowned Lin Hwai-min, who was honored with the prestigious Samuel H. Scripps / American Dance Festival Award for Lifetime Achievement last year, created Rice to revere the land that has nurtured “Asia’s leading contemporary dance theatre.” (The Times) The inspiration for Rice came from the landscape and story of Chihshang in the East Rift Valley of Taiwan. Previously tainted by the use of chemical fertilizer, this farming village has now regained its title as the Land of the Emperor’s Rice by adopting organic farming and has exported its rice to EU countries. Awed by the immense waves of grain rolling across expansive fields of rice, and inspired by the environmentally-conscious farmers, Lin took the dancers to Chihshang, where they joined the farmers in harvesting the rice. Out of this experience in the field, Lin has created exuberant yet powerful movements woven through Soil, Sunlight, Wind, Water and Fire, telling the story of the land while contemplating the devastation of Earth. Folksongs in Hakka, the oldest among the existing Chinese dialects, and operatic arias from the West, as well as the rustling of grain, soughing of wind and pealing of thunder recorded on-site, complete the soundscape. A cinematographer spent two years on location capturing the cultivation of rice: flooding, sprouting, harvesting and burning of the field. These video images – of clouds reflected in the water, rice swaying in the wind, and fire ravaging the fields – have become the essential visual elements of the production. Immersed in this landscape, the formidable Cloud Gate dancers, trained in Chi Kung and Internal Martial Arts, enact a human drama parallel to the life cycle of rice. It is a work about death and rebirth, devastation and resurrection. Rice is an international co-production by Sadler’s Wells Theatre (London), HELLERAU European Center for the Arts Dresden (Germany), National Theater & Concert Hall, the National Performing Arts Center, R.O.C. (Taiwan), New Vision Arts Festival (Hong Kong), and Esplanade – Theatres on the Bay (Singapore). edible pioneer valley

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21 WHAT HAS BEEN SAID ABOUT RICE Lin attains a sharply moving synthesis of man and nature, east and west, death and rebirth. Rice becomes a dance of the elements, Lin’s own song of the earth. –The Guardian, London What is extraordinary about Lin’s work, and the way Cloud Gate performs it, is how it can under- mine Western expectations about how time unfolds on stage. He can build shapes so slowly and unfurl phrases so meticulously that his choreography seems to happen in a parallel universe, while his dancers evince an almost superhuman control over their bodies. –The Times, London Fiery rhythms from Taiwan. Sensual treats for the eyes. –Dresdner Neueste Nachrichten, Germany RICE is not minimalist in the sense of Moon Water or other largely t’ai chi dao yin influenced pieces. There is, though, simplicity in the way the choreography reflects the world around us, including stalks of rice swaying in a breeze, sunshine, pollination and fire. For the most part it is an ensemble work, with the notable exception of one long and striking duet in which the dancers weave sensuously around each other, always in physical contact, in front of close-up projections of rice shoots that are a forest of vivid green and gold. The most thought-provoking scene comes towards the end of the “Fire” section, which depicts the burning of the fields after harvest in readiness for the following year. In silence, a lone woman stares at projections of plumes of black smoke engulfing the landscape. It is in stark contrast to the heaviness and aggression of the preceding dance in which the men fight with bamboo poles so often seen in rice fields….The scenes could easily equally be of the huge annual fires that burn in the Indonesian rainforests, and whose smoke chokes Singapore and Malaysia. –Dancing Times, London The presentation may be Asian. But Lin Hwai min’s straight, steady, mostly graceful language of movements is multicultural, as is his…taste of music. –Die Welt, Germany Photosynthesis is real and Cloud Gate Dance Theatre takes you through the great cycle of life with Rice. The imagery is breathtaking and the trembling bodies force you to settle, be still and think about rehabilitating our Earth. –Bachtrack, UK LIN HWAI-MIN, Founder and Artistic Director Honoring Lin Hwai-min with a Lifetime Achievement Award in 2009, the jury of the International Movimentos Dance Prize, Germany, hails him as “a foremost innovator of dance” and said that “Lin Hwai-min ranks amongst artists of the century such as William Forsythe, George Balanchine, Birgit Cullberg…” In July 2013, Lin followed in the footsteps of Martha Graham, Merce Cunningham and Pina Bausch to receive the prestigious Samuel H. Scripps/American Dance Festival Award for Lifetime Achievement. The Festival announcement stated that: “Mr. Lin’s fearless zeal for the art form has established him as one of the most dynamic and innovative choreographers today... his choreographic brilliance continues to push boundaries and redefine the art form.” He is the first recipient of this award who is based in Asia. Invited by the International Theatre Institute, Lin served as the author for the 2013 International Dance Day Message. In his homeland of Taiwan, Lin Hwai-min was first known as a critically acclaimed writer. In 1969, at the age of 22 and with two books of fiction published, he went to study in the States and obtained a Master of Fine Arts from the Writer’s Workshop at the University of Iowa. He also studied modern dance at the University and in New York. Lin Hwai-min founded Cloud Gate Dance Theatre of Taiwan in 1973, the Dance Department at the Taipei National University of the Arts in 1983, and Cloud Gate 2 in 1999. Heralded as “the most important choreographer in Asia,” Lin often draws his inspiration from traditional Asian culture and aesthetics to create original works with contemporary resonance, which have made Dance Europe acclaim: “No company in the world dances like Cloud Gate. It presents a distinct and mature Chi- nese choreographic language. The importance of this evolution in Asian dance is no less profound than the impact of Forsythe’s Ballett Frankfurt on European classical ballet.” Among the honors Lin Hwai-min has received are honorary doctorates from six universities in Tai- wan and Hong Kong, the Taiwan National Award for Arts, the Ramon Magsaysay Award, the John D. Rockefeller 3rd Award, the award for ‘Best Choreographer’ at the Lyon Biennial Dance Festival, “Distinguished Artist Award” presented by International Society for the Performing Arts (ISPA), and 22 the Chevalier of the Order of Arts and Letters from the French Ministry of Culture. In 2005, he was honored by Time Magazine as one of “Asia’s Heroes.” In 2013, he was awarded by President Ma Ying Jeou with the First Rank Order of Brilliant Star with Special Grand Cordon. He is the second artist, after film director Ang Lee, to have been bestowed the highest honor from the government of Taiwan. Lin Hwai-min has been the subject of full-length television documentaries, including Portraits Taiwan: Lin Hwai-min (Discovery Channel), Floating on the Ground (Opus Arte), and Lin Hwai-Min - Interface Between Worlds (ARTE/ZDF). Since 2000, he has served as the Artistic Director of “Novel Dance Series” for the Novel Hall for Performing Arts, Taipei, introducing contemporary dance to audiences in Taiwan. Choreographers featured in the series include Eiko and Koma, Meredith Monk, Susanne Linke, Akram Kahn, Ea Sola, Sidi Larbi Cherkaoui and Jerome Bel. For 2012-2013 Lin Hwai-min served as the mentor of dance for Rolex Mentor and Protégé Arts Initiative, guiding Eduardo Fukushima, a young Brazilian choreographer selected from around the world by a panel of dance experts. LEE CHING-CHUN, Associate Artistic Director Lee Ching-chun obtained her MA degree in Dance Studies from City University of Laban Centre, London, in 1999. In 2004, she received the National Award for the Arts from Taiwan National Cul- ture and Arts Foundation, the highest award for artists in Taiwan. Since joining Cloud Gate in 1983, Ms. Lee has taken leading roles in Lin Hwai-min’s works including Wild Cursive, Cursive II (now known as Pine Smoke), Cursive, The Road to the Mountain, Smoke, Bamboo Dream, Burning the Juniper Branches, Portrait of the Families, Songs of the Wanderers, Nine Songs, The Dream of the Red Chamber, and Legacy. She has also danced in Helen Lai’s The Rite of Spring, Invisible Cities, La Vie en Rose and Frida. Her choreographic works include Woman and Man, Man and Woman for Cloud Gate and While White Is Revealing for Spotlight Dance Company, both of which premiered in 1996. In 1999, col- laborating with Canadian stage designer Tania Etienne, she choreographed and performed the dance solo work Courtyard of Pearls. In 2006, she choreographed Blossom and Moonlight for Kaohsiung City Ballet Company. Serving as Rehearsal Director for 9 years, Ms. Lee was appointed as the Associate Artistic Director in 2003. In 2004 and 2005, she represented Lin Hwai-min to re-stage his works, Smoke and White, for Zurich Ballet in Switzerland and Introdans in the Netherlands respectively. Ms. Lee is also the Chief Consultant for Cloud Gate Dance School and has helped to create and develop class syl- labuses for students aged from 4 to 84. LIN KEH-HUA Set Design Lin Keh-hua is one of the most celebrated designers in the Chinese-speaking diaspora. In August 2003, Lin published “Lighting and Scenery for Stage: an aesthetics,” reflecting on his many years as a leading set and lighting designer. Lin’s designs employ Western aesthetics and technology, as well as Oriental philosophy and perspective. He combines lighting design with set design, applying his experiences from projection and image design, theatre space design, and architectural lighting design, to create a unique space and lighting aesthetic of his own. His design style has received recognition among international choreographers and other performing artists, such as Lin Hwai-min, Lo Man-fei, Helen Lai, Lo King Man, David Jiang, Mei Chu Yin, Charlotte Vincent, Wu Kuo-Chu and Akram Khan. He is a major set designer for several leading performance groups, including U Theatre, Taipei Crossover Dance Company, Hang Tang Yue Fu, and Contemporary Legend Theatre. Lin has served as the principal designer for Cloud Gate since 1974. His design credits encompass the company’s repertoire including in lighting, Rice, Cursive II (now known as Pine Smoke), Burn- ing the Juniper Branches, Portrait of the Families, Nine Songs, The Dream of the Red Chamber, and Legacy; and in set, Listening to the River, Whisper of Flowers, Lost Shadows, Wind Shadow, and Cursive, Requiem, and Dreamscape. His design for Nine Songs was praised by the world-renowned lighting designer Jennifer Tipton as a “masterpiece.” Lin’s innovative and creative designs have also earned him an internationally artistic reputation. He served as the lighting designer in the La Biennale di Venezia for Taiwan Pavilion in 2002 and Kris Yao Artech in 2014, a member of the creative crew in the Games of the XXIX Olympiad Beijing in 23 2008, the Artistic Director of the creative crew in Taiwan’s Centennial Grand Countdown in 2010, and a member of the Taiwan Pavilion Expo at Shanghai in 2010. Lin is the founder of the first theatre technology training program in Taiwan and has completed over 70 facilities in Taiwan, ranging from multi-form arts center, theatres, concert halls, to international conference halls, and dance studios. LULU W.L. LEE Lighting Design Lulu W. L. Lee holds an MFA in Theatre Lighting Design from Temple University, Philadelphia, USA, and has worked as the architecture lighting designer at The Lighting Practice, USA, the technical supervisor for 2001 Taipei Lantern Festival, the resident stage manager at Novel Hall, and the technical manager for Taipei Arts Festival. Lee’s lighting design works encompass operas, dance works, and theatre productions for various performance companies, including Ping-fong Acting troupe, Guo Guang Chinese Opera Company, Golden Bough Theatre, Creative Society, and Cloud Gate. Her design credits with Cloud Gate include White Water (2014), Dust a requiem (2014), Rice (2013), How can I Live on Without You (2011), Water Stains on the Wall (2010), Listening to the River (2010), Oculus (2007), Lost Shadows (2006), as lighting designer, and The Road to the Mountain (2004), Cursive II (2003), Bamboo Dream (2001) as assistant lighting designer. Appointed as technical director in 2010, Lee has worked closely with Cloud Gate for many years as project lighting director. ANN YU CHIEN Costume Design/Execution Ann Yu Chien received her Master of Architecture from University of Pennsylvania, Philadelphia, USA, and worked for many years as a registered architect of Pennsylvania US for architect projects at The Hillier Group, TKLP etc. Architecture firms in Philadelphia. Since returning to Taiwan in 1991, Ms. Ann has devoted herself to the evolution of design education and the campus renovation for two decades. Respected as one of the pioneers in Taiwan to emphasize liberal arts education in architect design department, she has served as the dean of the Design School, chairperson of the Space Design Department, director of the Campus Master Plan for SCU Taipei campus at Shih Chien University. LI-TING HUANG Costume Design/Execution Li-Ting Huang received her master’s degree in Architecture Design from Barlett School of Archi- tecture, and bachelor’s degree from Chelsea College of Art& Design in London. Serving as an assistant professor at Department of Fashion Design, Shih Chien University since 2001, Ms. Huang had been appointed as the chairperson of the Department, and had curated many important exhibitions for Shih Chien University. For her own creation, she focuses on the special relationship between body and clothing, using color, fibers to create and experiment on space and form. Her works has been exhibited in museums and numerous art fairs. ETHAN WANG Projection Design Ethan Wang received his MA degree in Communication Design majoring in New Media Pathway from Central Saint Martin’s College of Art & Design, University of the Arts London. Wang served as the visual art designer for Museum of Contemporary Art Taipei and the guest art designer for the Hua-shan Art District, Taipei. He founded his own studio “Over Quality” in 2006, devoting in digital graphic animation creations. His credits on moving images & multi-media slide shows encompass White Water and DUST requiem, RICE, Water Stains on the Wall, Listening to the River, Wind Shadow, and Cursive by Cloud Gate Dance Theatre of Taiwan; Reed Field by Taipei Cross- over Dance Company; and “Next Exit” at the 8th International Architecture Exhibition in Venice, Italy. His talent also extends to the graphic designs for Taishin Arts Award, and Dancing Allegories and Bevy by Taipei Crossover Dance Company. He worked as a multi-media designer for the opening ceremony of 2010 Taipei International Garden and Horticulture Exposition. Wang has won numerous awards, including the Grand Prize of “More Than A Face” graphic competition in 2000, hosted by The National Association of Architects R.O.C., and the Selected of Macromedia Digital Graphic Design in 2002. He is also the winner of 2013 “World Stage” and 24 the Theatre Award of 2014 British “Knight of Illumination Awards” respectively for his projection designs of Cloud Gate’s Water Stains on the Wall and RICE. He currently serves as the resident artist at Taipei National University of the Arts, and adjunct instructor at Yuan Ze University and Taipei National University of the Arts. HOWELL HAO-JAN CHANG Videography Chang Hao-jan holds a master’s degree from Graduate School of Applied Media Arts and a bachelor’s degree from the Film Department of National Taiwan University of Arts. His works encompass graphic image, video and photography, and comprise music videos commercials, projection designs, short fiction and documentary films. In 2007, his short film BR-14’s April won the second prize of Imagine Cup hosted by Microsoft in Seoul, Korea. In 2008, his short films BR-14’s April, Planet La Roue, and Circle were presented in the Taipei Digital Art Festival–TRANS by Museum of Contemporary Art, Taipei. Mr. Chang’s credits with performing arts groups include projection design for Water Stains on the Wall by Cloud Gate Dance Theatre of Taiwan, and The Tempest, and Media by Contemporary Legend Theater. His documentary filming credits, among others, include Between 2 World: Lin Hwai-Min produced by Moving-Angel Production Company from Germany.

ABOUT CLOUD GATE DANCE THEATRE OF TAIWAN The virtuosity of Cloud Gate dancers has made critics ask: “when has one ever seen a company with such magical and beautiful bodies?” and confess that they “possess a control and articulation that verge on the superhuman. These are performers who can make stillness every bit as eloquent as animation. In fact, they have the power to change your metabolism.” Cloud Gate is the name of the oldest known dance in China. In 1973, choreographer Lin Hwai- min adopted this classical name for the first contemporary dance company in any Chinese speaking community. Its 24 dancers receive trainings of meditation, Qi Gong, an ancient form of breathing exercise, internal martial arts, modern dance, ballet, and calligraphy. Through Lin Hwai-min’s choreographies the company transforms ancient aesthetics into thrilling modern celebration of motion. Cloud Gate has toured extensively with frequent engagements at the Next Wave Festival in New York, the Sadler’s Wells Theatre and Barbican Centre in London, the Moscow Chekhov International Theatre Festival, and the Internationales Tanzfest NRW directed by Pina Bausch. International critics have acclaimed Cloud Gate as the following: “Asia’s leading contemporary dance theatre” The Times, London “One of the finest dance companies in the world” The Globe and Mail, Toronto In 2003, Cloud Gate opened the Melbourne International Arts Festival with Cursive II (now known as Pine Smoke), winning both the Age Critics’ Award and the Patrons’ Award; while Moon Water was named the best dance of the year by the New York Times. In 2006, Cursive: A Trilogy was cho- sen as the best dance choreography of the year as a result of critics’ poll by Ballet-Tanz and Theater Heute. At home, Cloud Gate also enjoys high acclaim and popularity. In addition to the regular seasons in theatres, the company stages annual free outdoor performances in various cities in Taiwan, drawing audiences of up to 60,000 per performance. To perform for grass-roots communities, and to foster young choreographers in Taiwan, Cloud Gate 2 was founded in 1999. In 1998, Cloud Gate Dance School was founded to bring the joy of dance to students, aged 4 to 84. In 2003, in recognition of Cloud Gate’s contribution to the cultural life of Taipei, the Taipei City Government named Fu-Hsing North Road Lane 231, home of Cloud Gate’s office, as “Cloud Gate Lane.” In 2010, a new asteroid, discovered by National Central University, Taiwan, was named after Cloud Gate. In 2014, celebrated by China Airlines, Cloud Gate’s dance images featured on the Airlines aircraft livery. Most of Cloud Gate’s productions have been made into videos. Among them, Songs of the Wanderers, Moon Water, Bamboo Dream, and Cursive II (now known as Pine Smoke) were filmed in Europe. 25 26 CLOUD GATE DANCE THEATRE OF TAIWAN Cloud Gate Culture and Arts Foundation Honorary Chairman LEE Yuan-tseh Chairperson SHEN Hsueh-yung Board of Directors CHENG Tsung-lung HONG Min-hong Rock HSU KO Wen-chang Barry LAM Lin Hwai-min Stan SHIH TSAI Hong-tu F. C. TSENG WANG Chi-mei Kate Huei-wen WEN WONG Wing-hung Diane YING Executive Director YEH Wen-wen Cloud Gate Dance Theatre Founder/Artistic Director Lin Hwai-min Associate Artistic Director LEE Ching-chun Technical Consultant LIN Keh-hua Music Consultant/Creative Assistant to Mr. Lin LIANG Chun-mei Qi Gong Masters HSIUNG Wei CHEN Ching-yen Internal Martial Arts Master Adam Chi HSU Ballet Teachers LEE Shu-hui WU Ching-yin Modern Dance Teacher HUANG Hsu-hui Rehearsal Director CHOU Chang-ning Rehearsal Assistants YANG I-chun TSAI Ming-yuan Medical Consultant CHOU Ching-long Accompanists Holy CHANG KUO Tsung-han

Dancers CHOU Chang-ning HUANG Pei-hua LEE Ching-chun TSAI Ming-yuan KO Wan-chun LIU Hui-ling SU I-ping YANG I-chun HOU Tang-li HUANG Mei-ya LEE Tzu-chun LIN Hsin-fang WONG Lap-cheong CHEN Mu-han KUO Tzu-wei WANG Po-nien YEH Yi-ping CHEN Tsung-chiao CHENG Hsi-ling FAN Chia-hsuan HUANG Hsiao-che HUANG Li-chieh HUANG Lu-kai Apprentice CHOU Chen-yeh

Administrative Staff on Tour Director of International Programs Joanna J.H. WANG Senior International Project Manager Janice S.C. WANG International Project Coordinator CHUANG Ting-chi

Technical Staff on Tour Technical and Lighting Director Lulu W.L. LEE Project Production Manager CHEN Chih-feng Stage Manager LI Chia-nung (Vicky) Stage Supervisor CHEN Chih-feng LIN Ching-kai Projection Supervisor LIN Ching-kai CHEN Yi-ling Wardrobe Mistress HSU Wen-wen

Exclusive North American Tour Representation Rena Shagan Associates, Inc., 16A West 88th Street, New York, NY 10024 TEL: ++1-212-873-9700 FAX: ++1-212-873-1708 www.shaganarts.com

27 Saturday, September 26, 8 p.m. Fine Arts Center Concert Hall

THE HOT SARDINES

Miz Elizabeth – vocals, washboard Evan “Bibs” Palazzo – bandleader, piano, occasional vocals “Fast Eddy” Francisco – tap Jason Prover – trumpet Michael Sailors – trumpet Nick Myers – clarinet, saxophones Evan “Sugar” Crane – bass, sousaphone Alex Raderman – drums, additional percussion

Program will be announced from the stage.

Event Sponsors:

28 ABOUT THE HOT SARDINES Take a blustery brass lineup, layer it over a rhythm section led by a stride-piano virtuoso in the Fats Waller vein, and tie the whole thing together with a one-of-the-boys frontwoman with a voice from another era, and you have the Hot Sardines. (We haven’t even told you about the tap dancer yet.) In a short time, the Hot Sardines have gone from their first gig – at a coffee shop on the last Q train stop in Queens – to selling out Joe’s Pub five times in as many months, headlining at Lincoln Center’s Midsummer Night Swing, and opening for the Bad Plus, Lulu Gainsbourg and French gypsy - jazz artist Zaz. Through it all they’ve become regulars at the Shanghai Mermaid speakeasy and turned The Standard, where they play regularly, into their own “saloon in the sky” (The Wall Street Journal) – complete with tap dancing on the bar – honing a live persona that’s been called “unforgettably wild” and “consistently electrifying” (Popmatters). The Sardine sound – wartime Paris via New Orleans, or the other way around – is steeped in hot jazz, salty stride piano, and the kind of music Louis Armstrong, Django Reinhardt and Waller used to make: straight - up, foot - stomping jazz (literally – the band includes a tap dancer whose feet count as two members of the rhythm section). They manage to invoke the sounds of a near -century ago and stay resolutely in step with the current age. And while their roots run deep into jazz, that most American of genres, they’re intertwined with French influences via their frontwoman, who was born and raised in Paris (and writes songs in both languages). The band was born when said Parisian (“Miz Elizabeth” Bougerol) met a stride piano player (bandleader Evan “Bibs” Palazzo) at a jam session they found on Craigslist. Above a noodle shop on Manhattan’s 49th Street, they discovered a mutual love for songs from the 1920s, ’30s and ’40s that no ¬one really plays anymore. Or if they play them, “they handle them with kid gloves, like pieces in a museum,” says Evan, underscoring a point the pair can’t stress enough: “This music isn’t histori- cal artifact. It’s a living, breathing, always-evolving thing.” Members of the Sardines collective have worked with a genre-hopping roster that includes Rufus Wainwright, Sufjan Stevens, Lauren Ambrose, Sondre Lerche, Vetiver, Of Montreal, Nicholas Payton, Kurt Elling, Branford Marsalis, the New York and Jerusalem Philharmonics, Slavic Soul Party and the Williamsburg Salsa Orchestra. COLUMBIA ARTISTS MUSIC, LLC 1790 Broadway, New York, NY 10019 www.camimusic.com

29 Thursday, October 1 and Friday, October 2 Off Campus

BRIDGMAN|PACKER DANCE

Artistic Directors: Myrna Packer and Art Bridgman

Truck (2014)

Choreography, Performance, and Video: Myrna Packer and Art Bridgman Music: A Hawk and a Hacksaw, Beats Antique Parts of Truck were developed during a Fellowship at Experimental Film Virginia 2014. The work was premiered in August 2014 at the Harbor for the Arts Festival, Cape Charles, VA.

Thursday, October 1, Free and Open to the Public Park Hill Orchard, Easthampton, MA 7 p.m., 7:30 p.m., 8 p.m. (Come early and enjoy the sculpture installation – Art in the Orchard)

UMass Campus, Southwest Residential Plaza, near Hampden Gallery 10:15 p.m., 10:40 p.m., 11:05 p.m. Friday, October 2, Free and Open to the Public Gallery Walk, 21 Flat Street Parking Lot, Brattleboro, VT 7 p.m., 7:25 p.m., 7:50 p.m., 8:15 p.m., (Come early and take in all the wonderful galleries and other events)

Event Sponsors:

Community Partners: Park Hill Orchard, Arts Council of Windham County, Brattleboro Town Arts Committee, Dr. Samantha Eagle, Emerson’s Furniture, Latchis Hotel and Chandler Electric

Performances of Truck are funded in part by the Expeditions program of the New England Foundation for the Arts, made possible with funding from the National Endowment for the Arts, with additional support from the six New England state arts agencies. 30 About TRUCK Bridgman | Packer Dance’s highly visual and visceral work intertwines live performance and video technology, creating a magically populated stage where image and reality collide. Truck is performed inside a 17-foot box truck with the audience viewing from the outside, creating a reimagined space that dynamically combines choreography, video, sound design, and music. The work brings performance to nontraditional and unexpected locations. Truck explores how context changes perception. As the work progresses, the context continu- ously morphs, allowing reality to slip into the unreal. The performers and the video imagery merge, creating an intentional ambiguity between the live and the virtual; live cameras transform the performers and the truck’s geometry into kaleidoscopic webs. With constantly changing scenes that shift in scale and perspective, the work ranges from evocative to humor- ous, to sensuous, to wacky.

About Bridgman|Packer Dance Art Bridgman and Myrna Packer, collaborators in choreography and performance and Co-Artistic Directors of Bridgman|Packer Dance, are known for their work integrating live performance and video technology. In New York City they have been presented by Lincoln Center, City Center’s Fall for Dance Festival, 92nd Street Y Harkness Dance Festival, Dance Theater Workshop (now New York Live Arts), Dance New Amsterdam, Central Park Summerstage, and the Baryshnikov Arts Center. Bridgman|Packer Dance has toured throughout the United States, performing at festivals and art centers, including Spoleto Festival USA, Jacob’s Pillow Dance Festival, the Florida Dance Festival, Bates Dance Festival, Institute of Contemporary Art/Boston, Dance St. Louis, and Philadelphia’s Annenberg Center. They have appeared abroad in Europe, Asia, and Central America in festivals including Munich International Dance Festival, Festival Internacional de Artes Escenicas (Panama), Kintetsu Theater (Osaka, Japan), Festival Internacional Chihuahua (Mexico), and Tancforum (Budapest). Bridgman and Packer have been guest artists at more than 150 universities, including California Institute of the Arts, Ohio State University, Arizona State University, and the University of Utah. The 2008 Guggenheim Fellowship awarded to Bridgman and Packer was the first in the history of the Guggenheim Foundation to be given to two individuals for their collaborative work. They are also recipients of a 2013 National Dance Project Touring Award, National Endowment for the Arts Grants consecutively for 2007 through 2015, a 2008, 2012, and 2015 New England Foundation for the Arts Expeditions Touring Grant, two Choreography Fellowships and a BUILD grant from the New York Foundation for the Arts, a New York State Council for the Arts Grant, and four National Performance Network’s Creation Fund Awards. They have received five “First Light” Commissions from Dance Theater Workshop (now New York Live Arts), a Danspace Proj- ect Commissioning Initiative, as well as commissions from Dance New Amsterdam, the 92nd Street Y New Works in Dance, and Portland Ovations. Their international touring has been sup- ported by USArtists International, the Performing Americas Project, the National Performance Network, and La Red de Promotores CentroAmericana y El Caribe.

Their work in live performance and video technology is featured in the 2009 book Gegen- welten, Zwischen Differenz und Reflexion (Against Worlds, Between Difference and Reflection) by Jurgen Schlader and Franziska Weber, published in Munich. For more information, visit: bridgmanpacker.org and Bridgman|Packer Dance on Facebook. Bridgman|Packer Dance is a member of Pentacle /DanceWorks, Inc., a non-profit service organi- zation for the performing arts, Mara Greenberg, Director. Pentacle’s address is 75 Broad Street, Suite 304, New York, NY 10004. Phone: 212.278.8111. Bridgman|Packer Dance appears under the auspices of the Foundation for Independent Artists, Inc., a non-profit, tax-exempt organiza- tion administered by Pentacle/DanceWorks, Inc.

For booking information: [email protected].

31 Supporting the arts since 1983 Worker-owned, union print shops in Amherst & Florence

books & manuals design & scanning online upload wide-format color color & b/w digital posters & programs brochures & cards

• On the Amherst Town Common • Next to the Florence Diner www.collectivecopies.com

32 VALLEY CLASSICAL CONNECTION

Explore the many wonderful classical music groups and series available throughout the Pioneer Valley

HOLYOKE CIVIC SYMPHONY SPRINGFIELD SYMPHONY ORCHESTRA Haunted Holyoke Opening Night Gala Oct 25, 3 pm, Holyoke Community College, Free Oct 3, 7:30 pm, Symphony Hall, $ Performing works by Sibelius and Berlioz, as well as Opening the 72nd season, the SSO performs works Bernofsky’s House of Untold Horrors and Saint-Saëns’ by Dvořák and Bartók, and a Sibelius Violin Concerto Danse Macabre (Irina Condon, violin). with soloist Philippe Quint. www.holyokecivicsymphony.org www.springﬁeldsymphony.org

MUSIC AT AMHERST CHAMBER SERIES UMASS FINE ARTS CENTER Artymiw-Keefe-Smith Piano Trio Munich Symphony Orchestra Oct 4, 4 pm, Buckley Recital Hall, $ Nov 5, 7:30 pm, Fine Arts Center Concert Hall, $ Lydia Artymiw, piano, Erin Keefe, violin, and With soloist Pepe Romero, and guitar quartet Wilhemina Smith, cello. Performing works by The Romeros, MSO performs French and Spanish Beethoven, Schoenﬁeld and Brahms. music including Rodrigo, Bizet and Massenet. www.ﬁneartscenter.com

Simone Dinnerstein, piano UMASS MUSIC DEPARTMENT Oct 30, 8 pm, Buckley Recital Hall, $ Acclaimed pianist Simone Dinnerstein performs US Coast Guard Chamber Players works by Schumann, Lasser, J.S. Bach and Schubert. Sept 25, 7:30 pm, Bezanson Recital Hall, Free www.amherst.edu/academiclife/departments/music The Chamber Players Recital Series brings members of the Coast Guard Band to perform classic and contemporary chamber music. MUSIC IN DEERFIELD uarteo di Cremona Opus One Chamber Orchestra Oct 10, 8 pm, Sweeney Concert Hall, $ Oct 6, 7:30 pm, Bezanson Recital Hall, $ String quartet performing “Different Sides of A faculty/student collaboraon including violin, Vienna,” a program featuring works by Webern, viola, cello and contrabass, performing selected Mozart, and Schubert. chamber music. www.musicindeerfield.org Tuesdays in Bezanson PIONEER VALLEY SYMPHONY ORCHESTRA Oct 20, 7:30 pm, Bezanson Recital Hall, $ Philip Glass 7th Faculty chamber music series presents ‘An Evening Oct 24, 7:30 pm, Greenfield High School, $ of Schubert,’ including vocal works. With Pioneer Valley Symphony Chorus, performing Tchaikovsky’s Capriccio Italien, Philip Glass’ Symphony Faculty Concerts: Nadine & Friends II No. 7, “Toltec,” and Elgar’s nima ariaons. Oct 24, 7:30 pm, Bezanson Recital Hall, Free www.pvso.org Pianist Nadine Shank with friends from West Point & Coast Guard Bands, performing Schubert, von SMITH COLLEGE Weber, Faure, Ito, Schnyder and Nagao. Music in the Noon Hour, Free Sept 30 & Oct 14, 12:30 ̶ 1 pm, Sage Hall Green Room UMass Amherst Symphony Orchestra Smith College Music Department faculty perform Oct 26, 7:30 pm, Fine Arts Center Concert Hall, $ classical works for instruments and voice. Performing works by Borodin, Takemitsu (with hp//www.smith.edu/smitharts/calendar.php marimba soloist Ayano Kataoka) and Tchaikovsky. www.umass.edu/music/eventcalendar

33 34 WATCH LEARN SHARE

Your Home for Local & National Programs wgby.org

35 Yes, you can

That’s the answer you can expect to hear from us. When you call Glenmeadow, we’ll take the time to learn what’s important to you, knowing that your needs and wants as you age will be different from your next door neighbor’s. We’re a non-profit with a mission to serve seniors.

We can help you thrive in the place you call home, whether that’s on our Longmeadow campus, in your own home, or in another retirement community.

Glenmeadow 24 Tabor Crossing Longmeadow, MA 800.633.6313 glenmeadow.org

36 expose engage“The Sand Mandala was breathtaking! educateSuch patience inspireand perseverance. I was transported.”

The Fine Arts Center’s ability to expose all generations to the wonders of the arts happens through our Arts/Access programs, which are made possible directly through the support of people like you. Your gift helps open the door to others. Thank you in advance for your generosity.

Make a gift of support online www.fineartscenter.com

37 Wednesday, October 7, 7:30 p.m. Bowker Auditorium

The Asian Arts and Culture Program presents RAKUGO: COMICAL TALES FROM JAPAN

Motoko – storyteller and Masayo Ishigure – koto, shamisen Guest performance by Elizabeth Bennet, shakuhachi

Program Rakugo: The Cat’s Bowl (Neko no sara) Rakugo: Master Miser (Shimatsu no gokui) Music Picture Dreams, composed by Hideaki Kuribayashi Picture Dreams was inspired by the sound of the late autumn wind at the Mountain Temple “Katsuoji,” the wind blowing through the mountains at dusk. Koto, Masayo Ishigure; shakuhachi, Elizabeth Bennett Daybreak, composed by Hikaru Sawai (2004) There is a point in time when darkness is interrupted. A pinpoint of light on the horizon extends faint rays into the sky. The light rises and gradually gains power until night relinquishes its hold over Earth. Morning creatures begin to sing, and a new day is about to begin. Koto solo, Masayo Ishigure Rakugo: The Dream (Tengu Sabaki) Rakugo: Caught in the Storm (Gonsuke Chochin)

There will be no intermission.

Event Sponsor:

38 What is Rakugo? Rakugo, Japanese comic storytelling, originated in the late 17th century in the Kamigata region(Kyoto and Osaka) and Edo (present day Tokyo.) Entertainers performing solo, clad in kimono and armed only with a fan and a hand towel as props, regaled townsfolk on the street, in banquet rooms and salons, and in little theaters called yose. Their tales were about everyday lives of Edo-pe- riod Japan (1603-1868) when samurai warriors, merchants, priests, farmers, and laborers populated the cities in a relative harmony. Today the two traditions of Kamigata Rakugo and Edo Rakugo both continue to thrive, with hun- dreds of storytellers performing nation-wide. Their repertoires range from comical to dramatic, even absurd at times. They act as a narrator and also play multiple characters, differentiating them with subtle changes in voice, gestures, body positions, and speech patterns. Most Rakugo tales end with ochi, a verbal or physical gag that brings the audience back to reality in satisfied laughter. ABOUT THE ARTISTS Motoko grew up in Osaka, Japan, listening to the perception of the koto from solely as a tradi- Kamigata Rakugo of Katsura Beicho (1925-2015) tional Japanese instrument to an instrument of and Katsura Shijaku (1939-1999). A graduate universal expressiveness. of International Christian University in Tokyo, Ms. Ishigure moved to New York City in 1992 Motoko has performed storytelling and mime and has performed at Lincoln Center, Carnegie professionally in schools, libraries, museums, Hall-Weill Recital Hall, BAM, Merkin Hall, Asia universities and festivals across the U.S. since Society, Japan Society, Metropolitan Museum, 1993. She has trained with Tony Montanaro Symphony Space and other venues in the New (1927-2002), Elizabeth Ellis, Leland Faulkner, York City metropolitan area. She has been and Eshu Bumpus. Motoko’s repertoire includes invited to perform at Harvard, Yale, Princeton, Asian folktales, Rakugo, Zen tales, mime Columbia, the Smithsonian Institute, and was a vignettes, as well as personal stories from her guest artist with the San Diego Symphony, New childhood in Japan and her life as an immigrant Haven Symphony Orchestra, Seattle Symphony in the U.S. Orchestra and Hartford Symphony Orchestra. Motoko has appeared on PBS’ Mr. Rogers’ Ms. Ishigure has participated in music festivals Neighborhood and an educational video by Har- around the world, and has been featured in court, and has been awarded numerous grants multiple television broadcasts. In 2005, she was from the Massachusetts Cultural Council and a recording artist alongside Yitzhak Perlman, New York State BOCES for her arts-in-education Yo-Yo Ma, and others on the Grammy Award- programs. In 2003, Motoko toured Miyazaki, Ja- Winning soundtrack from the movie “Memoirs pan, as part of CarnegieKids in Miyazaki Project, of a Geisha” by John Williams. sponsored by Carnegie Hall. Her debut CD, “The Promise of Chrysanthe- Elizabeth Reian Bennett is the first woman mums” won a 2002 Parents’ Choice Silver Honor to play professionally as a Grand Master of the Award, a 2003 Storytelling World Award, and shakuhachi, which she studied with Living a 2007 National Parenting Publications Award National Treasure Aoki Reibo for over 30 years. (NAPPA). She is the author of A Year in Japan: Since her debut recital in Tokyo in 1984, Reian Folktales, Songs and Art for the Classroom. In Bennett has performed in Japan and worldwide, 2011 Motoko made her third featured appear- from Australia and Europe to Mexico, Afghani- ance at the prestigious National Storytelling stan and the United States. Tokyo appearances Festival in Jonesborough, Tennessee. Her fourth are planned for every other year; notable venues CD, “In Ghostly Japan” was released in 2013. include Tokyo National Theater and NHK TV. Reian Bennett has been interviewed on Na- Masayo Ishigure began playing the koto and tional Public Radio by Faith Middleton of Fresh jiuta shamisen at the age of five in Gifu, Japan, Air, Robert J. Lurtsema of Morning Pro Musica and has created an extensive multi-faceted and Richard Knisley of Classical Performances. career that continues to stretch the limits of the Her CD entitled Song of the True Hand, was koto while maintaining a strong grasp of the nominated ‘Instrumental Album of the Year’ by tradition. Jon Sobel at Blogcritics Magazine. She teaches After initial studies with Tadao and Kazue privately in the Boston area and through the Sawai, Ms. Ishigure became a special research world music program at Tufts University. Reian student in 1986 at the Sawai Koto Academy of Bennett’s next CD is a set of compositions for Music -The academy incorporates many influ- the shakuhachi written for her by Tufts com- ences from classical to jazz and aims to change poser John McDonald. 39 FINE ARTS CENTER BOARD & STAFF

FRIENDS BOARD OF DIRECTORS MARKETING AND DEVELOPMENT director of development, John Ebbets Neal Abraham Emeritus Members director of marketing, Shawn Farley William Baczek Barbara C. Bernard community relations manager, Anna Robbins Josh Bedell Richard Covell marketing & development assistant, Kimberly Medeiros Rosemary Caine Honoré David marketing assistant, Emily Everett Steven K. Daury Betsy Egan BOX OFFICE Allen Davis, Past Chair Carl Eger manager, Steven Coombs JoAnne J. Finck Seymour Frankel assistant manager, Richard Ballon Michael Gove Arnold Friedmann Madelyn Bonnot Griffin Gwendolyn Glass PRODUCTION SERVICES Lee Hines J. Lynn Griesemer director of operations, Fritz Farrington Shelley Holzman, Chair Alfred L. Griggs associate director of operations, Brenda Cortina Lori Devine Hudson Joan Haley production stage manager, Ayumi Mizuno Cordeiro assistant technical director, Bob Mahnken John Kendzierski Nancy Hamel lighting director, Erica Conlon Michael Kusek Merilee Hill Julie Roman Lackner audio director, Sam Johnson Bill Hogan audience services manager, Melissa Cleary Pearson Barbara Lucey Motoko Inoue Beckie Markarian office manager, Racquel Kirpan Dolly Jolly house manager, Emily Cooper Tony Maroulis Besty Loughran house manager, Glenn Proud Elaine Palmer Greg Malynoski house manager, Daryl Laurenza Shardool Parmar Dave Martula house manager, Colleen Reagan Justin M. Pelis Carol Moore Cutting house manager, Erika Spinale Terry Peters Kathleen Mullin Michael J. Simolo Sandra Parent EDUCATION Aaron M. Sundberg Lorna Peterson director, Jazz in July, David Picchi director of education & engagement, Yvonne Mendez Hector Toledo Frederick C. Tillis, Rhonda Venne Past Director PERFORMING ARTS PROGRAMS Katherine E. Vorwerk Zina Tillona Asian Arts & Culture Robert Mugar Yacubian director, Ranjanaa Devi marketing & outreach coordinator, Sue McFarland Honorary Members Nnenna Freelon Center Series Mike Haley director of programming, Halina Kusleika Jimmy Heath asssistant director of programming, Hillary Rathbun Sheila Jordan Magic Triangle and Solos & Duos Stan Rosenberg coordinator, Glenn Siegel Peter Tolan Lois Torf VISUAL ARTS PROGRAMS George Trakas University Museum of Contemporary Art director, Loretta Yarlow curator of education, Eva Fierst business & communications manager, Betsey Wolfson ADMINISTRATION director, Dr. Willie L. Hill, Jr. Augusta Savage Gallery associate director, Dennis Conway director, Terry Jenoure assistant to director, Erin Vermette gallery manager, Alexia Cota BUSINESS OFFICE Hampden & Central Galleries director of administration and finance, Margaret Curtiss director, Anne La Prade business office manager, James Moes gallery manager, Sally Curcio technology manager, Christine Texiera assistant technology manager, Alexia Cota bookkeeper, Cyn Horton

40 Through their support the following Friends of the Fine Arts Center play an integral role in making possible our performances, exhibits and educational programs. A sincere Thank You to all. (List reflects gifts between July 1, 2014 and June 30, 2015)

SPONSORS El Sol Latino Mt Holyoke College $10,000 & above Exclusive Car Service Printmaking Workshop Health New England North Country Landscapes & Individuals Finck & Perras Insurance Garden Center Daniel Buren Agency, Inc. Performance Food Service LaToya Ruby Frazier Lexington Group, Inc. Peter Pan Bus Lines Frank Gohlke Pioneer Valley Periodontics/ Phoenix Exposition Services, Inc. John Riddy Steven H. Goldsher DDS Pioneer Valley Travel, Inc. Silverscape Designs Businesses Quad/Graphics, Inc. Tod Williams Billie Tsien Architects United Bank Applewood, Member of Valet Park of America Loomis Communities UMass Five College Federal Credit Union WEIB 106.3 Smooth FM Baystate Health Systems, Inc. WGBY-TV 57 Coca-Cola Bottling Company United Personnel Services Viju Inc. William Baczek Fine Arts Chubb Group of William Wegman Studio Insurance Companies You Are Cordially Invited LLC Daily Hampshire Gazette MEMBERS New England Public Radio $1,000–$2,499 (WFCR/NEPR) SUSTAINER Pioneer Valley Hotel Group Individuals $500–$999 Neal B. Abraham Professional Drywall Individuals Construction, Inc. John F. & Linda Ahern Patricia K.S. & Richard A. Baker Anonymous Donor (1) The Recorder/Valley Kids Rosemary Caine & UMass Campus Center Hotel Marc Berman & Elizabeth H. Stone Curtis R. & Madelyn Bonnot Griffin Howard B. Natenshon UMass Catering Services Honoré S. & Donald J. David Valley Advocate/Preview Magazine John G. Bryan & Terry Peters Hugh B. Calkin John E. Ebbets Michael Cohen Charles D. Hadley, Jr. ADVOCATES Daniel Farrell & Mary Agnes Nelen Jayant & Alyssa Haksar $5,000–$9,999 Robert S. Feldman & Terron & Natasha Hillsman Katherine E. Vorwerk Louise Kohrman & Individuals Michael D. Martindell John F. Dubach & Copper F. Giloth Ian H. Fraser & Pamela Bartlett Helen Kay Galloway John Levine & Susan M. Clopton Ronna B. Erickson Bruce M. & Nancy W. Goldstein Gregory & Kathleen F. Malynoski Beth E. Gerrig Bryan C. Harvey & J. Lynn Griesemer Andrew P. Mangels Scott W. Prior & Nanny Vonnegut Marie A. Hess Pamela & Gordon N. Oakes, Jr. Beat Streuli Beverly G. & Willie L. Hill, Jr. Lynn Peterfreund & Nicholas Xenos Victor & Karen Hardy Woolridge Richard B. & Shelley Holzman Lorna & Dale Peterson Motoko Inoue Andrew J. & Kirsten Dieterich Pitts Businesses Mark & Mary B. Ledwell Laura D. Radwell Cooley Dickinson Hospital, Inc. Elizabeth L. Loughran Lorna Ritz Florence Bank James F. Mallet & Ronald R. Rossi Hampshire Hospitality Group, The Jennifer C. Southgate Margaret Sarkissian & PeoplesBank Tony A. & Nora Maroulis Jerry P. Dennerline Rainbow Times John J. McCarthy, III & Paul A. Sihvonen-Binder WRSI 93.9—The River Ellen M. Woolford James V. Staros & Alice C. Harris Richard N. & Elaine S. Palmer Zina Tillona ASSOCIATES Mary Catherine Phinney Rhonda & Richard W. Venne $2,500–$4,999 Robert J. Powers Edward W. & Evelyn Westhead Micah & Maureen Raab Jonathan & Meg Wright Individuals Theodore Rosenberg & Robert Mugar Yacubian Alice Aycock Laurel A. Glocheski Robert & Beverly Yoon Sol & Mimi Berg Lila Roundtree Robert T. Zimmerman Carl & Shirley A. Eger Sarah K. & Mark Tanner Businesses Gerrig-Peterson Family; Frederick C. Tillis in memory of Risa Gerrig ‘81 Chesterwood Museum Matthew Higgs Businesses Duseau Trucking/Volume Andrew Lugg Agnoli Sign Company, Inc. Recycling Associates Allan Wexler D’Addario & Company Inc. Eric Carle Studios dani. fine photography Fallon Community Health Plan Businesses Forget Me Not Florist Gage-Wiley & Co. Inc. Be Seen Leadership FreshPoint Connecticut, LLC Gove Law Office, LLC Chartpak, Inc. Greenfield Radiology Associates P.C. Greenfield Cooperative Bank Daury Wealth Management Hampden Bank Hair by Harlow/ Kendra A. 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OPEN FOR TOURS WEDNESDAY - SUNDAY, 11 AM - 4 PM 280 MAIN STREET AMHERST, MA 413-542-8161 12101830WWW.EMILYDICKINSONMUSEUM.ORG125 1,789 POEMS • ONE SUPERIOR WEEKEND — • SEPT. 19-21, 2014

43 032 44 45 Patron Services For Hearing-Impaired Patrons Refreshments Assisted listening devices: Induction Concessions are available before the loops and headsets are available for performance and during intermission for patrons with hearing impairments most Center Series Concert Hall events. and may be checked out with an ID For patrons in our wheelchair section, in the lobby prior to the performance. please notify an usher and they will be Compatible with most ALS systems and happy to bring the refreshments to you. in compliance with the ADA. A credit card, driver’s license, or valid student Restrooms ID will be held as security while devices Restrooms are located on the lower are in use. level of the Fine Arts Center Concert Hall adjacent to the University Gallery Emergency Closing and in the Concert Hall main lobby. In case of emergency, the lighted, red, When available there are additional exit sign near your seat is the shortest restrooms in the Rand Theater area. route to the exterior of the building. For Fully accessible restrooms are available your safety, please check the location in the Concert Hall and Bowker of the exit closest to your seat and Auditorium. Restrooms in the Concert review the evacuation map included in Hall for the mobility impaired are located this playbill. Also, follow the directions in the lobby and the refuge area outside provided by the ushers. section 3 on house right. Accessible Parking Drinking Fountains An access-parking permit or plates Drinking fountains are located on the must be visible to parking attendants. lower level of the Concert Hall near the restrooms and in the lobby. For Your Viewing Pleasure Check out what’s on view in the Late Seating University Museum of Contemporary Patrons arriving after the start of the Art. The University Museum is located performance will be seated at an on the lower level of the Concert appropriate break and at the house Hall and is open one hour prior to manager’s discretion. the start of performances and during intermission. The Museum is also open Pagers and Cell Phones to the public Tuesday through Friday, Please turn off all pagers and cell 11am to 4:30pm, and Saturday and phones when entering the concert hall. Sunday, 2 to 5pm.

On Call Service Performance Cancellation Doctors and persons needing Fine Arts Center performances are emergency call service are asked to rarely canceled and only in the case leave their name and seat location with of severe weather. If a performance is the box office. If you keep a cell phone canceled, you can call the Box Office or pager with you, please use the silent, at 1-800-999-UMAS or 545-2511 vibration option. or tune in to the following radio and Cameras and Recording Devices television stations: public radio station The taking of photographs or recording WFCR 88.5FM, WHMP 99.9FM, WRSI the performance in any way is strictly 95.3FM, WFSB CBS 3 and WGGB- prohibited. TV40. If a performance is canceled, patrons may exchange tickets for ATM another event (subject to availability), The nearest ATM bank machine is may receive a credit on their account, located in the Newman Center and or may request a refund. on the lower level in the the Campus Center. Please recycle your playbill in the lobby.

46 Symbols of Support

43 Set the stage for your life.

Call 413.549.7919 for a FREE DESIGN CONSULTATION

INTEGRITY integbuild.com DEVELOPMENT & CONSTRUCTION, INC.

FAC Playbill ISSUE I Can Study Abroad! 1/2YOU page color Scholarships available 4.875” w x 3.75” h

Education Abroad Advising Center International Programs Office www.ipo.umass.edu Rm. 455 Hills South (across from Studio Arts Building) Open M–F • 10 am–4 pm • 413-545-5247

48 Get Your UMass License Plate Today!

SAVE MONEY The special plate fee is tax-deductible.

NO TRIP TO THE RMV Your plates are mailed to you.

SUPPORT STUDENTS Special plate fees support scholarships & programs.

Order your plate online at UMassAlumni.com/LicensePlate

For more info contact Diane Barstow at 49 [email protected] Unforgettable WEDDINGS AT UMASS AMHERST

LET UMASS PROVIDE YOU WITH A DAY TO REMEMBER!

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Proudly supporting the UMass Fine Arts Center 51

Visit fineartscenter.com/artfulpalate for details and restrictions. We care about you, your family and the community. It’s not a new feeling. It’s the way we’ve ALWAYS felt. That’s why we support the UMass Fine Arts Center.

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Plus: Dislocation/Urban Experience Contemporary Photographs from East Asia OCTOBER 9, 2015–JANUARY 31, 2016

Produced by SCMA See website for image credits.

smith.edu/artmuseum

54 Good thinking.

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DOWNSIZE THE "SM" WHEN THE USING LOGO ON OVERSIZED APPLICATIONS SUCH OUTDOOR ADVERTISING 55 AND LARGE EXHIBIT DISPLAYS BAYSTATE HEALTH IS A proud supporter OF THE FINE ARTS CENTER

Partnering with the communities we serve, Baystate Health extends the traditional deﬁ nition of health to include economic opportunity, affordable housing, quality education, safe neighborhoods, food security, the arts/culture, and racism and homophobia free communities — all elements that are needed for individuals, families and communities to thrive.

baystatehealth.org