An Evening of Enchantment Project Coordinator: SIMON MORRISON Conductor: ANTHONY D.J. BRANKER Musical Assistant: RUTH OCHS Set Designer: RICCARDO HERNANDEZ Costume Designer: ANITA YAVITCH Lighting Designer: AARON COPP Dramaturg: MICHAEL CADDEN Production Manager: DARRYL WASKOW THIS PROJECT IS GENEROUSLY SUPPORTED BY Office of the President, Princeton University Office of the Dean of the Faculty Center for African American Studies Program in American Studies Department of Comparative Literature The Edward T. Cone Fund in the Humanities Council Lewis Center for the Arts Department of Music PNC Bank Princeton University Library Tiger Baron Foundation, lnc. Program in Russian and Eurasian Studies Department of Slavic Languages and Literatures TABLE’S CLEAR Director/Choreographer: Tina Fehlandt Music: Paul Lansky, Table’s Clear (1991) Dancers: Julie Rubinger ’09, Jennie Scholick ‘09, Elizabeth Schwall ‘09 Choreographed in collaboration with the dancers Music Note about Table’s Clear from Paul Lansky Table’s Clear is an electronic work in which the sound sources are those of my two sons, Caleb and Jonah, aged 8 and 13 at the time, in our kitchen banging on pots, pans and anything else they could get their hands on (including themselves). The sounds were then altered and arranged on the computer to create a fantasy that begins realistically, then becomes superhuman, and finally returns to reality. It is 18 minutes long and available on a Bridge CD entitled Homebrew. Table’s Clear and Krazy Kat run together without a pause. Krazy Kat uses the last three minutes of the Table’s Clear music before the orchestra begins playing Carpenter’s music. KRAZY KAT Director/Choreographer: Tracy Bersley Music: John Alden Carpenter, Krazy Kat: A Jazz Pantomime (1921) Musicians: Princeton University Concert Jazz Ensemble, Sinfonia, Orchestra and Invited Guest Musicians Dancers: Chloe Davis ‘12 (Walter Cephus Austridge), Sarah Fingerhood ‘11 (Krazy Kat), Arielle Sandor ‘12 (Officer Pupp), Molly Silberberg ’11 (Terry P. Turtle), Ana Sollitto ‘11 (Ms. Kwak Kwak), Joel Zinn ’13 (lgnatz Mouse) Choreographed in collaboration with the dancers Music Note about Krazy Kat from Simon Morrison John Alden Carpenter’s jazz pantomime Krazy Kat (1921) is based on George Herriman’s comic strip of the same name. The score, the first orchestral work to use the word “jazz” in its title, includes parodic allusions to Scott Joplin, Claude Debussy, and Richard Strauss, among other composers. The climatic ballroom scene of the original scenario bears the title “Katnip Blues.” Director/Choreographer Note about Krazy Kat from Tracy Bersley Welcome to the world of George Herriman’s Krazy Kat, a comic strip published weekly from 1913-1944. The premise: a curious “love” triangle involving Krazy, Ignatz Mouse, and police dog Officer Pupp, where Krazy mistakes bricks thrown by the mouse as a sure sign of his affection, and Pupp strives to protect Krazy from Ignatz’s sinister plans. In the spirit of Herriman’s surrealism and playfulness, we created this piece through the lens of a NYC purgatory: the subway, where strangers meet and stranger things can happen. INTERMISSION THE TOY BOX Director/Choreographer: Rebecca Lazier Assistant: Jennie Scholick ’09 Music: Claude Debussy, The Toy Box (1913) Musicians: Princeton University Concert Jazz Ensemble, Sinfonia, Orchestra and Invited Guest Musicians Tableau I: Ensemble - Kathlyn Adamson ’11, Alexis Branagan ’11, Sarah Fingerhood ’11, Daniel Gilday ’11, Gretchen Hoffmann ’13, Chloe Markewich ’12, Margaret McNamara ’13, Yael Nachajon ’12, Ben Oliver ’10, Sydney Schiff ’10, Eva Marie Wash ’11 (Fri. Eve. & Sat. Mat.), Bridget K. Wright ’11 (Thur. Eve. & Sat. Eve.) Tableau II: Ensemble and Duet - A.J. Brannum ’13 and Eva Marie Wash ’11 (Thur. Eve. & Sat. Eve.) or Bridget K. Wright ’11 (Fri. Eve. & Sat. Mat.) Tableau III: Duet Tableau IV: Ensemble and Duet Choreographed in collaboration with the dancers, Shawn Cruz ’10, Christine Mak ‘13 and Sarah Simon ’13 Music Note about The Toy Box from Simon Morrison The Toy Box is both a tribute to childhood and a look back at the composer’s favorite musical influences. The music is often restless, evocative of an inquisitive toddler, with toy-sized quotations from Igor Stravinsky jostling with others from Felix Mendelssohn, Modest Mussorgsky, Maurice Ravel, and Richard Wagner. The music dates from 1913 and was left partially un-orchestrated at the time of the composer’s death in 1918. Most available recordings use an orchestration completed by Debussy’s disciple Andre Caplet. I located an unknown version of the score at the Russian State Archive of Literature and Art that includes a “jazz overture” and diverges from the familiar orchestration. This performance is the first time this version of the score has been heard since the 1920s (the Moscow Chamber Theater premiered it in 1918, and then took it on tour). Director/Choreographer Note about The Toy Box from Rebecca Lazier The choreography and narrative are original to this production. Between 1918 and today there have been many performances of the score with different choreographic, directorial and visual concepts, including productions with puppets, children and marionettes. For this production we worked collaboratively to create an imaginary and timeless space that furthers Debussy’s play with musical ideas with choreographic and physical play and builds an abstract narrative about being transformed by our sense of discovery and curiosity. BIOGRAPHIES Tracy Bersley (Director/Choreographer) received her MFA in directing from Syracuse University. She has directed: Alice! (Dorset Theatre); Sunjata (Loft); Tibet’s Red Box (HERE, Lincoln Center Lab); Awful Rowing Toward God (Ontological); A Winter’s Tale & A Streetcar Named Desire (Princeton); Macbeth (Syracuse Stage); Blood Wedding & Hair (NYU); Measure for Measure, Green Bird (Purchase Repertory, SUNY). Bersley has choreographed: Paris Commune (Civilians/Public); Pericles, Revenger’s Tragedy, Duchess of Malfi(Red Bull); Max and Ruby (Lortel/TheatreWorks); Jane Eyre, Tempest (Acting Company); Romeo & Juliet (Williamstown); St. Joan of the Stockyards (P.S. 122); Vendetta Chrome & Punk Play (Ohio Theatre); 12th Night (Juilliard); Perfect Wedding (NYU Grad); Quixote (Philadelphia). Currently, On the Levee, (Lincoln Center, LCT3). Anthony D.J. Branker (Conductor) holds the endowed chair of the Anthony H.P Lee ’79 P11 Senior Lecturer in Jazz Studies, serves as Associate Director of the Program in Musical Performance and is Conductor of University Jazz Ensembles at Princeton University. He has served on the faculties of the Manhattan School of Music, Rutgers University Mason Gross School of the Arts, Hunter College of the City University of New York, Ursinus College, New Jersey Summer Arts Institute, and was a U.S. Fulbright Scholar and visiting professor at the Estonian Academy of Music and Theatre in Tallinn, Estonia. As a conductor, Professor Branker has appeared with the Jugend Sinfonie Orchester (Bremen, Germany), Israel’s Kiryat Ono Symphonic Youth Band, Japan’s Fukui Junior Orchestra, and has led performances that have featured the Princeton University Orchestra, Sinfonia, Chapel Choir, Glee Club/Concert Choir, and Gospel Ensemble. He has also collaborated with the Juilliard Jazz Orchestra on joint big band performances of Duke Ellington and Billy Strayhorn’s Far East Suite and Ellington’s New Orleans Suite at McCarter Theatre in Princeton. Michael Cadden (Dramaturg) is currently enjoying his 27th year of teaching at Princeton. For 16 years, he served as Director of the Program in Theater and Dance. Beginning in 2009-2010, with the appointment of Susan Marshall as the first Director of Dance, he became Director of the Program in Theater. He began his career at Yale, as a dramaturg at the Yale Repertory Theatre under Lloyd Richards and a lecturer in the dramaturgy, directing and acting programs at the Yale School of Drama. Since 1981, he has been on the faculty of the Bread Loaf School of English, teaching on their campuses in Vermont, New Mexico, Alaska and at Oxford University. His work focuses on modern and contemporary playwrights, as well as classical theater in performance. Aaron Copp (Lighting Designer) recently provided lighting designs for Yo-Yo Ma, Philip Glass, Merce Cunningham, Eliot Feld and Laurie Anderson. Copp designed the highly regarded Kennedy Center revival of The Glass Menagerie, directed by Gregory Mosher and starring Sally Field; he has also designed frequently at the Old Globe Theatre in San Diego, most recently winning a San Diego Theater Critics Award for Joe Hardy’s production of Bus Stop. Copp has worked extensively in the dance world, most recently receiving his second Bessie Award for Jonah Bokaer’s The Invention of Minus One. He had a long association with Merce Cunningham, designing such pieces as Ground Level Overlay, Windows and Biped, for which he also won a Bessie. Tina Fehlandt (Director/Choreographer) is a Lecturer in Dance in the Lewis Center of the Arts at Princeton University. She is a founding member of the Mark Morris Dance Group and danced with the company for 20 years. Her choreography has been performed by Houston Ballet II, Barnard College, Trinity College, Deep Ellum Ensemble, and at the American Ballet Theatre Summer Intensives. Special thanks to the dancers for their fantastic contributions to the work; to Paul Lansky for use of his amazing music; and to Nathaniel and Samuel Lee for keeping the home fires burning. Riccardo Hernandez (Set Designer),