In This Issue

DECEMBER 2019

IN THIS ISSUE

JONATHAN BISS CELEBRATING BEETHOVEN: PART II December 11

BLACK LIGHT JOMAMA JONES December 12–14

MIDORI with JEAN-YVES THIBAUDET January 23

BRIAN BROOKS MOVING COMPANY January 30–February 1 SOUND THEATRE COMPANY & LANGSTON PRESENT December 2019 | Volume 16, No. 3 FEATURE REPARATIONS BY DARREN CANADY In This Issue Feature 3 The Anatomy of a Holiday Show Dialogue 9 For Kathryn Van Meter, ‘Corduroy’ is a Beautiful Gift for Audiences of All Ages 13 Carrie Compere is Ready to Channel Sister Rosetta Tharpe in ‘Shout Sister Shout!’ Intermission Brain Transmission 12 Test yourself with our trivia quiz! DIRECTED BY JAY O’LEARY Upcoming Events Langston Hughes Performing Arts Institute January 10 – February 2 15 December 2019 soundtheatrecompany.org

PAUL HEPPNER President Encore Stages is an Encore arts MIKE HATHAWAY Senior Vice President program that features stories MFA IN KAJSA PUCKETT Vice President, about our local arts community Sales & Marketing alongside information about ARTS LEADERSHIP GENAY GENEREUX Accounting & performances. Encore Stages is Office Manager a publication of Encore Media Production Group. We also publish specialty SUSAN PETERSON Vice President, Production publications, including the SIFF JENNIFER SUGDEN Assistant Production Guide and Catalog, Official Seattle Manager ANA ALVIRA, STEVIE VAN BRONKHORST Pride Guide, and the Seafair Production Artists and Graphic Designers Commemorative Magazine. Learn more at encorespotlight.com. Sales MARILYN KALLINS, TERRI REED Encore Stages features the San Francisco/Bay Area Account Executives BRIEANNA HANSEN, AMELIA HEPPNER, following organizations: SHERRI JARVEY, ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Brand & Creative Manager Empowering a new wave CIARA CAYA Marketing Coordinator of socially responsible Encore Media Group 425 North 85th Street • Seattle, WA 98103 800.308.2898 • 206.443.0445 arts professionals [email protected] encoremediagroup.com Online and in-person Encore Arts Programs and Encore Stages are published information sessions monthly by Encore Media Group to serve performing arts seattleu.edu/artsleaderhip/graduate events in the San Francisco Bay Area and Greater Seattle Area. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited. ANGELA STERLING ANGELA

Encore Ad 8-27-19.indd 1 8/27/19 1:42 PM Pacific Northwest Ballet company dancers in the snow scene from George Balanchine’s FEATURE The Nutcracker in 2018.

The Anatomy of a Holiday Show

by DANIELLE MOHLMAN

As we settle into shorter days, performing arts “I’m excited about not just join- organizations across Seattle are finding ways to bring ing the Christmas Carol family of the humans in the room and the joy to the region’s lengthening nights. And, much like production team and all of this, but the twinkling lights that decorate the downtown retail the family at ACT has been so—” Kitchens corrected herself, “the district, these arts organizations are doing this by staff. I call them family because it bringing holiday cheer to audiences all month long. feels so warm and open. They’ve just thrown their doors and arms open to me and have been generous with their time and with When I sat down to speak with holidays,” Kitchens said. “It’s the their expertise around the story. A Christmas Carol Director Kelly most wonderful time of the year.” Because it is such a tradition.” Kitchens in September, she was Kitchens stepped away from her After directing at nearly every already in the holiday mood. co-artistic director role at Seattle theatre in town, A Christmas Carol After directing Christmastown Public Theater just after Labor marks Kitchens’ first time direct- at Seattle Public Theater for the Day in order to pursue a full slate ing at ACT. So it’s great to hear last four years and The Santaland of freelance directing opportuni- that the experience has been a Diaries before that, prepping for ties, both in Seattle and nation- wonderful one thus far. “I can’t a Christmas show before fall ally. Directing A Christmas Carol describe how welcoming that place officially starts, feels natural. at A Contemporary Theatre (ACT) is,” Kitchens said. “And when I “For me, this is when you actu- is the first directing opportunity have an idea, the way we walk ally start thinking about the in this new phase of her career. through what that means and ANGELA STERLING ANGELA

encorespotlight.com 3 Keiko Green and Brandon O’Neill in ACT’s 2017 production of A Christmas Carol.

how to make it work. I’m excited child failing. And I also think about audience. “Seattle audiences are about that level of collaboration. how many children Mrs. Cratchit kind of rabid fans,” Caldwell said. I’m having the time of my life.” buried already. They have no health “They bring a level of excitement Midway through our conversa- care. They’re struggling. And it’s to the concert hall that most cities tion, Kitchens pulled out a facsimile not because they’re not working reserve for the sports arena.” of the original A Christmas Carol hard. And I think about whatever One of his favorite memories manuscript from 1843, bound, the Christmas goose is for people comes from last year’s holiday fittingly, in a holly red cover. right next door to me. There are concert. The Village People had “I’m fascinated with the source people who are going to be hungry released a Christmas album earlier material,” Kitchens said. and cold. And some of them will that year, and the Seattle Men’s And then she showed me the be working hard and working Chorus (SMC) was excited to per- dedication: “My own, and only, long hours. And that’s because form holiday music that intersected MS of the Book. Charles Dickens.” of systems that are in place.” with their LGBTQAI+ mission. When Charles Dickens set out Kitchens reflected on what a “They rewrote all of their big hits to write A Christmas Carol, he was wonderful tradition A Christmas with Christmas words,” Caldwell an artist in desperate need of a Carol is for so many Seattle explained. “So, ‘YMCA’ became paycheck. And yet, as Kitchens families—especially for those ‘NOEL.’ And I got the audience on read sections of the preface out who choose to make this show their feet and they were dancing loud, haunting phrases kept jump- their Christmas gift to each other. in the aisle the whole time. There ing out. “This ghostly little book.” “I’m delighted to be part of that was just no way to not be absolutely “This ghost of an idea.” And yet tradition,” Kitchens said. “It’s an thrilled with what was happening that “little” ghost story went on honor and a responsibility to tell because the audience was just to become one of the most well- this story, and to do it justice.” so energetic and so excited.” known Christmas stories of the ‘Tis the Season is being billed as a western world, one whose social As Seattle Men’s Chorus Conductor “naughty and nice” holiday tradi- commentary continues to resonate. and Artistic Director Paul Caldwell tion and Caldwell is thrilled that “I totally understand Mrs. gears up for his fourth holiday the Seattle Men’s Chorus has the Cratchit’s point of view,” Kitchens concert with the chorus, what he’s opportunity to do both in the same said. “When you see your sweet most looking forward to is the concert. “It’s ravishing and heart CHRIS BENNION CHRIS

4 CHRIS BENNION Untitled-8 1 Located between NE4thand8thonBellevue Way. 425-454-8096 BELLEVUE SQUARE •BELLEVUEPLACE •LINCOLNSQUARE THE BELLEVUECOLLECTION Make your holidays memorable. Enjoy themagicofnightly Snowﬂ ake Laneparadewithfallingsnow and festive music. Shopover 200stores, explore anexpansive DiningDistrictanddelightinextended The BellevueCollection holiday shopping hours with free parking—All inOnePlace. holiday shoppinghourswithfree parking—All Shop. at Sip&Celebrate The Collection. bellevuecollection.com 11/5/19 12:04 PM The Seattle Men’s Chorus performing a holiday show.

melting and everything you would It is a Jewish didactic work and it Christmas card photos in the expect from a men’s chorus of 250 is also in the style of clogging and lobby and reveling in the deco- people singing together,” Caldwell square dancing. It ends up being rations, is a beautiful form of said. “It’s just gorgeous. And that’s not one or the other, but both. I entertainment in itself. the nice part. The naughty part don’t know if everyone will par- In a way, The Nutcracker is Boal’s is there’s always a lot of fun and ticularly get it, but the performers way of bringing a personal holiday frivolity. There’s this Ella Fitzgerald know it’s there and we treasure it tradition to the city of Seattle. song we’re doing called ‘Santa because it’s rich in its history.” Boal’s first professional role was Claus Got Stuck in my Chimney.’ And it’s intersectional, which dancing in The Nutcracker party It’s nothing but absolute fun.” is part of what makes SMC such scene as a young boy, alongside Caldwell also hinted at all 250 a wonderful part of our arts the dancer responsible for restag- members of the chorus dressing community. ing George Balanchine’s chore- up as fruitcake. “We don’t take ography for Pacific Northwest ourselves completely seriously,” When I sat down to speak with Ballet (PNB), Judith Fugate. he said. Pacific Northwest Ballet Artistic “We did the Sugar Plum Fairy And as we talked through the Director Peter Boal about George and the Cavalier together for many music that SMC is performing Balanchine’s The Nutcracker, the first years at the New York City Ballet,” this year, Caldwell drew special memory that popped into his mind Boal said. “It’s funny. When we attention to their Hanukkah selec- was running into a family in the started staging the pas de deux [for tions. This year, the chorus will Seattle Center garage at 7:15 p.m. PNB], there were little places where be performing songs that Woody before a 7:30 p.m. curtain. They I would nudge her forward and pull Guthrie wrote in collaboration with stopped him to tell him how much up on a hand and she was like ‘Oh, I his mother-in-law, the Yiddish poet they loved The Nutcracker. Boal forgot that. I forgot how much that Aliza Greenblatt, in order to teach was confused; the show hadn’t helps me with my next step.’ And it his children about their Jewish yet begun. “And they said, ‘Oh no, was really fun. We were two, more heritage and culture. Despite the we went to the matinee,’” Boal than middle-aged people, standing festive Hanukkah subject matter, remembers. “‘We’ve just been in in the rehearsal room, remember- the songs are very much rooted the lobby the whole time.’ They ing how we used to dance.” in the folk music tradition. were done at four o’clock and they Fugate lives in Las Vegas now, “It almost slaps you in the face, spent three hours in the lobby. but as we talked on the phone, I the juxtaposition of the style and But I think people just love it.” felt like I’d been transported to the content of the text,” Caldwell For Boal, watching his audiences that same rehearsal room. “Peter said. “It’s a real treasure and I’m get swept up in the experience and I have been good friends for really proud to put it on the stage. of attending the ballet, taking a very long time, so any time he JOHN PAI JOHN

6 “Seattle audiences are kind of rabid fans. They bring a level of excitement to the concert hall that most cities reserve for the sports arena.” —Paul Caldwell

invites me to Seattle to work with the company, I always say yes,” Fugate said. “You know, at the time, many of the young boys in The Nutcracker were played by young girls. So I distinctly remember the fact that there happened to be an actual young boy playing my son. And I remember the man who took care of the men’s wardrobe—his name was Ducky—bringing Peter Boal to the stage before the performance and saying ‘Here’s yours, Judy. She’ll take care of you the rest of the way.’ And sure enough, many years later, here we are.” Fugate was 17 years old, in her first year dancing as a company member of the New York City THE MAN BEHIND A LEGEND WEST COAST PREMIERE! Ballet. Boal was nine years old. What if you could realize one last dream before It’s a ballet that’s lived with you die? While the body of tormented bebop In English with English subtitles. Fugate for most of her life, starting innovator Charlie “Yardbird” Parker lies Evenings 7:30 PM with her first performance as Clara unidentified in a New York City morgue, his ghost Sundays 2:00 PM travels back to the heyday of Birdland, the jazz at eight years old. And while The club named after him. As he struggles to Featuring members of Seattle Nutcracker, and her time dancing complete his final masterpiece, the legendary Symphony Orchestra. with George Balanchine, who she saxophonist revisits the demons, inspirations, affectionately calls “Mr. B,” con- and women who have fueled and hindered his MCCAW HALL tinues to be a large part of her life, creative genius. 206.389.7676 Fugate is always thinking about her 2019/20 SEASON SPONSOR: audience, “It can be a child’s first SEATTLEOPERA.ORG/YARDBIRD IN MEMORY OF KARYL WINN PRODUCTION SPONSORS: introduction to live theatre—or TAGNEY JONES FAMILY FUND AT even the ballet itself. And many SEATTLE FOUNDATION, OFFICE OF TICKETS START AT JUST $35 ARTS & CULTURE | SEATTLE adults choose to go to The Nutcracker to see if they even like ballet. The JOHN PAI JOHN

encorespotlight.com 7 Elise Hueffed, with Pacific Northwest Ballet School students in George Balanchine’s The

Nutcracker in 2018. DIALOGUE At the show or on the

energy of the auditorium is very And it’s those audience experi- go unique. It’s maybe one chance ences that make it all worthwhile. in the year that a family actually has an outing together. It’s a very A Christmas Carol runs November 29 to special occasion. Not to mention, December 28 at ACT Theatre. Tickets are it’s also the holiday season, which available online (acttheatre.org) or by calling the box office at 206.292.7676. already adds to the excitement.” And with so many entertainment The Seattle Men’s Chorus’ concert options out there—live music, ‘Tis the Season runs November 30 to December 22 at Benaroya Hall, the Rialto theatre and streaming services Theater in Tacoma and the Everett Civic Encore is your at home, just to name a few— Auditorium. Tickets are available online the fact that so many audience (seattlechoruses.org) or by calling the box companion members actively make the office at 206.388.1400. Seattle’s decision to see The Nutcracker George Balanchine’s The Nutcracker runs each year is something that November 29 to December 28 at the Pacific performing arts. Boal never takes for granted. Northwest Ballet. Tickets are available online “The process starts long before (pnb.org) or by calling the box office at 206.441.2424. they get to the theatre,” Boal said. “Whatever they choose to wear, what time they’re leaving the house, where they’re eating—the whole thing. And at the end of the Danielle Mohlman is a Seattle-based day, we’re asking people to pay playwright and arts journalist. She’s a an amount you can’t ignore, for frequent contributor to Encore, where tickets. It’s a high ticket price for she’s written about everything from many people. But that person I the intersection of sports and theatre encorespotlight.com met in the garage at 7:15 p.m. after to the landscape of sensory-friendly a matinee—they didn’t question performances. Danielle’s work can what they had invested. They got a also be found in American Theatre,

whole day, and it was going to stick The Dramatist and on the Quirk CLARK KEVIN with them for a long, long time.” Books blog. daniellemohlman.com LINDSAY THOMAS LINDSAY

8 IN THIS ISSUE

Photo: Benjamin Ealovega

The University of Washington acknowledges the Coast Salish people of this land, the land that touches the shared waters of all tribes and bands within the Suquamish, Tulalip and Muckleshoot nations. encorespotlight.com A-1 Welcome to Meany Center

Dear Friends,

Three years ago, Meany Center, in collaboration In November, Brian Brooks and I were invited with the Schools of Music, Drama and the to New York to discuss his Creative Fellowship’s Department of Dance, launched the Creative focus on immersive technologies and dance Fellowships Initiative funded by the Andrew as part of the Guggenheim Museum’s Works & W. Mellon Foundation. This exciting Initiative Process series. Now Meany Center audiences supports creative research and the development will be the first to see the world premiere of new work by inviting artists and ensembles of these works, performed by Brian Brooks from across multiple disciplines to participate in Moving Company. extended residencies here at the UW. At Meany Center, we welcome you to experience Though producing a complete work was not the ever-expanding possibilities for creative a requirement of the residency, I’m proud to expression in the performing arts with us. I hope say that two of the events listed in this issue of you enjoy the performance tonight! Encore are the work of Creative Research Fellows Daniel Alexander Jones and Brian Brooks. With many thanks,

Over the course of his residency, Daniel explored the fusion of the Black American Freedom Movement, Afro mysticism and the influence of soul music. His work on these subjects suffuses the performance of his alter ego — legendary Michelle Witt singer Jomama Jones — in his musical and Executive and Artistic Director theatrical experience, Black Light.

ADVISORY BOARD

Cathy Hughes, Co-President EMERITUS BOARD Yumi Iwasaki, Co-President Darcy Paschino Linda Linford Allen / Linda Armstrong / Seema Pareek, Vice President John Robinson Cynthia Bayley / Thomas Bayley / Davis B. Fox, Treasurer Donald Rupchock Cathryn Booth-LaForce / JC Cannon / Robert Babs Marcie Stone Elizabeth Cooper / Gail Erickson / Ross Boozikee Donald Swisher Ruth Gerberding / Randy Kerr / Susan Knox / Luis Fernando Esteban Rick Szeliski Kurt Kolb / Matt Krashan, Emeritus Artistic Brian Grant David Vaskevitch Director / Sheila Edwards Lange / Frank Lau / Aya Hamilton Gregory Wallace Lois Rathvon / Dick Roth / Eric Rothchild / Becky Harris Mark Worthington Jeff Seely / K. Freya Skarin / Rich Stillman / Sue Hou Kathleen Wright Dave Stone / Lee Talner / Thomas Taylor / Kyra Hokanson Gray Charlotte Schoen, Student Board Member Ellen Wallach O. David Jackson Susan Joslyn EX-OFFICIO MEMBERS Ellsworth C. "Buster" Alvord, In memoriam Sally Kincaid Ana Mari Cauce, UW President Betty Balcom, In memoriam Jeff Lehman Robert C. Stacey, Dean, College of Arts & Sciences Ernest Henley, In memoriam Craig Miller Catherine Cole, Divisional Dean of the Arts Mina Person, In memoriam Chelsey Owen Jerry Sanford, Sr., In memoriam

A-2 MEANY CENTER FOR THE PERFORMING ARTS President’s Piano

President’s Piano Series generously sponsored by JONATHAN BISS ERIC & MARGARET ROTHCHILD Celebrating Beethoven, Part II SEASON SUPPORT COMES FROM December 11 | 7:30 p.m.

BEETHOVEN Piano Sonata No. 25 in G Major, Op. 79 (1770–1827) Presto alla tedesca Andante Vivace

BEETHOVEN Piano Sonata No. 11 in B-fl at Major, Op. 22 MEDIA PARTNER Allegro con brio Adagio con molto espressione Menuetto MEANY CENTER THANKS THE Rondo: Allegretto FOLLOWING SIGNATURE SPONSORS Gail Erickson & Phil Lanum

BEETHOVEN Piano Sonata No. 14 in C-sharp Minor, Op. 27, “Moonlight” ADDITIONAL SUPPORT COMES FROM Katharyn Alvord Gerlich Adagio sostenuto Nancy D. Alvord† Allegretto Warren & Anne Anderson Anonymous Presto agitato Randy Apsel Ariel Fund Sylvia & Stephen Burges INTERMISSION Ana Mari Cauce & Susan Joslyn Lili Cheng & Yarom Boss Delaney & Justin Dechant BEETHOVEN Piano Sonata No. 24 in F-sharp Major, Op. 78, “À Thérèse” Britt East & Scott VanGerpen Lynn & Brian Grant Family Adagio cantabile — Allegro ma non troppo Ira & Courtney Gerlich Allegro vivace Richard & Nora Hinton Sally Schaake Kincaid Karen Koon Matthew & Christina Krashan BEETHOVEN Piano Sonata No. 30 in E Major, Op. 109 Jeff rey Lehman & Katrina Russell Vivace ma non troppo — Adagio espressivo Hans & Kristin Mandt Marcella D. McCaff ray Prestissimo Craig Miller & Rebecca Norton Andante molto cantabile ed espressivo Bill & Meg Morgan Chelsey Owen & Robert Harris Seema Pareek & Gurdeep Pall Cecilia Paul & Harry Reinert John C. Robinson & Maya Sonenberg Eric & Margaret Rothchild Don & Toni Rupchock Dave & Marcie Stone Donald & Gloria Swisher Maryanne Tagney & David Jones Donna & Joshua Taylor

encorespotlight.com A-3 JONATHAN BISS | About the Artist

Philharmonic, Melbourne Symphony Orchestra and the Wrocław Philharmonic in Poland. Additionally, Mr. Biss performs the “Emperor” with orchestras worldwide, including with the Curtis Symphony Orchestra led by Osmo Vänskä at Carnegie Hall and Philadelphia’s Kimmel Center as part of a seven-city East Coast U.S. tour.

Throughout his career, Mr. Biss has been an advocate for new music. Prior to Beethoven/5, he commissioned Lunaire Variations by David Ludwig, Interlude II by Leon Kirchner, Wonderer by Lewis Spratlan, and Three Pieces for Piano and a concerto by Bernard Rands, which he premiered with the Boston Symphony Orchestra. He has also premiered a piano quintet by William Bolcom.

Mr. Biss’ projects represent his complete approach to music-making and connecting his audience to his Photo: Benjamin Ealovega own passion for the music. Previous projects have included an exploration onathan Biss is a worldwide variety of projects, In 2011, Mr. of composers’ “Late Style” in various renowned pianist who channels Biss set out on a journey to record concert programs. Schumann: his deep musical curiosity the composer’s 32 piano sonatas on Under the Inﬂ uence was a 30-concert intoJ performances and projects nine discs over nine years. The project exploration of the composer’s role in in the concert hall and beyond. In concludes with the fi nal volume to musical history, for which Mr. Biss also addition to performing with today’s be released in the fall of 2019 and recorded Schumann and Dvořák piano leading orchestras, he continues a complete box set scheduled for quintets with the Elias String Quartet to expand his reputation as a release in 2020, both on Orchid and wrote A Pianist Under the Inﬂ uence. teacher, musical thinker and one of Classics. Complementing this cycle the great Beethoven interpreters is the online Coursera lecture series Mr. Biss represents the third of our time. Mr. Biss was recently Exploring Beethoven’s Piano Sonatas, generation in a family of professional named co-artistic director alongside of which the fi nal two sets of lectures musicians that includes his Mitsuko Uchida at the Marlboro will appear in September and January, grandmother Raya Garbousova, Music Festival, where he has spent at which time all the sonatas will have one of the fi rst well-known female thirteen summers. He also leads a been examined. cellists (for whom Samuel Barber massive open online course (MOOC) composed his Cello Concerto), and via Coursera, which has reached Mr. Biss has taken a diff erent his parents, violinist Miriam Fried and more than 150,000 people from approach to surveying Beethoven’s violist/violinist Paul Biss. Growing up nearly every country in the world. fi ve piano concertos, embarking on a surrounded by music, Mr. Biss began He has written extensively about the commissioning project, Beethoven/5, his piano studies at age 6, and his fi rst music he plays, and has authored that pairs each Beethoven concerto musical collaborations were with his three e-books, including Beethoven’s with a new concerto composed mother and father. He studied with Shadow, the fi rst Kindle Single written in response. This season, Mr. Biss Evelyne Brancart at Indiana University by a classical musician, published by premieres Brett Dean’s Gneixendorfer and with Leon Fleisher at the Curtis Rosetta Books in 2011. Musik with The Swedish Radio Institute of Music, where he is now on Symphony Orchestra, performing faculty and holds the Neubauer Family For more than a decade, he has fully the concerto in Stockholm alongside Chair in Piano Studies. immersed himself in the music of the work that inspired it, Beethoven’s Beethoven, exploring the composer’s “Emperor” Concerto. He then brings For Jonathan Biss on empathy, see page A-10. works and musical thought through a the new commission to the Dresden

A-4 MEANY CENTER FOR THE PERFORMING ARTS JONATHAN BISS | About the Program

Piano Sonata No. 25 in G Major, this work was one of Beethoven’s Piano Sonata No. 14 in C-sharp Op. 79 (1809) favorites among his early eff orts Minor, Op. 27, “Moonlight” (1801) LUDWIG VAN BEETHOVEN in that genre. Indeed, the eminent LUDWIG VAN BEETHOVEN musicologist Donald Tovey extolled Beethoven’s early works show this four-movement work as the fi nest Beethoven’s immensely popular a young genius absorbing the of the early sonatas, adding that C-sharp Minor Sonata owes at least lessons of Haydn and Mozart while “Beethoven felt that while dramatic part of its fame to the German poet exploring nascent Romanticism. force and surprising originality were and music critic Ludwig Rellstab, His middle works express a fully all very well, it was a fi ne thing to who in 1836, wrote that the music emergent personality and attending achieve smoothness and show that evoked in him memories of refl ected desire to share it with the world, he was no longer inferior to Mozart in moonlight on Lake Lucerne. Since while his late works aspire to Mozart’s own line.” then, the nickname Mondschein transcend the earthly strife. It is (“Moonlight”) has endured as an as if he were addressing a “higher” The Allegro con brio captures iconic if unoﬃ cial title for a piece the audience, be it his own refi ned the scurrying energy of the fi rst composer originally called Quasi una consciousness or that level of movement. A short, nearly manic, fantasia (“almost a fantasy”). communication many call spiritual. opening theme is propelled by a By the time he reached age 50, quickly rising “Mannheim rocket” Marked Adagio sostenuto, the opening Beethoven was not old in years, fi gure. A profusion of scalar activity movement serves as an extended but life had exacted a great toll on and dotted rhythms abound in both introduction for the remainder of his physical and psychic energy. In hands. The movement already has the sonata. It is barely in sonata his fi nal piano sonatas and string dramatic implications for his future form, lacking a second contrasting quartets, he experimented with new pianistic essays. The scurrying theme to its slowly rising three-note modes of expression that would accompaniment urges the music motive, and virtually no real central better serve his hard-fought insights forward, gaining further energy via development section. Its quiet and revelations. bounding unison arpeggios. mood suggests a poet’s evocation of nocturnal romance, anticipating the The Op. 79 Sonata from his middle The following Adagio con molto private emotional world of Chopin’s period is shorter than many individual espressione calmly posits a gentle nocturnes. Rellstab’s impression movements in most Beethoven and romantic theme supported by of the piece — really, just the fi rst sonatas. Marked Presto alla tedesca, repeated chords in the left hand. A movement — is dead-on. this animated and light-hearted mini- rising arpeggio theme is enhanced essay sounds like an improvisatory by ever so subtle dissonant chords. Franz Liszt likened the ensuing aside. The music skips along merrily The middle shifts into the minor, Allegretto as “a fl ower between with sudden bursts of energy darkening the ambience with well- two chasms.” Given the enormous complemented by a brief quiet positioned anxious harmonies. contrast in mood between the section. The few minor key phrases nocturnal fi rst movement and the don’t really darken the outlook. A A Menuet returns to lightheartedness, furious fi nale, Liszt’s comment aptly deft upward arpeggio closes the though anxiously “shaking” tremolos captures Beethoven’s decision to scintillating movement. and dynamic shifts into the minor bridge the emotional gap by positing suggest the less courtly Scherzo that a calming minuet and trio (with a Equally improvisatory, the following became a frequent inhabitant of bit of humor suggesting a scherzo) Andante is cast in the minor but much of his music. that both clears the air of inchoate is not especially dark or implicitly romance and allows for the eruption tragic; rather it suggests skillfully Beethoven provides a Rondo: of a powerful, highly motoric fi nale. articulated wistful musing. The Allegretto fi nale, a Classical era concluding Vivace returns to the tradition. The main theme exudes The concluding Presto agitato is as exhilarating vivacity of the opening grace and buoyancy. The ensuing long as the fi rst two movements movement. episodes explore all manner of combined. Its mood is stormy and variants and look both forward impassioned, arguably refl ecting the Piano Sonata No. 11 in B-ﬂ at Major, and backwards, nodding to rococo intense feelings barely contained Op. 22 (1800) courtliness as well as positing forceful in Beethoven’s heart. Two themes LUDWIG VAN BEETHOVEN proto-Romantic urgings. One of the constitute the elements of the episodes is a fugato that refl ects “story,” a tempestuous motive It seems that the Op. 22 Sonata is a Beethoven’s studies of Bach’s Well- built upon arpeggios (as is the fi rst relatively unfamiliar piece to music tempered Clavier. movement, though to an entirely lovers and many pianists alike. Yet diff erent eff ect) and a comparatively

encorespotlight.com A-5 JONATHAN BISS | About the Program lyrical second melodic idea for additional dolce marking, that is Such is the case with the Op. 109 contrast. Beethoven cannily isolates beguilingly sweet and lyrical, virtually Sonata. The Vivace ma non troppo and combines the two themes to a 180-degree turnabout from the of the opening movement proceeds great eff ect. Of note is that the terse and assertive four-note fi gure from a fantasy-like anticipatory score indicates piano, rather than that launches the Fifth Symphony. suggestion of the main theme, forte or fortissimo. Fierce emotion This dolce theme fl its along in a light- which is not heard in fi nal form until is conveyed through emphatic hearted manner with the fi ngers a dominant seventh chord leads into sforzandos and the sheer energy skipping up and down over the the movement’s Adagio espressivo. generated by the constituent notes keyboard. Even with a number of The radiant hymn-like nature of that fl y by at breakneck speed. brief though markedly louder asides, this section gives credence to a the prevailing mood is positive and spiritual interpretation of the music Piano Sonata No. 24 in F-sharp buoyant. Forward motion continues as well as highlighting exploratory Major, Op. 78, “À Thérèse” (1809) unabated, urged on by rapid scale newness. Great contrast occurs LUDWIG VAN BEETHOVEN work and enlivening trills. The main between the two sections: the Vivace theme returns frequently to show is cast in the largely untroubled Named compositions, be they its unforced dominance through its major key while the Adagio is fi lled composer-given or sobriquets added disarming charm and warmth. with diminished seventh chords, by others — often publishers — a gambit traditionally used by provide better odds for frequent In its scarcely three-plus minutes composers to create tension and performance than work titles that the ensuing Allegro vivace posed a anxious expectation. simply use opus numbers and keys. challenge to Beethoven. Cast in the “Moonlight,” “Pathétique,” “Pastorale,” same key as the opening movement In E minor, the tempestuous and “Appassionata” and other named (as opposed to a more typical three- scherzo-like Prestissimo in 6/8 time sonatas enjoy wider currency than or four-movement sonata in which a starts with an insistent fortissimo many of equal musical worth but composer has the chance to provide theme whose shape recalls the Adagio which stand naked, as it were, contrast through working in related theme from the fi rst movement. deprived of an enticing title. but diff erent keys), Beethoven meets Highly imitative, contrapuntal the challenge through extensive variants employ canonic rather than A case in point is the Sonata No. 24 detours into other tonalities and by fugal implications. Urgent repeated in F-sharp Major, Op. 78, a personal quirky sudden changes of emphasis, notes in the bass register push the favorite of the composer’s 32 mood and dynamics. The main music forward almost unceasingly. works in that genre. He dedicated theme itself bears an odd similarity A complementary rather than highly it to Countess Therese von Brunvik to “Rule Britannia.” diff erentiated second theme in B (often given an English spelling, minor departs from convention by Brunswick). Though many of Piano Sonata No. 30 in E Major, not providing a strong contrast with Beethoven’s middle period works Op. 109, (1820) the main motive. are famed for their drama and LUDWIG VAN BEETHOVEN narrative character — triumph over The fi nale lasts longer than the fi rst adversity a frequent theme — the After several years of legal squabbles two movements combined; it is a set unassuming equanimity of the Op. surrounding Beethoven’s attempt to of six variations on a tender aria- 78 Sonata is among a select group gain custody of his dead brother’s son like theme. The most striking aspect of works that show the composer’s Karl, the composer was ready and of the movement is the enormous gentler side, e.g., the Fourth Piano eager to renew composition. Some of contrast among the variations, Concerto, Violin Concerto and Fourth his greatest works date from his last encompassing intimations of dance Symphony, to name but a few years including the Ninth Symphony, intermixed with episodes of deep representative examples. last piano sonatas and quartets. expressiveness, active counterpoint, and still others of an overtly virtuosic Somewhat unusually, the Sonata Beethoven composed the E-Major nature. Each variation is set at a contains but two movements. Sonata while working simultaneously diff erent tempo, furthering contrast. The Adagio cantabile opening of on the Missa Solemnis, in essence his (Sudden tempo changes also the fi rst movement is all of four personal “credo” using the traditional characterize the late string quartets.) short measures that serve as an Catholic liturgical text. His late Beethoven does not end with the introduction to the larger Allegro ma piano sonatas can be heard as an fi nal variation but reprises the non troppo section that follows. Short instrumental parallel to his internal opening theme to unify the disparate as it is, those four bars evoke a spirit spiritual quest as well as marking a elements within. of gentle supplication. The following bold departure from the strictures of Allegro ma non troppo carries an Classical period composition. © 2019 Steven Lowe

A-6 MEANY CENTER FOR THE PERFORMING ARTS Special Event

PROGRAM SUPPORT COMES FROM BLACK LIGHT

Jomama Jones MEDIA PARTNER December 12–14 | 7:30 p.m. Presented in partnership with UW School of Drama.

ADDITIONAL SUPPORT COMES FROM Created by Daniel Alexander Jones Katharyn Alvord Gerlich † Original songs by Jomama Jones Nancy D. Alvord Ariel Fund With Bobby Halvorson, Laura Jean Anderson, Dylan Meek and Josh Quat Ana Mari Cauce & Susan Joslyn Additional Music and Arrangements by Samora Pinderhughes Delaney & Justin Dechant Britt East & Scott VanGerpen Ira & Courtney Gerlich ARTISTS Hans & Kristin Mandt Marcella D. McCaff ray Jomama Jones, vocals Craig Miller & Rebecca Norton Trevor Bachman, vocals Chelsey Owen & Robert Harris Cecilia Paul & Harry Reinert Clarissa Marie Ligon, vocals John C. Robinson & Maya Sonenberg Sean Dixon, drums Eric & Margaret Rothchild Maryanne Tagney & David Jones Josh Quat, guitar and vocals Benjamin James Kelly, bass and vocals Sterling Overshown, keys and vocals

PRODUCTION STAFF Steve Carlino, stage management Jay McAleer, lighting design & master electrician Luke Kehrwald/Performance Sound, audio engineer Matt Starritt, stage management Oana Botez, costume design

Black Light will be performed without an intermission.

New York premiere produced by The Public Theater at Joe’s Pub on February 12, 2018. Off -Broadway run produced by Diana DiMenna at Greenwich House Theatre, directed by Tea Alagic, premiered September 24, 2018. A commission of the Joe’s Pub New York Voices Program. Developed in association with the Kimmel Center for the Performing Arts’ Theater Residency program.

This project is presented with support from the Creative Fellowships Initiative, an interdisciplinary pilot project at the University of Washington exploring the nature of creative research, with funding from the Andrew W. Mellon Foundation.

encorespotlight.com A-7 BLACK LIGHT | About the Artist

Photo: Joan Marcus

Jomama Jones (performer) is a 2019 Guggenheim Fellow and the Shapeshifters, is a musical about soulsonic superstar. She began her recipient of a 2019 Helen Merrill LGBTQIA youth. career as a young R&B songstress Playwriting Award. Daniel was a in the early 1980s, covering Jet Mellon Creative Research Fellow at Sean Dixon (drums) is a drummer, Magazine, Right On! and Black Beat the University of Washington from bassist, composer, producer and and making live appearances on Soul 2017–2019, where he worked on his teacher in New York City. He has Train and Solid Gold, before departing forthcoming book Waves. Daniel is performed with Gotye, Aloe Blacc, the U.S. for personal and political an associate professor of theater Maxwell, Zammuto and Amy Helm. reasons. After making her comeback at Fordham University and a proud He has toured in 12 countries and at Joe’s Pub in 2010 with her album alumnus of New Dramatists and the performed at high profi le festivals Lone Star, Jomama has toured widely Playwrights’ Center. such as Trans-Musicales (France), across the country, appearing in Mona Foma (Tazmania), Sydney the Soho Rep shows, Radiate and Trevor Bachman (vocals) is thrilled Festival (Australia) and River to Duat, as well as a number of concert to return to Black Light. In 2018, he River (USA). He appeared in past appearances. She recently released received residencies, commissions productions of Black Light at The her fi fth album, Anew. and concerts through American Public Theater and Kimmel Center in Theater Company, Kickstarter HQ, Philadelphia. Daniel Alexander Jones (creator) Fresh Ground Pepper, New York has made a wildfl ower body of live Theatre Ballet, Orchard Project, Benjamin James Kelly (bass, vocals) artwork over more than 25 years. Theatre C, Joe’s Pub and more. is a Minnesota based performer and His critically acclaimed theater Creator, composer and host designer. As a bass player, he has pieces include Duat, Phoenix Fabrik, of Farmed, a concert/interview toured with acts such as Sexy Delicious Blood:Shock:Boogie, Bel Canto, the series documenting grassroots and John Mark Nelson. As a producer, musical Bright Now Beyond and movements, his 25-person choir he has staged a number of variety a multi-chapter series of solo creates community through shows such as Bear & the Barrel and autobiographical performances, conversation and song. Farmed Chewing Marbles. In 2016, Benjamin The Book of Daniel. Daniel received began streaming via podcast founded the Good Arts Collective, the prestigious Doris Duke Artist and music platforms in 2018. which is an operating venue and arts Award in 2015, in recognition of Inaugural recipient of the 2018 organization in Minneapolis. Most his risk-taking practice. He is a Denovan Grant, his newest piece, recently Kelly has dedicated his time

A-8 MEANY CENTER FOR THE PERFORMING ARTS BLACK LIGHT | About the Artist to clothing design under his own label COLLABORATORS Bobby Halvorson (musical Dinosaur Hampton. collaborator) is a composer, arranger, Oana Botez (costume design) has vocalist and multi-instrumentalist Clarissa Marie Ligon (vocals) is a designed for productions at BAM, based in Lost Angeles. He has self-proclaimed Renaissance woman The Kitchen, PS122, The Joyce composed the music for two critically who makes art because she believes Theater, BRIC Arts Media, The Classic acclaimed musicals as well as scores it can change the world. When she’s Stage Company, The Public Theater, for several independent fi lms and not singing her heart out, Clarissa Peak Performances (Montclair), commercials. His arrangement and can be found behind the scenes, Lincoln Center Theater, Wilma performance of Leonard Cohen’s stage managing around New York Theatre (Philadelphia), The Old Globe “Hallelujah” was featured in the City. Recent production work includes (San Diego), Bucharest National Lytro VR fi lm by the same title and Before the Meeting at Williamstown Theater (Romania), Théâtre National appeared at both Tribeca and Cannes Theatre Festival, Jack & at BAM Fisher, de Chaillot (Paris), Les Subsistances Film Festivals. Halvorson is the Cruel Intentions: The Musical at Le (Lyon), Budapest National Theater, lead vocalist and songwriter for the Poisson Rouge, 3/Fifths at 3LD and The International Festival of progressive-pop band Brother, Sister. Penny Arcade’s Longing Lasts Longer at Contemporary Theater (Adana, St. Ann’s Warehouse. Turkey), Le Quartz (Brest, France), Samora Pinderhughes (musical La Filature (Mulhousse, France), collaborator) was born a mixed- Sterling Overshown (keys, vocals). Exit Festival/Maison des Arts Créteil race kid in the Bay Area, a hotbed of Sterling Weldon Paul Overshown, a (Paris, France). revolutionary organizing and incredible native of Houston, Texas, has called music and art that immediately New York City home since 2012. The Laura Jean Anderson (musical seeped into his soul. He started son of professional guitarist Lawrence collaborator) is a Los Angeles- playing music at 2 years old; his father Overshown, Sterling’s gifts are in the based artist, writer and multi- played him The Delfonics, Tupac areas of jazz and classical piano. He instrumentalist. Through her original and Bob Marley, while his mother has had the pleasure of performing work, she has garnered support introduced him to Nina Simone, Fela and working with Frank Foster, Dr. from NPR, Noisey, Salon and Fader, Kuti and Pete Seeger. He became Billy Taylor, Erykah Badu, Ellis Marsalis among others. She holds a B.F.A. in serious about making music his life and the Count Basie Orchestra on vocal performance from California after living in Cuba studying spiritual various projects. Since moving to Institute of the Arts, leading her to musical traditions. He moved to New New York, Sterling has served as a multi-faceted career as a writer, York City to study at Juilliard under organist and choirmaster at various vocal teacher, touring artist, vocalist master teachers Kenny Barron and churches throughout Brooklyn and and guitarist. Kendall Briggs; it was during this time Manhattan, and has also been in that he also met his artistic mentor, charge of directing music for several Dylan Meek (musical collaborator) MacArthur-winning playwright Anna off -Broadway musicals. He has served is originally from Wimberley, Texas. Deavere Smith. This started him as Artistic Director of Lavender He was a jazz piano prodigy as a kid down the path of writing lyrics and Light since 2016. Sterling holds any and moved to New York City at 18 combining fi lm/theater with his opportunity to perform as a sacred to study at the New School of Jazz music in radical new ways. Samora is occasion because he believes that and Contemporary Music where currently pursuing a Ph.D. in Creative artists have deep power to impact he completed a bachelor’s degree Practice and Critical Inquiry under audiences and transform society. in Music. Dylan has performed at mentor Vijay Iyer at Harvard University. Madison Square Garden, The Tonight Josh Quat (guitar, vocals, music Show Starring Jimmy Fallon, Late SPECIAL THANKS collaborator) is a musician, actor and Night with Seth Meyers, Good Morning FROM JOMAMA JONES writer based out of Brooklyn. He’s America, The Late Late Show with James thrilled to be back with the talented, Corden, Red Rocks, The Forum, Rock Shanta Thake, Alex Knowlton, Jeanie inspiring cast of Black Light and the in Rio and the Cannes Film Festival. O’Hare, The Public Theater, Barbara rock trio The Kristys, and frequently He has recorded with Questlove, Maier Gustern, Todd London, the collaborates with other theatrical and Ray Angry, Gregory Hutchinson, Ben incredible community of Meany musical artists. Recent credits include Wolfe, Alex Blake, Victor Jones, Aminè, Center and the University of Duat (Soho Rep), We Live in Cairo Angelina Jordan and Stanaj. Dylan Washington, Michelle Witt, Elizabeth (Eugene O’Neill Center) and Olympics Meek is now a composer, multi- Duff el, Kristen Kosmas, Leon Finley, Über Alles (St. Luke’s). Graduate of the instrumentalist, vocalist, producer, Jyana Browne, Valerie Curtis-Newton, Walnut Hill School for the Performing arranger, bandleader, session Rachel Cook, Betsey Brock, The Lady Arts and The New School University. musician, musical director now Krishna, Buff y Sedlachek and the Proud member of the AEA and ASCAP. residing in Los Angeles. Seattle arts community.

encorespotlight.com A-9 BLACK LIGHT | About the Program

A Q UESTION of EMPATHY : A SEASON-LONG EXPLORATION Q Created in collaboration with Daniel Alexander Jones

With Jonathan Biss perform, you are concealing the part of you that is most interesting and Q: ARTISTS ON EMPATHY WHAT IS THE ROLE OF EMPATHY has the greatest capacity to connect e IN YOUR ART? with others. This can be diﬃ cult, but remains a responsibility. Our Being a performer of classical brokenness is what connects us. music is an inherently empathetic If you can embrace that part of act. We don’t play our own you and listen and share that with music. The simple task is to try to others, then that is what has the In a time when come as close as possible to an power to connect us. understanding of the mind, heart our national and soul of another individual. The PLEASE SHARE A TIME WHEN essence of that idea is present in YOU EXPERIENCED THE ARTS any musical context, but certainly CULTIVATING A SENSE OF politics are so this year, as my work is focused CONNECTION BETWEEN PEOPLE. exclusively on one composer, I’m divisive and trying to better understand and I’ve traveled and performed in better represent someone who is many countries that existed behind upsetting, I neither like me nor even around to the iron curtain. Although I’ve never answer my questions. This focus on met anyone who was nostalgic for Beethoven’s music has forced me to those days, I have spoken to many personally be more empathetic as a musician people who admit that music and than I ever would be. You have to art meant more then. In a time feel music want to share music with others if when our national politics are so you want to be a performer. It’s not divisive and upsetting, I personally more intensely exactly walking in another’s shoes, feel music more intensely and feel but you have to be interested in the that the arts are especially vital as a individual audience members and means of connection. and feel that what their experience might be. What do they bring to that moment MEANY CENTER ART GALLERY the arts are and that music. Having empathy makes you less closed off and is the especially vital foundation for the deep connection EMPATHY ART EXHIBIT you have to have with he composer. as a means of HOW DO YOU REMAIN OPEN SCHOOL OF ART + ART HISTORY + DESIGN connection. AND VULNERABLE IN THE FACE OF ARTISTIC OR PERSONAL STUDENT ARTISTS CHALLENGES? — JONATHAN BISS RAZIAH AHMAD · ELIZABETH CALVILLO MINA KANG · AGNES MING LEE Vulnerability is absolutely essential ABIGAIL MASSARANO · TODD MCKINNEY for an artist. The part of us that SHADRAK MUSAFIRI · JULIA POWERS is confi dent and surefooted and uncomplicated is the least interesting part of any of us. If you LOCATED in put that forward when you try to the LOWER LOBBY

A-10 MEANY CENTER FOR THE PERFORMING ARTS Special Event

PROGRAM SUPPORT COMES FROM MIDORI with JEAN-YVES THIBAUDET January 23 | 7:30 p.m.

MEDIA PARTNER BEETHOVEN Sonata for Violin and Piano No. 1 in D Major, Op. 12, No. 1 (1770–1827) Allegro con brio Tema con variazioni: Andante con moto Rondo: Allegro ADDITIONAL SUPPORT COMES FROM Katharyn Alvord Gerlich Nancy D. Alvord† BEETHOVEN Sonata for Violin and Piano No. 4 in A Minor, Op. 23 Ariel Fund Ana Mari Cauce & Susan Joslyn Presto Delaney & Justin Dechant Britt East & Scott VanGerpen Andante scherzoso, più allegretto Ira & Courtney Gerlich Allegro molto Hans & Kristin Mandt Marcella D. McCaff ray Craig Miller & Rebecca Norton INTERMISSION Chelsey Owen & Robert Harris Cecilia Paul & Harry Reinert John C. Robinson & Maya Sonenberg Eric & Margaret Rothchild BEETHOVEN Sonata for Violin and Piano No. 8 in G Major, Op. 30, No. 3 Maryanne Tagney & David Jones Allegro assai Tempo di minuetto, ma molto moderato e grazioso Allegro vivace

BEETHOVEN Sonata for Violin and Piano No. 7 in C Minor, Op. 30, No. 2 Allegro con brio Adagio cantabile Scherzo: Allegro Finale: Allegro

encorespotlight.com A-11 MIDORI WITH JEAN-YVES THIBAUDET | About the Artist

Midori goes beyond the concert hall and recording studio to those areas where music access is most needed. In 2017, Midori celebrated the 25th anniversary of the activities of two of her non-profi t organizations: Midori & Friends, which brings high-quality music education to New York City youth, and MUSIC SHARING, a Japan-based program that provides access to both western classical and Japanese music traditions through innovative events, activities, instruction and presentations in local schools, institutions and hospitals. Her Partners In Performance organization, founded in 2003, Photo: Timothy Greenﬁ eld-Sanders promotes interest in classical music outside of major urban centers across leading concert violinist for Orchestre Philharmonique de Radio the United States, while her Orchestra over 30 years, Midori regularly France and Orchestre Symphonique Residencies Program, begun in 2004, transfi xes audiences around de Montréal. She tours Europe with encourages young musicians in the theA world, bringing together graceful the Munich Chamber Orchestra and United States and beyond to develop a precision and intimate expression Japan with Estonian Festival Orchestra life-long and multifaceted engagement that allows the listening public not just and Paavo Järvi. She undertakes a with the performing arts, helping to to hear music but to be personally world-wide recital tour with pianist ensure that the classical scene will moved by it. She has performed with, Jean-Yves Thibaudet and performs continue vibrantly for years to come. among many others, the symphony trio concerts with pianist Jonathan orchestras of London, Chicago, Biss and cellist Antoine Lederlin. Midori also brings her activism to Boston, San Francisco and the a global level. MUSIC SHARING’s Sinfonieorchester des Bayerischen Midori not only brings a fresh International Community Engagement Rundfunks, the Berlin, Vienna, New perspective to established standards Program (ICEP) promotes intercultural York, Los Angeles, St Petersburg for violin but also ceaselessly strives exchange by enabling young musicians and Czech philharmonics and the to expand the repertoire, including from around the world to come Mahler Chamber Orchestra. She has through the creation of new works. together and present community collaborated with such outstanding Midori inspired Peter Eötvös to performances for audiences with musicians as Claudio Abbado, Leonard compose the violin concerto DoReMi, limited exposure to classical music. The Bernstein, Christoph Eschenbach, which she then recorded with Eötvös program’s ensembles have performed Mariss Jansons, Paavo Järvi, Yo-Yo Ma, and the Orchestre Philharmonique in Myanmar, Bangladesh, Laos, Susanna Mälkki, Menahem Pressler de Radio France. The 2016 CD Mongolia, Indonesia, Cambodia, Nepal, and Mstislav Rostropovich. joins her diverse discography that Vietnam and India with follow-up includes sonatas by Bloch, Janáček appearances each season in Japan. The Midori’s recent and upcoming and Shostakovich performed with 2018–2019 ICEP returns to Vietnam. engagements highlight her versatility pianist Özgür Aydin, and a 2013 with performances of orchestral Grammy Award-winning recording A persuasive advocate of cultural and chamber works by Tchaikovsky, of Hindemith’s violin concerto with diplomacy, Midori has been invited Bernstein, Schumann, Hindemith, Christoph Eschenbach conducting to speak at the Johns Hopkins School Brahms, Mozart, Franck, Respighi, the NDR Symphony Orchestra. The of Advanced International Studies in Schubert and Enescu in Europe, two-CD set of her highly-acclaimed Washington, D.C., among others. She Asia, North and South America. She interpretation of J.S. Bach’s Sonatas has been honored for her international makes guest appearances with the and Partitas for Solo Violin was activism: in 2007, UN Secretary- Deutsches Symphonie-Orchester released in 2015, followed in 2017 by General Ban Ki-moon named Midori a Berlin, Schleswig-Holstein Festival a DVD of the same repertoire, fi lmed Messenger of Peace, and in 2012 she Orchestra, Staatskapelle Dresden, at Köthen Castle, where Bach served received the Crystal Award from the Boston Symphony Orchestra, as Kapellmeister. World Economic Forum in Davos. Philadelphia Orchestra, Aspen Festival Orchestra, Pittsburgh Symphony, In her quest to explore and expand how The same vision that motivates Sydney Symphony Orchestra, music is essential to people everywhere, Midori’s activism — discovering and

A-12 MEANY CENTER FOR THE PERFORMING ARTS MIDORI WITH JEAN-YVES THIBAUDET | About the Artist strengthening the bonds between people and music — also guides her educational approach. In the 2018-19 school year, she joins the renowned violin faculty roster at the Curtis Institute of Music, bringing her musical expertise as an active top- level performer to her studio and her experience as an activist to the school’s community engagement programs.

Until May 2018, Midori held the Jascha Heifetz Chair at the University of Southern California’s Thornton School of Music, where she spent 14 years working one-on-one with her violin students. She will continue Photo: Andrew Eccles her involvement at USC in a visiting artist role as Judge Widney Professor or more than three decades, to perform it with the Orchestre of Music alongside a distinguished Jean-Yves Thibaudet has Philharmonique de Radio France visiting artist position at the Peabody performed world-wide, and San Francisco Symphony. Institute of Johns Hopkins University. Frecorded more than 50 albums, and Zigman composed the score for built a reputation as one of today’s Robin Swicord’s Wakeﬁ eld, for which Midori is also an honorary professor at fi nest pianists. He plays a range Thibaudet was the soloist; this was Beijing’s Central Conservatory of Music of solo, chamber and orchestral the fi rst time that the composer had and a guest professor at both Soai repertoire — from Beethoven allowed a pianist other than himself University in Osaka and the Shanghai through Liszt, Grieg and Saint-Saëns; to perform his fi lm work. Conservatory of Music in addition to to Khachaturian and Gershwin, and teaching regularly at Ravinia’s Steans to contemporary composers Qigang A noted interpreter of French Music Institute and the Weimar Chen and James MacMillan. From the music, Thibaudet performs works Meisterkurse. Her own degrees in very start of his career, he delighted by Ravel, Saint-Saëns, Connesson gender studies and psychology from in music beyond the standard and Debussy around the world; as New York University (B.A. 2000, M.A. repertoire, from jazz to opera, one of the premiere interpreters of 2005) strongly inform her holistic which he transcribed to play on the Messiaen’s Turangalîla-Symphonie, teaching philosophy: “In our studio, the piano. His profound professional Thibaudet plays the piece in his tenets of Honesty, Health, and Dignity friendships crisscross the globe and hometown as Artist-in-Residence guide us through the times of trial, self- have led to spontaneous and fruitful of the Orchestre National de Lyon, doubt, self-questioning and growth.” collaborations in fi lm, fashion and with conductor Susanna Mälkki. He visual art. also brings along his passion for Midori was born in Osaka, Japan in Gershwin this season, performing 1971 and began her violin studies with In 2019–20, Thibaudet renews many the Concerto for Piano in F Major her mother, Setsu Goto, after displaying longstanding musical partnerships. in Lyon as well as in Houston, Los a strong aptitude for music at an As the St. Louis Symphony’s Artist- Angeles, Boston, New York, Naples, early age. In 1982, conductor Zubin in-Residence, he plays a pair of Tokyo and at the Bad Kissinger Mehta invited the then 11-year-old season-opening concerts conducted Sommer Festival, where he is Artist- Midori to perform with the New York by longtime friend and collaborator in-Residence. Philharmonic in the orchestra’s annual Stéphane Denève, returning for New Year’s Eve concert. The standing additional programming later in the He also expresses his passion for ovation that followed her debut season. He also tours a program education and fostering young spurred Midori to pursue a major of Schumann, Fauré, Debussy and musical talent as the fi rst-ever musical career at the highest level. Enescu with Midori, followed by Artist-in-Residence at the Colburn the complete Beethoven sonatas School in Los Angeles, where he Midori plays the 1734 Guarnerius del for piano and violin. Thibaudet makes his home. The school has Gesù “ex-Huberman.” She uses four gives the world premiere of Aaron extended the residency for an bows — two by Dominique Peccatte, Zigman’s Tango Manos concerto additional three years and has one by François Peccatte and one by for piano and orchestra with the announced the Jean-Yves Thibaudet Paul Siefried. China Philharmonic, and goes on Scholarships to provide aid for

encorespotlight.com A-13 MIDORI WITH JEAN-YVES THIBAUDET | About the Artist

Music Academy students, whom and champions of the composer’s Best Original Score) and Pride and Thibaudet will select for the merit- works. On his Grammy-nominated Prejudice, and recorded Alexandre based awards, regardless of their recording Saint-Saëns, Piano Concerti Desplat’s soundtrack for the 2012 fi lm instrument choice. Nos. 2 & 5, released in 2007, he is Extremely Loud & Incredibly Close. He joined by Dutoit and Orchestre de had a cameo in Bruce Beresford’s fi lm Thibaudet’s recording catalogue of la Suisse Romande. Thibaudet’s Aria on Alma Mahler, Bride of the Wind, and more than 50 albums has received — Opera Without Words, released his playing is showcased throughout. two Grammy nominations, the Preis the same year, features aria In 2004 he served as president of the der Deutschen Schallplattenkritik, the transcriptions, some of which are prestigious charity auction Hospices Diapason d’Or, the Choc du Monde de Thibaudet’s own. His other recordings de Beaune. His concert wardrobe la Musique, the Edison Prize, as well include the jazz albums Refl ections is designed by Dame Vivienne as Gramophone and Echo awards. on Duke: Jean-Yves Thibaudet Plays Westwood. Last season he released to great the Music of Duke Ellington and acclaim Bernstein’s Age of Anxiety Conversations with Bill Evans. Jean-Yves Thibaudet was born in with the Baltimore Symphony Lyon, France, where he began his Orchestra and Marin Alsop, with Thibaudet has also had an impact piano studies at age 5 and made whom he previously recorded on the world of fashion, fi lm and his fi rst public appearance at age Gershwin (2010), which featured philanthropy. He played Aaron seven. At 12, he entered the Paris big jazz band orchestrations of Zigman’s soundtrack for Wakefi eld, a Conservatory to study with Aldo Rhapsody in Blue, Variations on I Got drama by Robin Swicord, which was Ciccolini and Lucette Descaves, a Rhythm, and the Concerto in F. In the fi rst time that the composer had friend and collaborator of Ravel. 2016, on the 150th anniversary of allowed a pianist other than himself At age 15, he won the Premier Prix Erik Satie’s birth, Decca released to perform his fi lm work. Thibaudet du Conservatoire and, three years a box set of Satie’s complete solo was soloist in Dario Marianelli’s later, the Young Concert Artists piano music performed by Thibaudet award-winning scores for the fi lms Auditions in New York City. Among — one of the foremost interpreters Atonement (which won an Oscar for his numerous commendations is the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique. In 2010 the Hollywood WINTER FESTIVAL Bowl honored Thibaudet for his ILLSLEY BALL NORDSTROM RECITAL HALL at Benaroya Hall musical achievements by inducting JANUARY 17-26, 2020 him into its Hall of Fame. Previously a Chevalier of the Ordre des Arts et des Lettres, Thibaudet was awarded the title Offi cier by the French Ministry of Culture in 2012.

Mr. Thibaudet’s worldwide representation: Harrison Parrott.

Mr. Thibaudet records exclusively for Decca Records.

jeanyvesthibaudet.com

BEETHOVEN’S 250th CELEBRATION complete string quartet cycle between Winter and Summer Festivals

PART 1 JANUARY 17-19 with the Ehnes Quartet Tickets seattlechambermusic.org on sale now! BOX OFFICE (206) 283-8808 JAMES EHNES Artistic Director

A-14 MEANY CENTER FOR THE PERFORMING ARTS MIDORI WITH JEAN-YVES THIBAUDET | About the Program

Sonata for Violin and Piano No. 1 in A theme with four variations at the Imperial Court, a banker, art D Major, Op. 12 ,No. 1 (1798) makes up the second movement, collector and music lover who had LUDWIG VAN BEETHOVEN Andante con moto. The theme probably commissioned them. Fries is elongated and complicated, commissioned the C Major String Beethoven wrote ten violin Mozartian in character but also Quintet, Op. 29 at about the same sonatas, the foundation of the very distinctively Beethovenian. At time, and Beethoven dedicated it violin sonata repertoire. When he moments Beethoven seems to be to him. Beethoven became caught composed the fi rst three, in the stretching the limits of what was in an enormous tangle of lawsuits 1790’s, it was customary generally then standard harmonic practice, as a result of liberties that Fries for sonatas to be performed only yet it is not clear if he was motivated took with the publication rights, but in private performance in homes, by artistic necessity or that he just by 1816, all was forgiven, and the although Beethoven and his friend wanted to show that he could. The composer dedicated Symphony No. Schuppanzigh played at least variations diff er considerably from 7 to him. one of them (we do not know one another in tension and texture which one) at a public concert on and in the shifting of emphasis from At a chamber music evening at March 29, 1798. At the year’s end, violin to piano. The fi nal variation Fries’s house in the spring of 1800, Beethoven published the music with foreshadows the exceptional when Beethoven was beginning a dedication to his teacher, Antonio rhythmic freedom and power of these sonatas, the composer Daniel Salieri (1750–1825). Beethoven’s last works. Steibelt (1765-1823) decided to challenge Beethoven’s reputation It is diffi cult for today’s listeners to Beethoven used a Rondo: Allegro, as the best pianist in Vienna. imagine the experience of those who a favorite form of Classical After hearing the variations in heard this sonata then and found it composers, for the third movement. Beethoven’s Clarinet Trio at Fries’, to be problematic modern music. An As usual in rondos, the opening Steibelt improvised on the same early critic describes it as “overladen theme alternates with contrasting theme in a manner that was with diffi culties.” After struggling material throughout. The main obviously intended to impress through them, he said, “I felt like a subject is an Italianate melody the company with his superior man who had hoped to take a walk of the kind Salieri must have skills, but it soon became evident through a pleasant park with a friend taught Beethoven, yet in this that his “improvisations” were not but found the path closed by hostile movement, even more than in the extemporaneously conceived. He barriers, and at the end returned preceding one, Beethoven journeys had carefully prepared them, which exhausted without having had any beyond the musical language of infuriated Beethoven. Beethoven pleasure. Nevertheless, this work his contemporaries. He creates picked up the cello part of a Steibelt must not be entirely rejected. There new eff ects, for example, in his quintet that was on the evening’s are those who love diffi culties, and modulations, in a way that 21st program, put it on the piano’s music they may fi nd delight and satisfaction century ears have diffi culty hearing rack upside down, picked out a in this music.” as experimental, yet there is no tune from it with one fi nger, and doubt he intended this piece to be then improvised with such power Sonata No. 1, overall a very bright daring, maybe even diffi cult. and imagination that Steibelt left and spirited work, begins with the room before Beethoven had an intricately written Allegro con Sonata for Violin and Piano No. 4 in fi nished. Steibelt’s reputation in brio movement, long, powerful A Minor, Op. 23 (1801) Vienna was permanently damaged; and expressive. The violin seems LUDWIG VAN BEETHOVEN his next concert was a failure, but initially to be confi ned to its then he later succeeded in an area where traditional function of fi lling in Beethoven wrote Sonata No. 4, Op. Beethoven had a minor failure: and accompanying the piano, but 23 and Sonata No. 5, Op. 24 more Czar Alexander I, who never paid before long, it becomes a liberated or less simultaneously during 1800 Beethoven for the dedication of partner in an exciting and new and 1801, originally intending that three violin sonatas, Op. 30, made kind of collaboration where violin they be paired as Op. 23, Nos. 1 and Steibelt music director of his court and piano are much more equal 2, but when the publisher’s engraver in St. Petersburg in 1810. partners. The music is rich in ideas, erred by preparing some of the which Beethoven extends to such printing plates for them in diff erent Sonata No. 4 in A Minor, Op. 23 is a great length that instead of the formats, the simplest way to deal great advance over its predecessors usual development section after the with the problem was to make them in several ways. Beethoven is now exposition, the brief middle section separate publications. Beethoven clearly at ease with his advanced aims simply to return the music to dedicated both to Count Moritz musical ideas; the music never the initial key. von Fries, a wealthy Chamberlain strains for eff ect. Changing moods do

encorespotlight.com A-15 MIDORI WITH JEAN-YVES THIBAUDET | About the Program not interrupt its fl ow. The complex rhythm of a popular contemporary he had been led to expect as a gift counterpoint in parts of the unusual dance form that frequently found from the Emperor, nor any other Presto fi rst movement, which must its way into serious musical works. acknowledgment. have been diffi cult to write, sounds Near the end of the movement, easy and agreeable. This movement Beethoven has written an especially The sentiments Beethoven has been said to foreshadow the charming passage in which the expresses in the rich, mature Op. 30 more famous Kreutzer Sonata in its main theme is fragmented into sonatas are elevated, the emotions experimental nature: it has a quick tiny elements played fi rst by one powerful, and the forms original. pace with a compact exposition of instrument and then by the other. This sonata, the second and most its basic ideas, and when Beethoven The last movement is a vigorous, diffi cult of the three, has great begins to develop them, wholly new witty rondo, Allegro vivace, whose dramatic power; it is occasionally but related themes are generated. almost perpetual motion provides a referred to by a subtitle, “Eroica,” vibrant contrast with the music that identifying it with Symphony No. An extraordinary bright middle preceded it. 3. The Allegro con brio beginning movement, Andante scherzoso, makes a huge, extended statement, più allegretto, combines the Sonata for Violin and Piano No. 7 energetically developed. This contrasting functions of both slow in C Minor, Op. 30, No. 2 (1802) passionate initial movement movement and scherzo with the LUDWIG VAN BEETHOVEN starts with a concentrated and dramatic structure of the usual fi rst characteristic Beethoven motive. movement sonata form. Returning Beethoven wrote this sonata One notable critic has said that to the minor home key in the fi nale, and two more in the same set in the “entire fi rst movement is like Allegro molto, Beethoven presents early 1802, just months before he Beethoven’s assertion that a sonata a free rondo with counterpoint confronted the disturbing symptoms movement might be ‘the confl ict like that which enriched the fi rst of hearing loss that he could no between head and heart.’” movement. longer try to hide or rationalize away. Just after he composed these The lovely slow movement, Adagio Sonata for Violin and Piano No. 8 violin sonatas, on the advice of his cantabile, is, in essence, a set of in G Major, Op. 30 ,No. 3 (1803) doctor, he went for several months free variations of ever-increasing LUDWIG VAN BEETHOVEN to the quiet country village of intensity built on a central dramatic Heiligenstadt. These months were a theme. The following light-hearted The Op. 30 sonatas were published wrenching and tragic time for him, movement, an impish Scherzo: in spring 1803, with the outmoded and on October 6, shortly before Allegro, provides relief. The odd designation “Three Piano Sonatas returning to Vienna, he wrote a will phrase lengths and diffi cult rhythms with the Accompaniment of a Violin.” in the form of a letter to his two of the contrasting Trio refl ect the Here, as in the other Op. 30 sonatas, brothers, the famous Heiligenstadt sonata’s Russian association. The the instrumental writing is highly testament, a moving document in work closes with a fi erce, stormy original and perfectly idiomatic for which he expressed the horror and Finale: Allegro, of renewed intensity, the piano and the violin. pain of his terrible, secret affl iction. balancing the fi rst movement in He gave vent to utter despair, but concentration and fervor as well as This sonata was fi rst understood as returned to the city without sending in structure, since both grow from a a pastoral idyll, which pictured rustic the testament to his brothers It was single motival cell. dances and other bucolic pleasures. not discovered until after his death, Now it is more often interpreted as and is now read as a symbol of his © 2019 Susan Halpern a forcefully passionate composition determination to overcome his containing contrasting passages of fate rather than succumb to it. His high spirits, qualities demonstrated work continued unabated, and he in the two principal themes of the resumed his busy, public career. opening movement, Allegro assai. The rhythmic dynamism of the fi rst He published the violin sonatas the continues into the second, which is following spring with the already both tender and rugged. The second antiquated designation “Three Piano movement, Tempo di menuetto ma Sonatas with the Accompaniment of molto moderato e grazioso, (in the a Violin.” They bore a dedication to tempo of a minuet) feels graceful “His Majesty Alexander I, Emperor of and gracious. The music takes all the Russias,” who had ascended the shape of a protracted song, to the throne in 1801. Beethoven melodious and gently paced, in the never received the diamond ring

A-16 MEANY CENTER FOR THE PERFORMING ARTS World Dance

World Dance Series generously underwritten by The Families of Delaney & Justin BRIAN BROOKS Dechant and Ira & Courtney Gerlich in honor of their Mom, MOVING COMPANY KATHARYN ALVORD GERLICH PROGRAM SUPPORT COMES FROM January 30–31 & February 1 | 8 p.m.

Lighting Designer Nicole Pearce ADDITIONAL SUPPORT COMES FROM Linda & Thomas Allen Katharyn Alvord Gerlich † Costume Designer Karen Young Nancy D. Alvord Anonymous Randy Apsel Ariel Fund Production Stage Manager Steven Carlino Cristi Benefi eld Sharon Gantz Bloome Sylvia & Stephen Burges Ana Mari Cauce & Susan Joslyn Major support for Brian Brooks Moving Company has been provided by the SHS Lili Cheng & Yarom Boss Foundation. Helen Curtis Delaney & Justin Dechant Britt East & Scott VanGerpen General Inquiries: [email protected] Lynn & Brian Grant Family Ira & Courtney Gerlich Richard & Nora Hinton Hugues Hoppe & Sashi Raghupathy Catherine & David Hughes Yumi Iwasaki & Anoop Gupta Karen Koon Matthew & Christina Krashan Jeff rey Lehman & Katrina Russell Hans & Kristin Mandt Marcella D. McCaff ray Craig Miller & Rebecca Norton Chelsey Owen & Robert Harris Seema Pareek & Gurdeep Pall Cecilia Paul & Harry Reinert John C. Robinson & Maya Sonenberg Eric & Margaret Rothchild Richard Szeliski & Lyn McCoy Maryanne Tagney & David Jones Donna & Joshua Taylor George Wilson & Claire McClenny Ellen Wallach & Thomas Darden

encorespotlight.com A-17 BRIAN BROOKS MOVING COMPANY | About the Program

DRAWING ROOM (2020, WORLD PREMIERE) Before the performance and during intermission, experience an augmented reality movement installation and explore AR/VR tools developed by Brian Brooks during his residency as a Creative Research Fellow at the University of Washington. Drawing Room was commissioned by Meany Center for the Performing Arts as part of the Creative Fellowships Initiative funded by the Andrew W. Mellon Foundation.

AM I SUPPOSED TO BE SOMEBODY ELSE (2020, WORLD PREMIERE) Choreography Brian Brooks Performance Brian Brooks Music Bryce Dessner, “Aheym” Recorded by Ensemble Resonanz Lighting Design Nicole Pearce Costume Design Karen Young Am I Supposed to Be Somebody Else was commissioned by Meany Center for the Performing Arts at the University of Washington as part of the Creative Fellowships Initiative funded by the Andrew W. Mellon Foundation. Music used with permission from Chester Music, Ltd.

TORRENT (2013, SEATTLE PREMIERE) Choreography Brian Brooks Dancers Carlye Eckert, Evan Fisk, Marielis Garcia, Zachary Gonder, Leo Hishikawa, Taylor LaBruzzo, Stephanie Terasaki, Spencer Weidie Music Recomposed by Max Richter: Vivaldi, The Four Seasons Lighting Design Nicole Pearce Costume Design Karen Young Torrent was originally commissioned by Juilliard Dance for New Dances: Edition 2013. The company reconstruction occurred during a Creative Residency awarded by the Joyce Theater, made possible with funding by The Andrew W. Mellon Foundation. Music used with permission from Mute Song Limited.

MOTOR (EXCERPT, 2010, SEATTLE PREMIERE) Choreography Brian Brooks Dancers Evan Fisk, Zachary Gonder Original Music Jonathan Pratt Lighting Design Philip Treviño Costume Design Liz Prince

INTERMISSION

CLOSING DISTANCE (2020, WORLD PREMIERE) Choreography Brian Brooks Dancers Carlye Eckert, Evan Fisk, Zachary Gonder, Leo Hishikawa, Taylor LaBruzzo, Stephanie Terasaki, Spencer Weidie Music Caroline Shaw, “Partita for 8 Voices” Recorded by Roomful of Teeth Lighting Design Nicole Pearce Costume Design Karen Young Closing Distance was commissioned by Meany Center for the Performing Arts at the University of Washington as part of the Creative Fellowships Initiative funded by the Andrew W. Mellon Foundation. Music used with permission from First Chair Promotions.

This program is subject to change.

A-18 MEANY CENTER FOR THE PERFORMING ARTS BRIAN BROOKS MOVING COMPANY | About the Artist

Brooks in New York City, teaching and setting Mr. Brooks’ work at the University of Washington, Rutgers University Mason Gross School of the Arts, DANCECleveland/ADF, YPAS (Louisville, KY) and Gibney Dance Center (New York City). Eckert is the founder and co-artistic director of STUFFED: Dinner and Dance, a free performance series established in 2011 at Judson Church in New York City and the director of Chapman Steamer Arts, an artist residency and performance space in upstate New York. Eckert teaches contemporary technique, Photo: Erin Baiano improvisation and choreography at Rutgers University Mason Gross School rian Brooks Moving Company, Joyce Theater Artist Residency and of the Arts and is a Kundalini yoga and presented nationally and NY City Center Fellowship. Brooks’ meditation instructor. internationally since 2002, company has toured internationally Bcreates and performs new work by since 2002 with presentations by Evan Fisk (dancer) is currently in founding choreographer Brian Brooks. American Dance Festival, BAM’s Next his third season with Brian Brooks The Boston Globe described Brooks’ Wave Festival, The Joyce Theater, Moving Company and also performs choreography as a “tour de force of Jacob’s Pillow and Lumberyard with Punchdrunk’s Sleep No More. He breathtaking ceaselessness,” and The Performing Arts. He has collaborated received his B.F.A. in 2017 from The New York Times says “the coiling fullness with New York City Ballet Associate Juilliard School, where he explored of Mr. Brooks’ choreography, brimming Artistic Director and former principal his interest in choreography by with detail, frequently mesmerizes; Wendy Whelan since 2012, recently contributing work to the school’s you wonder how the dancers keep touring a duet evening accompanied by various performance opportunities. up.” At its home base in New York string quartet Brooklyn Rider. Brooks Fisk also pursued collaborative eff orts City, the group has been presented has choreographed off -Broadway at with composers, working with T.J. by such organizations as The Joyce Theatre for a New Audience, including Keanu Tario, as well as Will Stackpole Theater, Lumberyard Performing A Midsummer Night’s Dream (2013), on dance video projects. His solo work, Arts, BAM’s 2013 Next Wave Festival, directed by Julie Taymor, and Pericles Weep, Rinse, Repeat premiered at Judson NY City Center’s Fall for Dance, The (2016), directed by Trevor Nunn, and Church for their event STUFFED, and Guggenheim Museum, Dance Theater has created dances for Ballet Tech, The his piece are you carrying more than Workshop, Lincoln Center Out of Juilliard School, Boston Conservatory, you need? was shown at a more recent Doors and the 92nd Street Y Harkness The School at Jacob’s Pillow and STUFFED evening. Bi-weekly, Fisk and Festival. Brooks’ work for his company Harvard University. He teaches collaborator Caitlin Javech have created has been supported by creative extensively at universities across the a creative choreographic lab called residencies as part of the Creative U.S. and served as a Teaching Artist at Uptown Comp Club, that facilitates Fellowships Initiative at the University Lincoln Center Education for 12 years. studio time for artists to expand their of Washington, The Harris Theater for toolkit for choreographing and set up Music & Dance, Lumberyard Performing Carlye Eckert (dancer) is a movement grounds for collaboration. Arts, The Joyce Theater, and Jacob’s artist based in New York and a Pillow Dance Festival, among others. graduate of the Juilliard School (B.F.A., Marielis Garcia (dancer) was born 2009). As a performer, Eckert has in New York City and received a Brian Brooks (choreographer) recently worked and collaborated with Boris B.F.A. in Dance from Marymount completed a 2018–2019 Mellon Charmatz/Musée de la Danse, Tino Manhattan College. Along with Foundation Creative Artist Fellowship Sehgal, Jonah Bokaer, Jack Ferver, performing in the work of Brian at the University of Washington and a Luke Murphy/Attic Productions, Brooks since 2014, Marielis currently three-year term as choreographer in Meghan Frederick Performance dances with Peter Kyle Dance. She residence at Chicago’s Harris Theater Project, Yara Travieso, Lucie Baker, has been commissioned for work for Music and Dance, creating work Esme Boyce Dance, The Equus and teaching at Appalachian State for Hubbard Street Dance Chicago Projects, Aszure Barton & Artists and University, Salem College, Howard and Miami City Ballet. Past awards Keigwin+Company. Since 2013, she Community College and University include a Guggenheim Fellowship, has been a performer with Brian of North Carolina. Marielis teaches

encorespotlight.com A-19 BRIAN BROOKS MOVING COMPANY | About the Artist dance at Rutgers University Mason Gonder has worked for BODYTRAFFIC Taylor LaBruzzo (dancer) a recent Gross School of the Arts and in New in Los Angeles as well as the Barton graduate of The Juilliard School, is York City public schools. She has Sisters’ Axis Connect Program. He originally from Las Vegas, Nevada, been selected for residencies through currently dances for Pam Tanowitz where she began dancing at the age of Kaatsbaan, CUNY Dance Initiative and Dance and ZviDance. He is in his 6. She trained in various dance styles UNCSA Choreographic Development second season with Brian Brooks at both Bunker Dance Center and the Institute. In addition to creating and Moving Company. Las Vegas Academy of the Arts, where producing collaborative dance projects, she graduated as valedictorian in 2014. she is pursuing an M.F.A. in Digital and Leo Hishikawa (dancer), born in During her time at Juilliard, LaBruzzo Interdisciplinary Art Practices, teaching Queens, New York, began his formal performed works by Crystal Pite, with The Leadership Program and co- dance training at The Ailey School José Limón, Aszure Barton and Pam directing STUFFED Arts. and then continued his training at Tanowitz and choreographed for many Fiorello H. LaGuardia High School student concerts. In the fall of 2018, she Zachary Gonder (dancer) started and received his B.F.A. from Purchase assisted Peter Chu as a guest teacher dancing at the age of 5 at The Dance College Conservatory of Dance. Leo at Harvard University and served Connection, a local studio in his has had the privilege of participating in as his rehearsal director during his hometown north of Chicago. He various summer intensives including creation for Juilliard New Dances: 2018. then trained at the Chicago Academy Hubbard Street Dance Chicago, San LaBruzzo was recently commissioned for the Arts High School under the Francisco Conservatory of Dance, to create a piece for the Juilliard tutelage of renowned choreographer and Springboard Danse Montreal Summer Dance Intensive 2019 and is Randy Duncan. He graduated from under the direction of Alexandra in her fi rst season with Brian Brooks Juilliard in 2018 and performed in Wells. Leo has performed works by Moving Company in New York City. works there by Austin McCormick, Ohad Naharin, Marco Goecke, Adam José Limón, Aszure Barton, Pam Barruch, Merce Cunningham, Rena Stephanie Terasaki (dancer) was Tanowitz, Richard Alston, Gustavo Butler, Norbert De La Cruz III, Kevin born and raised in Southern California. Ramirez Sansano and Crystal Pite. Wynn and many others. She attended the Orange County School of the Arts and received her B.F.A. in 2016 from The Juilliard School. During her time at Juilliard she had the opportunity to perform works by Kyle Abraham, Martha Graham, Eliot Feld, UW DANCE PRESENTS Camille Brown, Brian Brooks, Kate JANUARY 23–26, 2020 Weare, Paul Taylor, Loni Landon and Meany Hall—Studio Theatre Bobbi Jene Smith. She has also worked University of Washington with GroundWorks Dance Theater for their summer and fall seasons and performed works by Robyn Mineko Williams, Adam Barruch, Beth Corning and David Shimotakahara. She currently dances for Brian Brooks Moving Company, MeenMoves and ZviDance.

Spencer James Weidie (dancer) grew up in Kailua, Hawaii. He began his dance training at 24-VII DanceForce under the direction of Marcelo Pacleb. Weidie graduated NEW DANCE WORKS BY from the Conservatory of Dance Next from UW Dance: Alethea Alexander at Purchase College, SUNY (B.F.A. Dance Majors Concert Rachael Lincoln Honors) in Dance with a concentration March 5–8, 2020 Adele Nickel in Composition. He also studied at MFA Concert Dani Tirrell & “Majinn” Mike O’Neal Jr. London Contemporary Dance School, May 14–17, 2020 Springboard Danse Montreal and with

Photo: Steve Korn the Merce Cunningham Trust. Weidie Dancer: Mimi Reed is a current company member of Brian INFO/TICKETS: dance.uw.edu dance.uw.edu Brooks Moving Company, MADBOOTS

A-20 MEANY CENTER FOR THE PERFORMING ARTS BRIAN BROOKS MOVING COMPANY | About the Artist

DANCE, The Metropolitan Opera Ballet who has designed clothes for many Cuba, Malpaso Dance Cuba, Hubbard and was a featured guest artist with of Brian Brooks works including: Street Dance, Kyle Abraham, Lucinda Gallim Dance at The Metropolitan Division, Torrent, Wilderness, One Line Childs, Pontus Lidberg, Pam Tanowitz, Museum of Art. Drawn (for Miami City Ballet) and Troy Schumacher and Sonya Tayeh. Some of a Thousand Words with Wendy She designed the costumes for Wendy Steven Carlino (production stage Whelan. Other design work for dance Whelan’s projects Restless Creature manager) is an artist, writer and is included in the repertoires of the and The Day. Recent design for theater performer who assists other artists in Martha Graham Dance Company, Paul includes Geoff Sobelle’s Home (BAM) producing their own work. In New York Taylor Dance Company, Alvin Ailey and Third Rail Projects’ highly acclaimed City, he worked with the late Magnifi cent American Dance Theater, Ballet Basel, immersive shows Then She Fell and Fred Ho and the Afro-Asian Music Sidi Larbi Cherkaoui, Acosta Danza Confection (Folger Theater). Ensemble, the experimental theater collective Mabou Mines and for ten years toured as the production manager for the Paul Taylor Dance Company. In addition to working with Brian Brooks SheshBesh Moving Company, Carlino is currently Saturday, January 18, 2020 the tour and production manager for Aszure Barton’s Where There’s Form, 7:30 pm | $19–$49 Ahamefule Oluo’s Susan and for Havana An Arab-Jewish ensemble searching for an elusive Cuba’s Malpaso Dance Company. When balance of East and West in music, SheshBesh not on tour, Carlino lives in Seattle. embodies two cultures living together in harmony. Three members of the Israel Philharmonic Nicole Pearce (lighting designer) is Orchestra play alongside four of the finest an international lighting designer for musicians from Israel’s Arab community. dance, opera and theater based out of 6:00 pm | FREE Pre-Show Artist Talk Queens, New York. Her work has been Co-presented by ECA and the University seen across the United States, Europe, of Washington Bothell Siberia, Japan, Korea, New Zealand and In 2007, SheshBesh was awarded the European Cuba. Recent works include Garden Blue Medal of Honor for commitment to tolerance with Jessica Lang and American Ballet and mutual respect in a turbulent Middle East. In this pre-show program, Theater/Alvin Ailey American Dance the artists will speak to a model of two cultures living together in Theater, Das Rhinegold with Brian harmony, and the belief that music can build bridges between people. Staufenbeil and Opera Montreal, and Detroit ’67 by Domonique Morriseau and directed by Jade King Carroll at the McCarter Theatre Center, New Jersey. Other collaborations in dance includes work with choreographers Mark Morris, Jessica Lang, John Heginbotham, Aszure Barton, Brian Brooks, Kyle Abraham, Robert Battle, Alexander Ekaman, Sonya Tayeh, Andrea Miller, Jorma Elo and Annabelle Lopez-Ochoa International Guitar Night’s along with companies including Joff rey th Ballet, Atlanta Ballet, Houston Ballet, 20 Anniversary Tour Boston Ballet, Finnish National Opera, Wednesday, March 4 | 7:30 pm | $19–$49 Gallim, Mark Morris Dance Group, Dance Heginbotham, Jessica Lang Each year, International Guitar Night’s founder Brian Gore invites a new cast of guitar luminaries from around the world for special concert tours of Dance, Aszure & Artists, Hubbard North America highlighting the diversity of the acoustic guitar. Street, Birmingham Royal Ballet, The The 20th special Anniversary Tour features guest host Mike Dawes, National Ballet of Japan, Malpaso joined by electrifying jazz virtuoso Olli Soikkeli from Finland, Dance Company of Havana, Cuba and Hawaiian slack key master Jim Kimo West, Nederlands Dance Theater. and Cenk Erdog˘an from Turkey with an intriguing, exotic style on fretless guitar. Karen Young (costume designer) is a New York based costume designer 425.275.9595 | 410 Fourth Ave N., Edmonds | ec4arts.org |

encorespotlight.com A-21

Beethoven:Craig Sheppard, piano The Piano Trios Sæunn Thorsteinsdóttir, cello Rachel Lee Priday, violin IN MEMORY OF KIM JOHNSON-BOGART

n September, Meany Center lost a treasured friend, Kim Johnson- Bogart. Kim started her career Iat the University of Washington in 1987, as a doctoral student in English; she was still serving the UW community 33 years later as Senior Director of Corporate and Foundation Relations when she died on September 26, 2019.

Kim was a passionate supporter of SATURDAY, FEB. 29, 2020 Program the arts and a long-time subscriber Piano Trio Opus 70/1 in D, ‘Ghost’ 7:30 PM Meany Hall— Piano Trio Opus 70/2 in E flat Katharyn Alvord Gerlich Theater to our World Dance Series. But her Allegretto in E flat, WoO39 (1812) support went far beyond attending TICKETS: $20 ($10 students/seniors) Piano Trio Opus 97, ‘Archduke’ performances at Meany Center.

She was instrumental in successfully shepherding Meany Center’s first application to the Andrew W. Mellon Foundation, which resulted in the three-year Creative Fellowships Initiative that invited 13 artists and ensembles across multiple disciplines to come to the UW and dedicate themselves to their own creative process.

Brian Brooks was one of those 13 Fellows, and his creative residency informs much of the work his Company is presenting on our stage this season.

We can’t think of a better way to honor Kim than by dedicating the performances she helped make possible to her memory. MONDAY, MARCH 9, 2020 Sæunn Thorsteinsdóttir, cello 7:30 PM Meany Hall— Julio Elizalde, piano Katharyn Alvord Gerlich Theater TICKETS: $20 ($10 students/seniors)

MUSIC.WASHINGTON.EDU UW ARTS TICKET OFFICE: (206) 543-4880

A-22 MEANY CENTER FOR THE PERFORMING ARTS YOUR GUIDE TO MEANY CENTER

FOOD & BEVERAGE EVACUATION SMOKING POLICY IN MEANY HALL In case of fi re or other emergency, please Smoking is not permitted on the University Food and beverage stations are located follow the instructions of our ushers, who of Washington campus. in the main lobby and downstairs at are trained to assist you. To ensure your the Gallery Café on the east side of the safety, please familiarize yourself with the PARKING OPTIONS lower lobby. The stations are open one exit routes nearest your seat. Limited, underground paid parking is hour prior to the performances and at available in the Central Plaza Parking Garage, intermission. ADMISSION OF CHILDREN located underneath Meany Hall. There Children fi ve years of age or older are are also several surface lots and on-street RESTROOMS welcome at all Meany Center performances. parking within walking distance of Meany. Restrooms are located on the lower and A ticket is required for admission. upper lobby levels. MEANY HALL ART EXHIBIT WHEELCHAIR SEATING Visit the Meany Center Art Exhibit in the Lower LATE ARRIVAL Wheelchair locations and seating for patrons Lobby for an installation of work by students in Unless noted otherwise, all World Dance with disabilities are available. Requests for the UW School of Art + Art History + Design. and Crossroads evening performances accommodation should be made when begin at 8 p.m. Special Event, Piano and purchasing tickets. TAPESTRIES DISPLAYED ON STAGE Chamber Music Series events begin at The artwork on display on stage during Piano 7:30 p.m. Out of respect for the artists FIREARM POLICY and Chamber Music events are tapestries and seated patrons, late seating may be Possession or use of fi rearms, without woven by Danish artist Charlotte Schrøder. limited. Late arrivals will be escorted into special written permission from UW Police, the theater at appropriate intervals, to is prohibited on the UW Campus. Find the ADDRESS & CONTACT INFORMATION be determined by the artists and theater complete policy at washington.edu. Meany Center for the Performing Arts personnel. University of Washington, INFRARED HEARING DEVICES Box 351150 CELL PHONES, Meany Hall (main stage) is equipped with Seattle, WA 98195-1150 CAMERAS & OTHER an infrared hearing system. Headsets are Phone: 206-543-4882 / Fax: 206-685-2759 ELECTRONIC DEVICES available at no charge. Please speak with meanycenter.org Please turn off these devices before an usher. A driver’s license or credit card is performances. Because of contractual required as collateral. ArtsUW Ticket Offi ce obligations with our artists, the use of 1313 NE 41st Street photographic recording equipment is FRAGRANCES Seattle, WA 98105 prohibited. Flash cameras can be disruptive In consideration of patrons with scent allergies, Ph: 206-543-4880 | Toll-free: 800-859-5342 and dangerous to some artists. please refrain from wearing perfume, cologne Fax: 206-685-4141 or scented lotions to a performance. Email: [email protected] LOST & FOUND Offi ce Hours: Mon–Fri, 11 A.M.–6 P.M. Contact the House Manager immediately CANCELLATIONS following the performance or contact the Due to unforeseen circumstances, we Meany Hall Box Offi ce Meany Hall House Manager’s offi ce at sometimes have to cancel or postpone The Meany Hall Box Offi ce opens one hour [email protected] or 206-543-2010. performances. All programs, dates and before the performance and is located in artists are subject to change. Meany Hall’s main entrance.

Valentine’sFRIDAY, FEBRUARY Day 14

TICKETS MEANYCENTER.ORG 206-543-4880

encorespotlight.com A-23 FRIENDS OF MEANY CENTER Many thanks to the following donors whose generous support make our programs possible:

PRODUCER’S CIRCLE Jonas Barklund PATRON Clark Sorensen & Susan Way ($25,000+) Jillian Barron & Jonas Simonis (Between $500 and $999) Sheehan Sullivan & Peter Finch Katharyn Alvord Gerlich Thomas Bayley Kim Gittere Abson & Michael Scupine Mark & Liza Taylor Sylvia & Steve Burges Mel Belding & Kathy Brostoff Charles Alpers & Ingrid Peterson Sarah Temple & Peggy Johnston Craig Miller & Rebecca Norton Luther Black & Christina Wright John & Nancy Angello Gayle & Jack Thompson Maryanne Tagney and David Jones William D. Bollig Anonymous Kris & Epaminondas Trimis Pat Braus & Holly Boone Jean-Loup & Diane Baer Pieter & Tjitske Van der Meulen DIRECTOR’S CIRCLE Kalman Brauner & Amy Carlson Lauret Balloun Omar Vasquez (Between $10,000 and $24,999) Laurie Lootens Chyz & Grant Chyz Louisa Barash & Scott David David Wang Linda & Tom Allen Thomas Clement Cathryn Booth-LaForce & Robert & Andrea Watson Nancy D. Alvord† Consuelo & Gary Corbett W Kenneth LaForce Stephen & Debra Wescott Warren & Anne Anderson Richard Cuthbert & Heida Brenneke Valerie & Todd Yerkes Ariel Fund Cheryl Redd-Cuthbert Gene Brenowitz & Karen Domino Ryan & Heidi York Ana Mari Cauce and Susan Joslyn Anita & Jack Dingrani David & Deborah Buck Delaney and Justin Dechant John† & Kathy Ehrenberg Rita Calabro GREAT PERFORMER Britt East & Scott VanGerpen James Fesalbon & Edward Darr Mariann Carle & Thomas Manley (Between $250 and $499) Lynn & Brian Grant Family Dr. Melvin & Nanette Freeman Carolyn Caster & Cynthia Mullis Sharon Armstrong Ira & Courtney Gerlich Jim & Missy Garcia Timothy Cliff ord Lisa Baldwin & John Cragoe Sally Schaake Kincaid Ruth Gerberding Michael Cohen & Jutta Joesch Trudy Baldwin Hans and Kristin Mandt Kyra Hokanson Gray Jill Conner Robert Bergman Marcella D. McCaff ray Arthur & Leah Grossman Margaret Crastnopol & Charles Purcell Dianne Calkins Chelsey Owen & Robert Harris Aya Stark Hamilton Judith Cushman & Robert Quick Sharon & Craig Campbell Cecilia Paul and Harry Reinert Wolfram & Linda Hansis Suzanne Dewitt & Ari Steinberg Sandra & Daniel Ciske John C. Robinson & Maya Sonenberg Hylton & Lawrence Hard Toby Diamond Fran Clifton Eric and Margaret Rothchild Kara D. Hefl ey In Memory of Toby Faber R. Bruce & Mary-Louise Colwell Susan Herring Gary Fallon & Leona DeRocco Jackie & Kent Craver SERIES BENEFACTOR Peter Hiatt & Ronald Huden Pamela Fink & Michael Bevan Leroy & Marybeth Dart (Between $5,000 and $9,999) Paul & Alice Hill Susan Fischer Misti Davis Anonymous Jonathan & Deborah Himmelfarb Albert Fisk & Judith Harris Susan & David Dolacky Randy Apsel Hsiao-Wuen Hon Corinne Fligner & Mark Wener Christopher Drajem Cristi Benefi eld Ann Hu Stuart Fountain & Thomas Highsmith Ian Einman Sharon Gantz Bloome Mary & Michael Hudspeth Sergey Genkin & Nelli Tkach Robin & Douglas Ferguson Lili Cheng & Yarom Boss Ilga Jansons & Mike Dryfoos Ramona Memmer & Lester Goldstein Gerald Folland Helen Curtis Mary E. & Giff ord Jones Christopher & Amy Gulick Gary Fuller & Randy Everett Richard & Nora Hinton Julia Kalmus & John Lillard Emile F. Haddad & Terryll Bailey Janet Geier & Peter Seitel Hugues Hoppe & Sashi Raghupathy Deborah Katz Susan & Richard Hall Earl & Nancy Grout Catherine & David Hughes Glenn Kawasaki, Ph.D. Steven Haney Supriya Kulkarni & Jayant Gupchup Yumi Iwasaki & Anoop Gupta Beverly & Otis Kelly Katherine Hanson & Michael Schick Rebekah Harris Karen Koon Randy & Kimberly Kerr Shawn Harmon David Hewitt & Marcia Wagoner Matthew & Christina Krashan Kelly Kleemeier & David Dickson Phyllis Hatfi eld Robert C. Jenkins Jeff rey Lehman & Katrina Russell Susan Knox & Weldon Ihrig Dr. Karen Henley & Marcia Kamin Bill & Meg Morgan Kayleen & Tony Kohler Dr. Laurie Goldman Mary & George Kenny Seema Pareek & Gurdeep Pall Leander Lauff er & Patricia Oquendo Susan Hert & William Levering III Leslie Kincaid & Nick Lawrence Don & Toni Rupchock Jeff rey & Barbara Mandula Janet Hesslein & Murl Sanders Frederick Klein IV Dave & Marcie Stone James & Rebecca McLean Robert Hirsch Eric Larson & Teresa Bigelow Donald & Gloria Swisher Tomilynn & Dean McManus Kate Hokanson Thomas & Rhoda Lawrence Richard Szeliski & Lyn McCoy Yoshi & Naomi Minegishi Randy & Gwen Houser Eli Livne, Ph.D. & Dr. Esther Karson Donna & Joshua Taylor Margaret Dora Morrison Joan Hsiao & James Bromley Dr. E. Ludman & Mr. D. Birch George Wilson & Claire McClenny Sayantani Mukherjee Brian Hulse & Julia Paden Gwendolyn Lundberg & Ellen Wallach & Thomas Darden James & Pamela Murray Melanie Ito & Charles Wilkinson David Aggerholm John O’Connell & Joyce Latino O. David Jackson Barbara Mack EVENT SPONSOR Gerald Parks H. David Kaplan Lynda Mapes & Douglas MacDonald (Between $2,500 and $4,999) Richard & Sally† Parks Ronit Katz & Hank Levy Donna McCampbell Anonymous Darcy & Enzo Paschino Aaron Katz & Kate Dougherty Ms. Mary M. Mikkelsen Anne-Lise & Scott Bean Kenneth & Monica Payson Marianne & Frederick Kiga Eric & Trisha Muller Sven & Melinda Bitners Michael & Susan Peskura David Kimelman & Karen Butner Caroline Normann Ross Boozikee Dick & Jill Rice Joseph & Anne-Marie Knight Nenita Odesa William Calvin & Katherine Graubard Joshua & Michelle Rodriguez Frank & Joanna Lau Harry & Mariette O’Donnell Heidi Charleson Joy Rogers & Robert Parker Chris & Tammy Laws Bryn Parish Leonard Costello & Patricia McKenzie Joseph Saitta Margaret Levi & Robert Kaplan James Phelps & Ena Urbach Susan & Lewis Edelheit Cathy Sarkowsky Betsy Lieberman & Richard Groomer Sasha Philip & Neil Bacon Gail Erickson & Phil Lanum Amy Scott & Stephen Alley Michael Linenberger & Sallie Dacey Wendy & Murray Raskind Davis Fox & Rosemary Coleman David Skar & Kathleen Lindberg Pierre & Felice Loebel Chet Robachinski M. Elizabeth Halloran Virginia Sly Dennis Lund & Martha Taylor Barbara & Mark Roller Elizabeth Hebert Carrie Ann Sparlin Melodie Martin & Kenneth Dayton Bette Round The Hokanson Family Robert & Robin Stacey Michael & Nancy Matesky Mig Schaaf & Stuart Dunwoody Tuck Hoo Ethel & Bob Story Robin McCabe Eric Schlegel & Mary Stout Bernita W. Jackson Bonnie Swailes Christopher & Mary Meek Laurie Snider Patricia & Paul Kimerer Dale Sylvain & Thomas Conlon John & Gail Mensher Patricia Tall-Takacs & Gary Takacs Kurt Kolb Lee & Judith Talner Kevin Murphy & Karen Freeman Robin Thomas Kimberly and Mark Parris John & Teresa Tippett Anne Stevens Nolan & William Nolan Diana & Richard Thompson Lois Rathvon Lorraine Toly John Nemanich & Ellendee Pepper Michelle & Stephen Turnovsky Gregory Wallace & Craig Sheppard Judy Tsou & David Carlson Amanda Overly Joella Werlin Rachel Warren Matthew Uyttendaele & Jason Reuer Sam Whiting Michelle Witt & Hans Hoff meister Elizabeth Johnston Carrie Rhodes John & Lynn Williams Manijeh Vail John Rochford & Nick Utzinger Deborah Wilson & Ngan Chong Teng DISTINGUISHED PATRON Michael & Courtney Vint Stephanie & Steve Rostad John V. Worthington (Between $1,000 and $2,499) Ernest Vogel & Barbara Billings Zoe Rothchild & Wade Kramer Osamu Yamamoto Joan Aﬄ eck-Smith & Nepier Smith Kathleen Wright & Dr. Martin Greene Scott Schenker Lee & Barbara Yates Kenneth & Marleen Alhadeff Marsha Wright† Sigmund & Ann Snelson Carol Young Gretchen & Basil Anex Igor Zverev & Yana Solovyeva Marcia Sohns & Mark Levy Maxine Zemko

A-24 MEANY CENTER FOR THE PERFORMING ARTS KEY PLAYER Hornoch & Candice McCoy / David & Barbara & James Luby / Naoko Forderer / Lisa Frenkel & (Between $100 and $249) Thomas / W. Michael Thompson / Mary Anne James Mullins / Anne Futterman / Daniel Gamelin Laila Adams / Kathryn Alexandra & Steven Rubey Thorbeck / Peter Thurlow / Phyllis Van Orden / / David & Anne Gilbert / Elizabeth Gilchrist & / Julie Anderson / Timothy & Susan Anderson / Yvonne & Bruno Vogele / Patricia Wahl & Dean John Clarkson / Katya Giritsky / Joan & Steven Anonymous / Colin Aymond & Julia Barrett / Kevin Wingfi eld / Debora & David Wakeley / Carol Goldblatt / Ludmila Golubev / Christie Hammond / Badgley / Bill Ballard / Laura & Jim Ballard / Ruth Wallace & Durlin Hickok / Grace Wang / Larry Krista Harris / James Heher & Leslie Fields / Judith & Mark Balter / Mike & Marie Bender / Robin & Lucy Weinberg / Ann & Richard Weiner / Lily Herrigel / Vada Higbee / Keri Holmboe / Mary Bentley / Beth Berman / Andrea Black / William Werner / Seiko Werts / Bruce & Christine White Anne Howard / Derek Howison / Chris Hurley Bogardus / David & Joyce Brewster / Kayla & / Karin Williams / Philip & Constance Winberry / & Marlys Erickson / James Jorgensen / Margot Carl Brodkin / Virginia Burdette & Gary Wieder / Donna Wolter / Carolyn Wood / Becky Woodworth Kadesch / Sandra & Daniel Kraus / Bruce Landon & Susan Buttram & David Frost / Robin Calderon / Alexander Wu / Evgueni & Tatiana Zabokritski / Atsuko Osawa-Landon / Bryan LaPorte & Kathleen / Beatriz Guimaraes / Frances Carr / Phyllis & Lawrence Zeidman & Linda Tatta Schroeder / Carla & David Lawrence / Joanne Laz / Alan Caswell / Robert Catton / Pamela & Robert Olivia Lee / Arlene Levy / Erika Lim / James & June Center / Leroy Chadwick / Michael & M. Gayle FRIEND Lindsey / Vivian MacKay / Larry Macmillan & Billie Charlesworth / Robert & Molly Cleland / Leslie & (Between $50 and $99) Young / Linda Maki / William & Judith Matchett / Libby Cohen / Richard & Dorothy Cole / Jan & Bill Suzanne & Marvin Anderson / Jill Bader / Carolyn Brian McHenry / Ted Mears / Sharon Metcalf & Corriston / Kathy Cowles & Bradford Chamberlain Bain & Victor Araya / Wendy & Jonathan Bannister Randall Smith / Sheree Miller & Benjamin Greer / Jean Crill / Gavin Cullen & David Jamieson / / Laura Baumwall / Elisabeth Beaber / Thomas / Susan Mulvihill & James Liverman / Colleen Janice DeCosmo & David Butterfi eld / Barbara Bird / Frances Blair / Ruth Blaw / Julia Bledsoe & Murphy / Ellen & George Naden / Mark Novak DeCoster / Paula Deutsch / Kathleen Dickeman Brian Johnston / Debra Booth / Lee Anne Bowie / Linda Oshins / Barbara O’Steen & Howard / Christine Disteche & Raymond Monnat / David / Keely Bowman Bell / Elaine Brighton / Shannon Mitchell / Judith Ostrow / Karen Peterson / James Doody & Michael Erickson / Jeanne Dryfoos / Bryan & William Molloy / Robert Burgess & Marie & Ruth Raisis / Michael Ramirez / Beverly & Eddie Laurie Ann & C. Bert Dudley / Robert & Donna Eble / James Burkman / Susan Butler / Zbigniew Reed / Cynthia Richardson / Ellen & Dan Roach Dughi / Kathleen & Edward Dunn / Margaret Butor / Leo Butzel & Roberta Reaber / Charlotte / David & Joanne Rudo / William Sandal / Mary Dunn / Deborah & L. Jay Field / Sally & Jeff Eagan / & Wiliam Byers / Linda & Peter Capell / Christine Schlater / Stephen & Loretta Schuler / Herbert Jeremy Ekonian / Lynne & Hollie Ellis / Lynda Emel & Paul Carr / Marian Childs / Mona Ching / Erica & Elaine Selipsky / Diane Shannon / Frederick & Carter Bentley / Patricia Emmons & Shmuel Coleman / Marjolyn Conrad / Patricio Conteras Simons / Robert Simpson Jr. / Hazel Singer & John El-Ad / Marilyn Endriss / Jean Falls / Youssef & / Andrea Copping & Alan Christie / Barbara Griﬃ ths / Martine Smets / Christopher & Ann Valerie Faury / Polly & Eric Feigl / Melanie Field Courtney / Scott Crawford / Carol Cummings / Smith / Douglas & Katherine Smith / Sara Smith / Brenda Fong / Jacqueline Forbes & Douglas Christopher Curry / Annette de Soto / Celeste / Hank & Dorothy Stephens / Marcia & Douglas Bleckner / Susanne Foster / William Friedman & Eduardo Delostrinos / Martha Dietz / Janice Stevenson / Mark Sullivan / Cheryl Uyeji / Arthur / Susan & Albert Fuchs / Kai Fujita / Matthew Dilworth / William & Laura Downing / Michael & Harriet Vogel / Joseph & Greta Ward / Jenna Gani / Stanley & Marion Gartler / Brian Giddens Dryja / Robin Dushman & Richard Salomon / Warren / Gail & John Wasberg / Jenny Whitmer / & Steve Rovig / Harold Gillies / George Gilman / Richard Eide / Robert Eisenman & Ingrid Lahti / Susan Whitmore / Karl & Jill Woelfer / Mark & Amy Sara Glerum / J. David Godwin & Virginia Reeves William Elwell / Elizabeth Erickson / Susan Ewens Worthington / Robert Zauper / Susan & Russell Goedde / Catherine Gorman / Gene Graham / Frank & Susan Grijalva / Chris Gross / Lynn Hagerman & James Hummer / Willa This listing includes endowment founders and endowment donors from July 1, 2018 to June 30, 2019. & Walter Halperin / Shuko Hashimoto / John & For more information on how to make a gift through your will or trust, or to name Meany Center Geraldine Hay / Kathryn Heafi eld & Guy Sattler / Richard & Tandy Hennings / Doris & Percy Hill / for the Performing Arts as a benefi ciary of your retirement plan or insurance policy, please call Alix Wilber & Andrew Himes / Peter Hoff meister 206-685-1001 or 800-284-3679 or visit www.uwfoundation.org/giftplanning. & Meghan Barry / Danae Hollowed / Sue Hou / Patricia Hynes / Belle Imm / Richard & Rosemary James / Sibyl James / David Johnson / Linda & Christopher Johnson / Robert Johnson & Heather Erdmann / Duane & Erica Jonlin / Danielle Joyce / Michael & Nancy Kappelman / Paul Kassen / James & Elaine Klansnic / Adam Kline & Genie Middaugh / Nancy & John Kloster / Joan Klyn / Jean & David Koewler / Glen Kriekenbeck & Quentin King / Divya Orlando Krishnan / Amelia Kwan / Rosalie Lang / Inge & Leslie Larsen / Deborah & David Larson / Lauren & David Lawson / Teresa Lawson / Peter LeVeque / Kathryn Lew & Dennis Apland / Lisa & Ross Macfarlane / Sara Magee / Lynne Magie / Suresh SION OF JOAN OF ARC & Anjali Malhotra / John & Katharina Maloof / THE PAS Constance Mao / Wendy Marlowe / John Martines Consort & Joel Gibson / Tessa Matthey & Peter Durkee / Lila May / Mary V. McGuire / Robert & Catherine FEBRUARY 4 McKee / Susan L. McNabb / Robin Mendelson & Joss Delage / Gabrielle Metz-Virca / Michael & Sarajane Milder / Linda Mitchell / Reza & Carol Moinpour / David Morris / Roger Morris / Anne Morrison / Christine Moss / Linda & Alan Murray / Joseph & Kay Neal / Cynthia L. Doll & Greg C. Nelson / Marianne Nijenhuis / David Norman / Colette Ogle / Martin Oiye & Susan Nakagawa / Simon & Carol Ottenberg / Robert Otto / Gloria & Dan Overgaard / Angela Owens / David Owsiany & Everett Seven / Cathryn Palmer / Elizabeth Park / Gerald Paulukonis / Jeanne Peterson / Lisa Pfeiff er / Zaiga Phillips / Sandra Piscitello / Susan Porterfi eld / Amit Ranade & Jennifer Faubion / Dennis Reichenbach / Meryl Retallack / Carrie Richard / Carla Rickerson / Paula Riggert / Rachel & David Robert / Sam & Josie Roskin / John & Janet Rusin / Margaret Sandelin / Laura Sargent Carl Theodor Dreyer’s silent fi lm La Passion de Jeanne d’Arc (1928) / Charles Schooler / Mary Jo Schreifels & Ronald accompanied by Britain’s celebrated early music vocal ensemble. Jones / Jean Schweitzer / Noah Scooler / Roberta Sherman & Charles Meconis / John Sindorf & Mary Ann Bolte / Mani & Karen Soma / Harold TICKETS & Ruth Spalter / Eric & Beatriz Stollnitz / Derek MEANYCENTER.ORG Storm & Cynthia Gossett / Annette Strand & Tim Groggel / Pamela Stromberg / Carol Swayne & 206-543-4880 Guy Hollingbury / Brian Taberski / Peter Tarczy-

encorespotlight.com A-25 ENDOWMENT AND PLANNED GIFTS Many thanks to the following individuals for supporting the future of Meany Center through planned gifts and contributions to our endowment:

Planned Gifts Matt Krashan Endowed Fund Anonymous for Artistic & Educational Excellence Linda & Tom Allen in the Performing Arts Ellsworth C. & Nancy D. Alvord† Lee & Judy Talner Wimsey J.N. Cherrington (*Multiple Founders) Consuelo & Gary Corbett Bill† & Ruth Gerberding Live Music for World Dance Series Matthew & Christina Krashan Endowed Fund Tomilynn & Dean McManus Kai Fujita Margaret Dora Morrison Bernita Wilson Jackson Cecilia Paul & Harry Reinert Sayantani Mukherjee Mina B. Person† Cecilia Paul & Harry Reinert* Lois Rathvon Lorraine Toly Dave & Marcie Stone Donald & Gloria Swisher Meany Center Education Endowment Lee & Judy Talner Kalman Brauner & Amy Carlson “If I have seen a Ellen J. Wallach Jill Conner Kathy Cowles & Bradford Chamberlain little further, it is Ellsworth C. & Nancy D. Alvord Jacqueline Forbes & Douglas Bleckner Endowed Fund only by standing Estate of Ellsworth C. Alvord* Meany Center Programming Lynda Mapes & Douglas MacDonald Endowment Fund on the shoulders Philip & Constance Winberry Arts Al!ve Student Fund for Exploring of Giants.” the Performing Arts Mina Brechemin Person Endowed Fund — BERNARD OF CHARTRES Frances Blair Estate of Mina B. Person* Doris & Percy Hill Derek Howison Gloria Wilson Swisher Music From Haydn to Mozart to Susan Knox & Weldon Ihrig* Education & Outreach Endowment Beethoven to the Beatles, Belle Imm John & Nancy Angello each generation owes its James Jorgensen Bernita Wilson Jackson progress to the ones that Donald & Gloria Swisher* came before. Sylvia & Steve Burges Meany Center George Wilson & Claire McClenny for the Performing Arts Endowment Deborah Wilson & Ngan Chong Teng Sylvia & Steve Burges* You, too, can be a giant.

Nancy & Eddie Cooper Endowed Fund Matching Corporate Gifts CONSIDER A GIFT to the for Music in Schools Adobe Systems, Inc. Meany Center through your Dave & Marcie Stone* AT&T Foundation Chevron Corporation will, trust or retirement plan, Katharyn Alvord Gerlich Endowment City of Seattle and help future generations for Artistic Excellence East West Bank of artists and arts lovers see Katharyn Alvord Gerlich* Google, Inc. IBM Corporation a little further by standing on Intel Corporation your shoulders. Elaine & Ernest Henley Endowment Merck Company Foundation for Classical Music Microsoft Corporation Katherine Hanson & Michael Schick Contact: Puget Sound Energy † Elaine & Ernest Henley* Shell Oil Company Cristi Benefi eld, Director of Dr. Karen Henley & Dr. Laurie Goldman State of Washington Philanthropy, Meany Center John Martines & Joel Gibson The Boeing Company 206-616-6296 The K Foundation Catherine & David Hughes T-Mobile USA, Inc. [email protected] Asian Programming Endowment U.S. Bank meanycenter.org/donate Catherine & David Hughes* United Way of Greater Los Angeles Ann Hu United Way of King County Amelia Kwan United Way of Snohomish County Sayantani Mukherjee Wells Fargo, LLC

*Endowment Founder †Deceased This listing includes endowment founders and endowment donors from July 1, 2018 to June 30, 2019. For more information on how to make a gift through your will or trust, or to name Meany Center for the Performing Arts as a benefi ciary of your retirement plan or insurance policy, please call 206-685-1001 or 800-284-3679 or visit www.uwfoundation.org/giftplanning.

A-26 MEANY CENTER FOR THE PERFORMING ARTS MEANY CENTER INSTITUTIONAL SUPPORTERS We are deeply grateful to the following corporations, foundations and government agencies whose generous support make our programs possible:

$100,000 AND ABOVE

The Andrew W. Mellon Foundation

$25,000 AND ABOVE

Classical KING FM 98.1* / National Endowment for the Arts Nesholm Family Foundation / Tateuchi Foundation

$10,000–$24,999

4Culture / ArtsFund / Boeing / Microsoft Seattle Oﬃ ce of Arts & Culture / U.S. Bank

UP TO $9,999

Banner Bank / Horizons Foundation / KEXP 90.3 FM* Ladies Musical Club / Peg and Rick Young Foundation Western States Arts Federation / Scan | Design Chamber Music America

BUSINESS CIRCLE SPONSORS

Classical Wines from Spain / Fran’s Chocolates* Macrina Bakery* / Pagliacci* / University Inn* Watertown Hotel*

CAMPUS + COMMUNITY PARTNERS

Arts Impact / ArtsUW / Burke Museum / Cornish College of the Arts / Department of Near Eastern Languages and Civilization / Henry Art Gallery Ladies Musical Club / Langston Hughes Performing Arts Institute / Live Music Project / Nordic Heritage Museum Seattle Art Museum / Seattle Music Partners Seattle Public Schools / Second Inversion UW Alumni Association / UW American Indian Studies UW Canadian Studies / UW Dance Department UW Intellectual House / UW First Year Programs UW Graduate School / UW Libraries UW Residential Life Program / UW School of Drama UW School of Music / Velocity Dance Center

*Denotes full or partial gift in kind. Join an impressive roster of companies of all sizes that support Meany Center, its mission, and its performances. Sponsors receive signifi cant recognition throughout the season and an array of benefi ts catered to your organization’s goals. For more information, please contact the Meany Center Philanthropy Department at 206-685-2819.

encorespotlight.com A-27 MEANY CENTER AND ARTSUW TICKET OFFICE STAFF

Michelle Witt, Executive and Artistic Director Rosa Alvarez, Director of Patron Services Melanie Muradian, Assistant to the Executive Director Liz Wong, Assistant Director of Patron Services Keeli Erb, Patron Services Associate Sarah Wilke, Senior Director for Planning and Operations Colette Moss, Patron Services Associate Abbey Willman, Patron Services Associate Michelle J. Ward, Director of Finance Cathy Wright, Patron Services Associate Yevgeniy Gofman, Accountant Eric Schielmann, Fiscal Specialist Patron Services Assistants Elaine Currie Elizabeth C. Duff ell, Director of Artistic Engagement Kelli Hong Kaeline Kine, Artist Engagement Coordinator Julia Loyd Kristen Kosmas, Creative Fellowships Coordinator Merewyn Lynn Charlotte Schoen, Student Engagement Intern Kendall Massey Paquita Esterly, Green Room Student Assistant Leanna Naji Alexandria Exley, Artist Engagement Student Assistant Mariama Sidibe Maria Rivera, Artist Engagement Student Assistant Lauren Widaman

Cristi Beneﬁ eld, Director of Philanthropy Lead Ushers Alix Wilber, Grants and Communications Manager Ana Constantin Erin Candee, Annual Giving & Events Manager Lindsay Hanlon Cadence Luchsinger, Philanthropy Student Assistant Laura Keil Arthur Grossman, Phil Lanum, Photographers Raine Myrvold

Teri Mumme, Director of Marketing and Communications Ushers Cynthia Mullis, Marketing and Communications Manager Emily Asplin Francesca Penchant, Graphic Designer Greta DuBois Dan Neifert, Graphic Design Intern Connor Espig Kenny Pham, Marketing Assistant Rachel Fung Charlie Glaser Laura McKee, Tessitura Administrator Janani Iyer Gretchen Shantz, IT Administrator Pearl Lam Daniel Matheson Tom Burke, Technical Director Gio Navarro Brian Engel, Lighting Supervisor Pihla Pekkarinen Juniper Shuey, Stage/Video Supervisor Ignacio Re Matt Starritt, Audio Supervisor Sara Rraklli Doug Meier, Studio Theatre Stage Technician Samantha Schrantz Owen Stevens Nancy Hautala, Audience Services Manager Ashley Techavimol Noah Duff y, Lead House Manager Joslyn Thomas Levi Sy, House Manager Emma Turner

Catering by

A-28 MEANY CENTER FOR THE PERFORMING ARTS LINDSAY THOMAS

KEVIN CLARK DIALOGUE ‘Corduroy’ is aBeautiful All Ages you talk to me about what it means means it what about me to you talk Can life. their in a child with book this shared they’ve or childhood own their from it remember they with association there’s folks, many achildhood so For Mohlman: Danielle to life. favorite childhood this tobring it means what about of start before the spoke with debut directing Theatre Children’s Seattle her director,making prolific Why Netflix’s in (The choreography screen. the and stage on the credits with She’s incredible an Season at Village Theatre andoriginatedtherole ofLizin Judy in an accomplishedactor who,lastseasonalone,played VanKathryn Meter’s work,eitheronstageoroff.She’s If you’re anavid theatregoer, chancesare you’ve seen by Gift forGift Audiences of For Van Kathryn Meter, DANIELLE MOHLMAN —that’s her.) she’s And a Corduroy The CuriousIncidentoftheDoginNight-Time at SeattlePublic Theater. Thirteen Reasons Reasons Thirteen this winter. We this Corduroy choreographer choreographer rehearsals rehearsals —either —either Corduroy both remember old Ideeply and “The bear?!” 50 is years book This Isaid, project this doing about me director] approached artistic [SCT’s Sale Courtney when And choreographer. a as primarily decades, several last for the Children’s Theatre Seattle on at the love. I’veI really and worked off now?” bear Which “Whyday this other the said my friend as Or Van Meter: Yes, yes. Kathryn now? play this play the direct to And to take something that we have we have that something totake And tremendously. books both just loved I of my childhood. ahugeas part and and A Pocket for Corduroy A Pocket Corduroy Fire ? Why ? Why messes are really exciting. exciting. really are messes I think theatre. the in made being mess actual I see when excited really get Iparticularly And hero’s of the versions journey. beautiful these have both They goal. for their strive they as way the along messes spectacular these just making they’re both And on herallowance. advance an to get ways exciting and new out to figure trying evening her Corduroy. through going She is hermom get her to let convince to doing is Lisa side side by what shows also play adaptation the way. the along And he makes the buttons—andhis to find trying Corduroy with deals much pretty mom’sher book house. the So and at Lisa happening is what on expands The play really holidays. the around Especially gift. unbelievable an such like feels audience of amultigenerational put front love it of and in a great delicious spectacular mess mess spectacular delicious encorespotlight.com Van Meter. Director of Corduroy Kathryn Kathryn 9

I deeply remember both Corduroy and A Pocket for Corduroy . . . And to take something that we have a great love of and put it in front of a multigenerational audience feels like such an unbelievable gift. Especially around the holidays. —Kathryn Van Meter

And messes that feel like messes. laugh so hard they can’t breathe? the imagination and delight of Like, real messes. Not staged This show is that kind of fun. kids in particular, to give them messes. And it’s a tricky time that we’re the opportunity to see things in. And the opportunity to be in transform in front of them, feels Yeah! And I think that’s really communion with our community like a beautiful gift to give. fun. So the piece is two distinct and create that kind of laughter feels. One of them is just pants feels really exciting. And the And there’s something that really wettingly funny slapstick—old most wonderful thing about does charge a cast to see and hear school clown physical comedy. theatre for young audiences, no really young people in the audience. And then underlying all of that is matter what age you are, when And part of that is because the this beautiful, touching, tender you step inside that theatre you reactions are so audible and imme- story of how we are awakened give yourself permission to be diate. It’s different from playing to when we meet a new friend. a younger version of you. And I an audience of adults who are polite And how that awakens a part think there’s a softening that can or exhausted. For so many reasons, of us we didn’t know was there. happen in an extraordinary way. we think that adults are content And the ability to have both of to be quieter at performances. those things side by side in a And for some audience members, But the gift of the sounds that production is really exciting. this might be their first live theatre the kids make is pretty exciting. experience. I noticed that this show is being Before I let you go, I have to ask. advertised for ages three and up. And that’s a tremendous honor Do you have a favorite holiday What excites you about directing and responsibility. You know, tradition? with this young audience in mind? one of my first mentors many, many years ago was giving an I do! So, in the 80s, my parents Young audiences are the most opening night speech to the cast recorded A Muppet Family Christmas honest audience you can perform and he said, “Every time you and a Sesame Street Christmas for. If they love it, they’ll tell you. perform, you’ve got to remember special on our VCR. And a couple If they don’t love it, they’ll tell that somebody in that audience— of years ago, my sister-in-law you. And so there’s something if not more than one—really converted it to DVD, so now I about that immediacy that is sacrificed something to be there.” watch that every Christmas. so exciting to make theatre for. They chose to do that. And I And the great thing about it is it You know that giggle where they think the opportunity to ignite still has all the commercials. SEATTLE CHILDREN’S THEATRE CHILDREN’S SEATTLE

10 I was just going to ask what those commercials were like.

There’s a lot of OshKosh B’gosh. There’s a lot of Doublemint gum, with all the twins. And there’s a lot of (sings) “I’ve got that M&M feelin’.” It’s pretty great. That is my holiday tradition. Muppet Family Christmas—with the commercials.

Corduroy will play at Seattle Children’s Theatre November 21–December 29. Tickets are available online at www.sct.org.

Danielle Mohlman is a Seattle-based playwright and arts journalist. She’s a frequent contributor to Encore, where she’s written about everything from the intersection of sports and theatre to the landscape of sensory-friendly performances. Danielle’s work can also be found in American Theatre, The Dramatist and on the Quirk Books blog. daniellemohlman.com SEATTLE CHILDREN’S THEATRE CHILDREN’S SEATTLE

encorespotlight.com 11 Intermission Brain Transmission

Why stare at your phone for the hundredth time today when DIALOGUE you could treat your brain to this scintillating trivia quiz. Better yet, send us your answer to the bonus question for a chance to win tickets to an upcoming performance.

The Bishop’s Wife: A Live Radio Play can be seen at Taproot Theatre beginning 1 November 27 through December 28. This is an adaptation of a 1947 film, which itself was based on a novel. In the film, David Niven and Cary Grant play a bishop and guardian angel. Who stars in the title role?

A Loretta Young B Deborah Kerr C Anne Sheridan D Betsy Drake

At ACT Theatre, A Christmas Carol will be performed November 29 through 2 December 28, as it is every year. This beloved adaptation was written by a legend of Seattle theatre and founder of ACT. Whom is it?

A Gregory Falls B Arne Zaslove C Stephen Dietz D Daniel Sullivan

November 29 through December 29, Howl’s Moving Castle will play at Book-It 3 Repertory Theatre. This musical features Rachel Guyer-Mafune as heroine Sophie Hatter. Who played this character during the premiere run of this show in 2017?

A Keiko Green B Jasmine Jean Sim C Sara Porkalob D Christine Marie Brown

December 12–14 at Meany Center, UW Creative Research Fellow Daniel 4 Alexander Jones will perform the new musical Black Light, starring his alter-ego, Jomama Jones. A theatrical powerhouse, Jones is a proponent and practitioner

of what esoteric movement? experiences.” transformative and toward creating emancipatory emancipatory creating toward

approach to art making geared geared making art to approach

A Theosophy holistic a engage Afromysticism

esoteric processes, ideas of of ideas processes, esoteric

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C Rolfing work: Jones’ about page web

4—B Afromysticism. From UW’s UW’s From Afromysticism. 4—B

D Dialectical meditation Awards. Norton Elliot two and

has won three Gregory Awards Awards Gregory three won has

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Seattle-based theatre artist’s artist’s theatre Seattle-based

him. 3—C Sara Porkalob. The The Porkalob. Sara 3—C him.

BONUS for named were region, the in

What was the last arts performance you awards community-focused

significant technical, artistic and and artistic technical, significant

attended that you liked best and why? most the Awards, Gregory The

2—A Gregory Falls. Falls. Gregory 2—A Daughter. The Farmer’s Farmer’s The

Email your answer with “Trivia Quiz” in the subject line in work her Award for Best Actress for for Actress Best for Award

to: [email protected] or post your Academy 1948 the win to on answer to social media and tag @encorespotlight. went She Young. Loretta 1—A

12 DIALOGUE

Carrie Compere is Ready to Channel Sister Rosetta Tharpe in ‘Shout Sister Shout!’

by DANIELLE MOHLMAN Actor Carrie Compere who will play Rosetta Tharpe in Shout Sister Shout!

When I spoke with actress Carrie Compere mere days before Shout Sister Shout! rehearsals were scheduled to begin at Seattle Rep, her excitement surrounding Sister Rosetta Tharpe and this play was palpable.

“I think the thing that I’m most Carrie Compere: Yeah and it’s so know who she really was and what excited about, is for people to hear cool because the first time I ever she did for music is really amazing. about who she was,” Compere said, heard about Rosetta Tharpe—the adding that Tharpe’s contribution very first time I ever heard her Yeah. And one thing I find really to rock and roll wasn’t just musical, name mentioned—I happened to be fascinating, the more I learn about it was cultural as well. “That this on my first tour that I was in. And her and the more she comes up in beautiful black woman from the we were in Memphis and went to these pop culture conversations, is middle of nowhere influenced so go visit Graceland. And there was the fact that her queerness was left much of what we hear today—I’m a man there with a small group of out of the conversation for a very just glad her name is going to people—I don’t know if they were long time. start to ring out there, you know?” his family or if he was giving a And as we continued to discuss tour or what. And he sounded like And the play has tones of that, but The Godmother of Rock ‘N’ Roll, he was from Great Britain. He was it’s not overt. And I think that— that excitement only grew. the one who mentioned her! And now, I don’t know—but I think he was talking about how Elvis had that’s just out of respect for how Danielle Mohlman: I’ll admit that been influenced by Sister Rosetta. Rosetta handled it in her own life. I didn’t learn about Sister Rosetta And the way he talked about her, She never really talked about it in a Tharpe until probably two years ago he was so excited, and I was just public forum. Behind closed doors, when the book that Shout Sister like, “Oh this woman must have when she was in areas where she Shout! is based on started making been something else.” You know? felt comfortable, that was some- the rounds again. I was like “Who’s Because that was the very first time thing she felt free to display. But this? I need to know more!” I’d ever heard about her. And to now in the script, they do touch on her SEATTLE REP SEATTLE

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“That this beautiful black woman from the middle and terrified to really dig into the actual play. And I feel completely of nowhere influenced so much of what we hear supported by our creative team and our music department. But before today—I’m just glad her name is going to start to this experience, I had never played ring out there, you know?” guitar before in my life. So, for me, this was something that on the —Carrie Compere onset looked insurmountable. So, it’s just been me spending time with the guitar. Sometimes I will literally just strap the guitar on my relationship with Marie Knight and more than just these lyrics. She’s shoulder and just walk around the how they loved each other beyond just so rooted and grounded in house—just really trying to develop the sisterly way. But they build it in gospel music—and in the message a relationship with this instrument. a way that’s respectful to Rosetta. that she wanted to bring to the world. She’s a woman of faith. And Because for Rosetta it wasn’t And it’s wonderful to hear you I am as well. And it resonates so just her instrument. It was an portray it that way—in respect deeply with me, you know? And extension of who she was. And to her and the way she lived her it’s an upbeat song. (Sings) “Up sometimes when she wasn’t being life. Because it was a completely above my head / I hear music in confident—when she wasn’t different time and it wasn’t safe to the air / And I really do believe / speaking—you could see the way be public about sexuality—not in There’s a Heaven somewhere.” she was holding the guitar, as if she that way. was speaking through the guitar. And you know she believes that. She was using the guitar to express Absolutely. And she was a woman And she’s singing it and she’s what she was trying to say, or to who came from not only American playing her guitar and she’s support what she was saying. And culture where it was such a sweating—and she’s giving Rosetta! Oh my god, her speed? taboo [in the 1930s and 1940s] everything. You know, in the Her tempo? It’s otherworldly. It’s but also in the church culture. book Shout, Sister, Shout!—and I’m amazing what this woman did. paraphrasing this—one of her Do you have a favorite Sister friends said there’s a difference Shout Sister Shout! runs November 8 to Rosetta Tharpe song? Maybe between just singing the song and December 22 at Seattle Rep. Tickets are one you’re excited to dig into in having a relationship with the available at seattlerep.org or by calling 206.443.2222. rehearsal? words you’re singing about. And that’s who Rosetta was. It went I don’t know if I have a favorite. I so far beyond just the music. love “Up Above My Head” and the words are so simple. “Up above Do you have a favorite moment from Danielle Mohlman is a Seattle-based my head, I hear music in the air.” the play that you’re really looking playwright and arts journalist. She’s a I think the reason why I love it forward to digging into in the frequent contributor to Encore, where so much is because I’ve watched rehearsal room? she’s written about everything from her perform it over and over and the intersection of sports and theatre over again. I’ve been watching Oh man. Right now I’m learning to the landscape of sensory-friendly videos of her and—I’m going to the electric guitar and acoustic performances. Danielle’s work can also get emotional right now—but once guitar. Because that’s how she be found in American Theatre, The she’s singing it, you know that established herself in rock and Dramatist and on the Quirk Books blog. she’s talking about something roll, with her picking. I am excited www.daniellemohlman.com JULIETA CERVANTES JULIETA

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