2015 Next Wave Festival DEC 2015

Shinique Smith, Abiding Light, 2015

Published by: Season Sponsor: #BAMNextWave #SteelHammer

Brooklyn Academy of Music

Alan H. Fishman, Chairman of the Board

William I. Campbell, Vice Chairman of the Board

Adam E. Max, Vice Chairman of the Board

Katy Clark, President

Joseph V. Melillo, Executive Producer Steel Hammer

BAM Harvey Theater Dec 2—5 at 7:30pm; Dec 6 at 3pm

Running time: one hour & 55 minutes, no intermission

Julia Wolfe and SITI Company Bang on a Can All-Stars Directed by Anne Bogart

Music & lyrics by Julia Wolfe Original text by Kia Corthron, Will Power, Carl Hancock Rux, and Regina Taylor Music performed by Bang on a Can All-Stars Play performed & created by SITI Company Scenic & costume design by James Schuette Lighting by Brian H Scott Sound design by Andrew Cotton and Christian Frederickson Choreography by Barney O’Hanlon

Season Sponsor: Steel Hammer premiered at Actors Theatre of Louisville in the 2014 Humana Festival of New American Plays

In memory of Robert W. Wilson, with gratitude for his visionary and generous support of BAM STEEL HAMMER

Akiko Aizawa Ashley Bathgate Eric Berryman Robert Black

Patrice Johnson Vicky Chow David Cossin Emily Eagen Chevannes

Katie Geissinger Gian-Murray Gianino Barney O’Hanlon Molly Quinn

Mark Stewart Ken Thomson Stephen Duff Webber Steel Hammer

CAST Akiko Aizawa* Eric Berryman* Patrice Johnson Chevannes* Gian-Murray Gianino* Barney O’Hanlon* Stephen Duff Webber*

BANG ON A CAN ALL-STARS Ashley Bathgate cello Robert Black bass Vicky Chow piano David Cossin percussion Mark Stewart electric guitar, mountain dulcimer, harmonica Ken Thomson clarinets, harmonica

WITH VOCALISTS Emily Eagen Katie Geissinger Molly Quinn

ADDITIONAL PRODUCTION CREDITS Production stage manager Ellen Mezzera* Assistant stage manager Jason Pacella* Assistant director Laura Sheedy Directing assistant Jacob Sexton SITI Company Executive director Michelle Preston Bang on a Can Executive director Kenny Savelson

*Member of Actors’ Equity Association, the union of professional actors and stage managers of the United States.

**Member of the United Scenic Artists Union (USA).

Anne Bogart is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.

Steel Hammer the score was commissioned by Bang on a Can with generous support from Maria and Robert A. Skirnick and Carnegie Hall. The play Steel Hammer premiered at Actors Theatre of Louisville in the 2014 Humana Festival of New American Plays with support from the National Endowment for the Arts. Additionally, production elements for Steel Hammer were created by Actors Theatre of Louisville.

The dramatized stage production of Steel Hammer featuring SITI Company and the Bang on a Can All-Stars was developed and premiered at the Krannert Center for the Performing Arts/University of Illinois at Urbana-Champaign and was commissioned by the Krannert Center and by BAM for the 2015 Next Wave Festival.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Notes

From JULIA WOLFE, composer

Steel Hammer was inspired by my love for the legends and music of Appalachia. The text was culled from the over 200 versions of the John Henry ballad. The various versions, based on hearsay, recol- lection, and tall tales, explore the subject of human versus machine in the quintessential American legend. Many of the facts are unclear: some say he’s from West Virginia; some say he’s from South Carolina; some say he’s from New Jersey. But regardless of the details, John Henry, wielding a steel hammer, faces the onslaught of the industrial age as his super-human strength is challenged in a contest to out-dig an engine.

I drew upon the extreme variations of the story, fragmenting and weaving the contradictory versions of the ballad that have circulated since the late 1800s into a new whole—at times meditating on single words or phrases—in order to tell the story of the story and to embody the simultaneous diverse paths it traveled. The Bang on a Can All-Stars add a chorus of instruments including mountain dulcimer, wooden bones, banjo, harmonica, and body percussion, and are joined by a trio of three female voices.

From ANNE BOGART, director

Steel Hammer traces the trajectory of a powerful story passed from one generation to next, a fable pitting the work of a man against a machine. John Henry, a railroad worker, equipped with only a steel- driving hammer, raced in a competition against a powerful steam engine to tunnel through a mountain. He won the race and became a folk hero but lost his life in the process. This poignant tale of human struggle survived in ballads, songs, and poetry and it travelled from one person to the next through time and across many territories. Perhaps the story of John Henry was a cautionary tale that warned other railroad workers to slow down in order to survive. Possibly it was based upon a real man or was an amalgamation of different individual struggles of African-Americans in the post civil war period.

Julia Wolfe originally composed Steel Hammer as an oratorio inspired by her love of the Appalachian music tradition and the many faceted stories of John Henry. She drew inspiration from both the music and oral traditions of the Appalachian region, using a chorus of instruments including mountain dul- cimers, wooden bones, banjo, steel hammers and more. The Bang on a Can All Stars has performed Steel Hammer in concert at many music venues around the country. Julia and I wanted to work together and the prospect of expanding Steel Hammer into a music-theater piece delighted both of us.

Our production explores two basic themes: the ancient human necessity for telling stories and the cost of hard labor on the body and the spirit. We began by asking questions about both subjects: Why do we tell stories? How do stories work? Who owns a story? How do stories travel through time? What is the function of stories in society? Are we too easily slaves to ambition and striving? Do we live in an era where work is killing us? Is the 24-hour electronic connection creating more useless work than it is purporting to alleviate? We wonder whether we are currently pitted against the machine in an even more insidious way than John Henry?

For thousands of years humans have stood in front of one another to tell stories. This impulse to use spoken narrative to explain and shape our life experiences lies at the heart of Steel Hammer. I invited playwrights Kia Corthron, Carl Hancock Rux, Will Power, and Regina Taylor to each write their version of the John Henry story and we wove their work into the fabric of Steel Hammer.

What you will experience tonight is a meeting of hearts, minds and bodies: Julia Wolfe’s extraordi- nary music composition, the brilliance of the Bang on a Can All Stars, the fluency of four remarkable playwrights, and the shared sensibilities of SITI Company’s actors and designers. Steel Hammer—Texts

SPOKEN: MOUNTAIN Sary Ann, Tunnel Tale by Kia Corthron The mountain was so tall Sally Ann, Migrant Mamie Remembers John John Henry was so small Martha Ann, Liza Ann, Lucy Ann, Henry Mary Magdelena, Magdelena by Carl Hancock Rux CHARACTERISTICS Ida Red, Maggadee, Liza Jane, John Henry, Polly Ann by Will He was small Polly Power He was tall When John Henry he took sick to John by Regina Taylor He was black bed, He was white then Polly drove steel just like a SUNG: He was true man. Steel Hammer lyrics by Julia Wolfe He was false He was two hundred pounds THE RACE SOME SAY He was two twenty-five The captain told John Henry Some say he’s from He’s a worker “gonna bring that steam drill ‘round” some say he Convict John Henry told the captain some say he’s from Singer “a man ain’t nothin’ but a man” some say Thirty-five years nothin’, nothin’, nothin’ some say he Twenty-two but a man, but a man say he Fifty John Henry on the right side he Cotton picker the steam drill’s on the left Steel Driver (hammer, hammer, right, left, right, left THE STATES steel, steel) “Before I let your steam drill beat Georgia He was true me down, Tennessee He was false I’ll hammer my fool self to death.” Columbus, Ohio He was six feet tall nine pound hammer Kentucky He was five foot one ten pound hammer Alabama He was tall twelve pound hammer New Jersey He was small twenty pound hammer Yew Pine Mountains He was small two nine pound hammers Mississippi He was tall two twenty pound hammers Mountain sixteen pound hammer West Virginia POLLY ANN hammer, hammer, hammer, South Carolina John Henry had a little woman hammer And her name was DESTINY Polly Ann, Mary Ann, Julie Ann, WINNER John Henry Sary Ann, The man that invented the steam was a little boy Sally Ann, drill, sitting on his papa’s knee Martha Ann, Liza Ann, Lucy Ann, he thought he was mighty fine. John Henry Mary Magdelena, Magdelena John Henry sunk the steel fourteen was a little man John Henry had a little woman feet, sitting on his mama’s knee and she was all dressed in blue, while the steam drill only made a baby boy dressed in red, nine, sitting on his daddy’s knee red, blue, black Lord Lord, John Henry John Henry’s woman said to him, he said, “I‘m gonna be a steel “My darling Johnny, I’ve been true.” LORD LORD drivin’ man.” true to you, true to you Lord Lord He picked up his hammer and a John Henry had a little woman This old hammer rings like silver little piece and her name was Ida Red, This old hammer shines like gold of steel and her name was Liza Jane, He said, “This hammer’s gonna be and her name was Maggadee, the death Polly Ann, Mary Ann, Julie Ann, of me.” Who’s Who

ANNE BOGART (director) Plays have been produced in New York by Play- Anne Bogart is one of the three co-artistic direc- wrights Horizons, Ensemble Studio Theatre, New tors of SITI Company, which she founded with York Theatre Workshop, Atlantic, Manhattan Japanese director Tadashi Suzuki in 1992. She Theatre Club, American Place; in London by the is a professor at Columbia University where Royal Court and Donmar Warehouse; and region- she runs the graduate directing program. Works ally by Minneapolis’ Children’s Theatre, Mark with SITI include: the theater is a blank page; Taper Forum, Alabama Shakespeare, Yale Rep, Persians; Steel Hammer; A Rite; Café Variations; Huntington, New York Stage & Film, Baltimore’s Trojan Women; American Document; Antigone; Center Stage, Goodman, Hartford Stage, and Under Construction; Freshwater; Who Do You elsewhere. Other theater awards include the Lee Think You Are; Radio Macbeth; Hotel Cassio- Reynolds Award, NEA, McKnight National Resi- peia; Death and the Ploughman; La Dispute; dency, and Bellagio residency, and in television Score; bobrauschenbergamerica; Room; War of she was awarded Writers Guild and Edgar Awards the Worlds; Cabin Pressure; War of the Worlds for The Wire. In January her first novel, The Castle – The Radio Play; Alice’s Adventures; Culture of Cross the Magnet Carter, will be published by Desire; Bob; Going, Going, Gone; Small Lives/ Seven Stories Press. She serves on the Dramatists Big Dreams; The Medium; Noel Coward’s Hay Guild Council, is a member of the Authors Guild, Fever and Private Lives; August Strindberg’s Miss and is a New Dramatists alumnus. Julie; and Charles Mee’s Orestes. She is the author of five books: A Director Prepares; The WILL POWER (playwright) Viewpoints Book; And Then, You Act; Conversa- Will Power is an award-winning playwright and tions with Anne; and What’s the Story. performer. Plays include Stagger Lee (Dallas Theater Center), Fetch Clay, Make Man (New JULIA WOLFE (composer) York Theatre Workshop, Marin Theatre Com- Composer Julia Wolfe is the winner of the 2015 pany, Roundhouse Theatre, True Colors), Steel Pulitzer Prize in Music for her oratorio Anthracite Hammer with SITI Company (Humana Festival, Fields based on life in the Pennsylvania coal BAM), The Seven (Lucille Lortel Award Best mines. The CD of Anthracite Fields is available Musical, New York Theatre Workshop, La Jolla on Cantaloupe Music. Wolfe draws inspiration Playhouse), Five Fingers of Funk! (Children’s from folk, classical, and rock genres, bringing a Theatre Company), Honey Bo and The Goldmine modern sensibility to each while simultaneously (La Jolla Playhouse), and two internationally tearing down the walls between them. Recent acclaimed solo shows, The Gathering and Flow. works include her body concerto riSE and fLY Power’s numerous awards include a United performed by Colin Currie and the Cincinnati States Artist Prudential Fellowship, and the TCG Symphony in fall 2015, and Anthracite Fields Peter Zeisler Memorial Award. Power’s numer- which will receive its west coast premiere with ous film and television appearances include The the LA Masters Chorale at Disney Hall and its Colbert Report (Comedy Central) and Bill Moyers European premiere in Scandinavia in spring on Faith and Reason (PBS). Power was a guest 2016. Recent recordings include Steel Hammer, of the US State Department on five separate Cruel Sister, and Dark Full Ride (Cantaloupe). occasions, traveling to South Africa, Botswana, Wolfe has collaborated with theater artist Anna Lesotho, Turkmenistan, and Kyrgyzstan. On these Deveare Smith, filmmaker Bill Morrison, director trips and others, Power taught community work- François Girard, scenic designer Jeff Sugg, and shops in shantytowns, worked with poets in for- choreographer Susan Marshall, among others. mer regimes of the Soviet Union, and lectured at Wolfe is professor of music composition at the various libraries, grammar schools, and colleges. Steinhardt School at NYU. She is cofounder/artistic Power is currently on the faculty at the Meadows director of the new music collective Bang on a Can. School of the Arts/SMU, and is the Andrew W. Mellon Foundation Playwright in Residence with KIA CORTHRON (playwright) the Dallas Theater Center. Kia Corthron was most recently awarded a Wind- ham Campbell Prize for Drama, the USArtists CARL HANCOCK RUX’s (playwright) work has Jane Addams Fellowship, and the Simon Great been presented at McCarter Theatre Center, the Plains Playwright Award (Honored Playwright). Walker Art Center, Penumbra Theatre, and off- Who’s Who

Broadway at Lincoln Center Theater, The Public the musical group Rachel’s and systems/layers. Theater, Playwrights Horizons, 651 Arts, and Additionally, he has had the pleasure of assisting BAM’s Next Wave Festival. Rux’s work has also Mimi Jordan Sherin on Bob; Cabin Pressure; been produced at Maison des arts de Crétail, War of the Worlds; The Medium; Small Live/Big Montclair State College, Hong Kong Arts Festival, Dreams; Going, Going, Gone; Miss Julie; Private Esplanade Theatre of Singapore, Scuola di Danzi Lives; Alice’s Adventures; Culture of Desire; and Mimma Testa in Trastevere, and Teatro de natal The Adding Machine. With Christopher Akerlind infantile Raffaelly Beligni. Rux has received an on SITI productions: Room, Score, and A Mid- Alpert Award in the Arts, and a New York Press summer Night’s Dream. Club Journalism Award for Entertainment News. He is a New York Foundation for the Arts Gregory JAMES SCHUETTE (scenic and costume design) Millard Fellow, as well as the recipient of a NYFA has designed scenery and/or costumes for more Prize and a CINE Golden Eagle Film and Video than 17 SITI Company productions. His work Award. Published works include Pagan Operetta has been seen at American Repertory Theatre, (SemioText), the OBIE Award-winning play Talk American Conservatory Theatre, Actors Theatre (TCG), and Asphalt (Simon & Schuster). Rux’s of Louisville, Arena Stage, BAM, Berkeley Rep, play The Exalted (BAM Next Wave 2015) was Classic Stage, Court Theatre, Goodman Theatre, also directed by Anne Bogart. La Jolla Playhouse, Long Wharf Theatre, Mark Taper Forum, Manhattan Theatre Club, McCarter REGINA TAYLOR (playwright) has a body of Theatre, NY Live Arts, New York Theatre Work- work encompassing film, television, theater, shop, Oregon Shakespeare Festival, Papermill and writing. Taylor’s playwriting credits include Playhouse, Playwrights Horizons, The Public Crowns (four Helen Hayes awards), Trinity River Theatre’s NY Shakespeare Festival, Seattle Rep, Plays (Edgerton Foundation New American Play Steppenwolf, Signature Theatre, Trinity Rep, Award), Oo-Bla-Dee (American Critics’ Associa- Vineyard Theatre, Wexner Center, Yale Rep, tion new play award), Drowning Crow (Broad- Boston Lyric Opera, Canadian Opera Company, way, Manhattan Theater Club), The Dreams of Chicago Opera Theatre, Glimmerglass Opera, Sarah Breedlove, Escape from Paradise, Ties Houston Grand Opera, LA Opera, Minnesota that Bind, and stop. reset., which she also di- Opera, New York City Opera, Opera Theatre of rected at NYC’s Signature Theatre Company and St Louis, San Francisco Opera, Santa Fe Opera Goodman Theatre. Taylor is an artistic associate Seattle Opera, and internationally. of Goodman Theatre and a resident playwright at Signature Theatre. She has also received a BARNEY O’HANLON (choreographer and Golden Globe Award, two Emmy nominations, ensemble) has been collaborating with Anne a NAACP Image Award, a Jeff Award, and an Bogart since 1986 and joined the SITI Company Oscar Micheaux Award from the Chicago Film in 1994. He recently choreographed Verdi’s Critics Association. Taylor is best known to televi- Macbeth directed by Anne Bogart for the Glim- sion audiences for her role as Lilly Harper in the merglass Festival. He also choreographed Anne series I’ll Fly Away, as Molly Blane in The Unit, Washburn’s 10 out of 12 at Soho Rep. directed and as Ambassador Ruth Ridell in USA’s Dig. by Les Waters, Charles Mee’s The Glory of The reginataylor.com | stopreset.org World for the Humana Festival also directed by Les Waters, and Sarah Ruhl’s The Oldest Boy BRIAN H SCOTT (lighting designer) hails for Lincoln Center Theater directed by Rebecca from New York City. Scott is a SITI Company Taichman. International: Dublin Theatre Festival, member and has designed lighting for Café Edinburgh International Festival, Prague Qua- Variations, Trojan Women (After Euripides), drennial, MC93 Bobigny (France), Bonn Bien- Antigone, American Document in collaboration nial, Festival Iberoamericano (Bogota, Colombia), with Martha Graham Dance Company, Under Kaleideskop Theatre (Copenhagen, Denmark). Construction, Who Do You Think You Are, In New York, he has taken part in productions Hotel Cassiopeia, Death and the Ploughman, at BAM, The Public Theater, New York Theatre bobrauschenbergamerica (Henry Hewes Design Workshop, PS 122, Dance Theater Workshop, Award 2004), War of the Worlds – The Radio and New York Live Arts. Operas include with Play, Macbeth, and a dance collaboration with New York City Opera, Los Angeles Opera, Who’s Who

Washington National Opera, and Opera Omaha. with New York City Center Encores!; Macbeth SITI Company collaborations: American Docu- and A Man’s a Man with Classic Stage Company; ment with Martha Graham Dance Company, Shen Wei Dance Arts at Park Avenue Armory. A Rite with the Bill T. Jones/Arnie Zane Dance Regional: Steel Hammer at Actors Theatre of Company, and the event of a thread with visual Louisville, Persians at the Getty Villa, and the artist Ann Hamilton. theater is a blank page at the Wexner Center for the Arts. Mezzera has toured internationally ANDREW COTTON (sound design), in his role in China, Georgia, Hong Kong, Italy, Romania, as designer, tour manager, and engineer, works Slovenia, and Switzerland. Mezzera had the closely with both composers and musicians in opportunity to work on The Sound of Music Live! creating new works. Cotton works closely with (NBC Universal) and the 2013 Tony Awards. several major London producers, specializing Education: MFA, Columbia University. BA, Gon- in contemporary music projects with artists zaga University. AEA and Local 764. and concert series as diverse as Elvis Costello and John Harle, the BBC Promenade Series, JASON PACELLA (assistant stage manager) has Meltdown, George Russell, Carla Bley, and worked on SITI Company productions including Talvin Singh. He collaborates with composers Steel Hammer and Café Variations. At The Public Michael Gordon, Julia Wolfe, and David Lang Theater: The Odyssey, The Tempest, Total Bent for the Bang on a Can All-Stars as well as large workshop, and Jane Says workshop. New York ensemble dance and theater work. He also acts Theatre Workshop: Scenes from a Marriage. Actors as technical manager and sound collaborator Theatre of Louisville: Dot, Dracula, A Christmas with percussionist Evelyn Glennie DBE. Carol. Contemporary American Theater Festival: One Night, North of the Boulevard. Other theater: CHRISTIAN FREDERICKSON (sound design) is The Shakespearean Jazz Show, I Am Gordafarid a violist, composer, and sound designer living in workshop with The Rising Circle, and two seasons New York. He is a frequent collaborator with SITI at Totem Pole Playhouse in PA. Film/TV: NBC’s Pe- Company, writing music and designing sound for ter Pan Live! and Jim Norton: American Degener- Steel Hammer, Trojan Women (After Euripides), ate. Additional credits: BFA in stage and production Antigone, 365 Days/365 Plays, and systems/ management from Emerson College. layers. Frederickson is a founding member of the band Rachel’s, which released six albums on MICHELLE PRESTON (SITI Company execu- Touch and Go/Quarterstick Records and toured tive director) holds an MFA in performing arts widely in the US, Europe, and South Korea. He management from Brooklyn College and a BFA is a graduate of the Peabody Conservatory and in dance performance from Northern Illinois The Juilliard School. Other selected credits are: University. She began her career in arts admin- The Master Builder (BAM); The Glory of the istration at the Columbus Symphony Orchestra World, At the Vanishing Point, Romeo and Juliet, before coming to New York where she worked as The Edge of Our Bodies, and The Tempest (Ac- a fundraiser for modern dance companies such tors Theatre of Louisville); A Midsummer Night’s as Urban Bush Women and Bill T. Jones/Arnie Dream, Unnatural Acts, Three Sisters, and The Zane Dance Company. Prior to SITI, she spent Tempest (Classic Stage Company); Through the nearly three years as the Manager of Planning Yellow Hour (Rattlestick Playwrights Theater, & Projects for School of American Ballet. She 2013 Drama Desk Nomination); The Painted has served on the board of Immediate Medium Bird Trilogy (Wexner Center); The Emperor Jones since 2009, was a participant in the 2011 (Irish Repertory Theater, Lortel Nomination); and Arts Leadership Institute hosted by the Arts and The Awake (59E59, NYIT award). Business Council of New York and has served as christianfrederickson.com a panelist for the Brooklyn Arts Council regrant program and the TCG Global Connections grant. ELLEN MEZZERA (production stage manager), She is an active member of the Brooklyn College originally from San Francisco, now resides in Arts Management alumni group, the New York New York City. Broadway productions include chapter of Women in Development, and the The Lion King, Annie, Les Misérables, and Emerging Leaders of New York Arts—a program Matilda. In New York: Gentlemen Prefer Blondes of the Arts and Business Council of New York. Who’s Who

KENNY SAVELSON (Bang on a Can Executive ASHLEY BATHGATE (cello), an American cellist, Director) has managed the creation, production, has been described as an “eloquent new music and touring of all of Bang on a Can’s current interpreter” (The New York Times) and “a rising programs since 1997 and has produced more star of her instrument” (Albany Times Union) than 30 Bang on a Can Marathon concerts at who combines “bittersweet lyricism along with venues throughout New York City, the US, and ferocious chops”(New York Magazine). Her internationally. He has developed and/or booked “impish ferocity,” “rich tone,” and “imaginative the Bang on a Can All-Stars’ touring projects in phrasing” (The New York Times) have made her the US and internationally since 1998 including sought after. The desire to create a dynamic en- the group’s annual New York concert appearanc- ergy exchange with her audience and build upon es at Lincoln Center and Carnegie Hall, and its the ensuing chemistry is a pillar of Bathgate’s acclaimed collaborations with many of the most philosophy. Her affinity to dynamism drives celebrated artists in contemporary music such Bathgate to venture into previously uncharted as Philip Glass, Steve Reich, Meredith Monk, areas of sounds and techniques, breaking the Terry Riley, Don Byron, Ornette Coleman, Brian mold of a cello’s traditional voice. Collaborators Eno, Cecil Taylor, and more. Staged production and fans alike describe her vitality as remark- credits include A House in Bali (Cal Perfor- able and magical. She is a member of Bang on a mances 2009, 2010 Next Wave), Lightning at Can All-Stars, as well as two chamber groups of our feet (2008 Next Wave), Lost Objects (2004 which she is a founding member: TwoSense and Next Wave), and The Carbon Copy Building Bonjour. ashleybathgate.com. (Schleswig-Holstein Music Festival, Settembre Musica Torino 2000), among others. Together ERIC BERRYMAN (ensemble) has performed with Bang on a Can artistic directors Michael off-Broadway in pool, no water at Barrow Street Gordon, David Lang, and Julia Wolfe, Savel- Theater. Regional theater credits include: Steel son is a co-founder of Cantaloupe Music, an Hammer and The Glory of the World at Actors independent record label with over 60 recordings Theatre of Louisville, Humana Festival; Leftovers released since 2001. at O’Neill Theater Center; The Amen Corner at the Guthrie Theater; Ma Rainey’s Black Bottom PERFORMERS at Kennedy Center; I Wish You Love at Hartford Stage, Penumbra Theatre, and The Kennedy AKIKO AIZAWA (ensemble) joined SITI Com- Center; Fly at Ford’s Theatre; Red, Topdog/Un- pany in 1997. At BAM, she performed with SITI derdog, and A Raisin in the Sun at Everyman in A Rite (2013), Trojan Women (2012), Hotel Theatre (resident company member); The History Cassiopeia (2007), bobrauschenbergamerica Boys at Pittsburgh Irish & Classical Theatre; Per- (2003), and War of the Worlds (2000). SITI sians at Getty Villa; and The Dangerous House credits include: the theater is a blank page, of Pretty Mbane at InterAct Theatre. International Persians, Café Variations, Antigone, Radio Mac- credits include: Medea (Australia); Elegies for beth, La Dispute, and systems/layers (music by Angels, Punks, and Raging Queens (England) Rachel’s). Other theater/festival credits include: and the Bunraku puppet play Hidagakawa American Opera Projects, American Repertory Iriazakawa (Iida, Japan). Additional credits: BFA Theater, Arena Stage, ArtsEmerson, Carolina from Carnegie Mellon University. Lessac Voice Performing Arts, Getty Villa, Guggenheim Mu- Practitioner. Awards: Arthur Kennedy Acting seum, Here Arts Center, Humana Festival, Japan Award and Leonore Annenberg Fellowship. Society, Joyce Theater, Krannert Center, Los Angeles Opera, New York Live Arts, New York ROBERT BLACK (bass) tours the world creat- Theatre Workshop, Park Avenue Armory, Richard ing unheard of music for the solo double bass. B. Fisher Center, Royce Hall, SUNY Purchase He collaborates with adventurous composers, Performing Arts, The Public Theater, Wexner musicians, dancers, artists, actors, and techno- Center, and Women’s Project. International philes. He has commissioned, collaborated, or festival/venue credits include: Edinburgh, Dublin, performed with musicians such as John Cage, Bonn, Helsinki, Melbourne, Bogotá, São Paulo, DJ Spooky, Elliott Carter, Meredith Monk, Cecil Vienna, Moscow, Toga, Tokyo, and Tbilisi. Taylor, painter Ige D’Aquino, choreographer Yo- shiko Chuma, actor Kathryn Walker, sound artist/ Who’s Who

DJ Mira Calix, and filmmaker, Rudy Burckhardt. Two recent recordings include her innovative Black is a founding member of Bang on a Can recording of Steve Reich’s Piano Counterpoint re- All-Stars, and maintains a full teaching schedule leased on Nonesuch records and Tristan Perich’s at the Hartt School (University of Hartford), the epic hour-long Surface Image for solo piano and Festival Eleazar de Carvalho (Brazil), and the 40 channel 1-bit electronics on New Amsterdam Manhattan School of Music’s Contemporary Records. Her next projects include commissions Performance Program. His current project, titled from American composers Chris Cerrone, Molly Possessed, is a series of solo improvisatory Joyce, and Canadian composers Adam Basanta outdoor performances in Utah’s rugged canyon/ and Jocelyn Morlock. Chow also produces and desert landscape, which will be released in DVD curates Contagious Sounds, a new music series and CD format on Cantaloupe Records in 2016. focusing on adventurous contemporary artists Other projects include Modern American Bass and composers in New York City. She receives (New World Records 2011), State of the Bass continuous support from the Canada Council for (O.O. Discs), The Complete Bass Music of Chris- the Arts and has received grants from the Aaron tian Wolff (Mode Records), and The Complete Copland Fund, Yvar Mikhashoff Trust, Fromm Bass Music of Giacinto (Mode Records). Black Foundation, Vancouver Foundation, and the BC has also recorded for Sony Classical, Point/Poly- Arts Council. Originally from Vancouver, Chow gram, Cantaloupe, Koch International, CRI, Opus studied at The Juilliard School with Yoheved One, Artifact Recordings, Folkways Records, and Kaplinsky and Julian Martin before continu- others. robertblack.org ing studies at Manhattan School of Music with Christopher Oldfather. She made her orchestral PATRICE JOHNSON CHEVANNES (ensemble) debut at the age of 10 with the Vancouver is an award-winning actress whose Broad- Symphony Orchestra made her NY orchestral way credits include Racing Demon and The debut appearance at Alice Tully Hall with the Crucible opposite Liam Neeson and Laura Juilliard Symphony. Chow is based in Brooklyn. Linney, directed by Sir Richard Eyre. Her credits vickychow.com include Tamburlaine directed by Sir Michael Boyd (TFANA); Steel Hammer directed by Anne DAVID COSSIN (percussion) was born and Bogart (Humana Festival); Desdemona, opposite raised in Queens, New York, and studied Patrick Stewart, in Othello; Familiar (Yale Rep); classical percussion at the Manhattan School of Banished Children of Eve (Irish Rep); The Devils Music. His interest in classical percussion, drum (NYTW); and All’s Well That Ends Well (The set, non-western hand drumming, composition, Public Theater). Chevannes received Audelco and improvisation has led to performances nominations for Tamburlaine and Angelique, an across a broad spectrum of musical and Audelco Award for for colored girls who have artistic forms to incorporate new media with considered suicide and a 2010 Barrymore percussion. Cossin has recorded and performed nomination for Best Actress in Coming Home internationally with composers and ensembles (Wilma Theater). Additional film and television including Steve Reich and Musicians, Philip credits include Undertow, The Guardian, ER, Glass, Yo-Yo Ma, Meredith Monk, Tan Dun, Cecil and Without a Trace. Chevannes has directed Taylor, Talujon Percussion Quartet, and the trio three award-winning feature films through her Real Quiet. Numerous theater projects include company God-And-All-O-Wee Productions: Kings collaborations with Blue Man Group, Mabou County, NY’s Dirty Laundry, and Hill and Gully, Mines, and director Peter Sellars. Cossin was currently on the festival circuit. She can be seen featured as the percussion soloist in Tan Dun’s in TFANA’s upcoming production of Pericles, Grammy- and Oscar-winning score to Ang Lee’s directed by Sir Trevor Nunn. film Crouching Tiger, Hidden Dragon. He is also happy to have performed with Sting on his VICKY CHOW (piano & keyboards), a Canadian world tour, Symphonicity. Cossin has performed pianist, has been described as “brilliant” (The as a soloist with orchestras throughout the New York Times) and “one of the new stars of world including the Los Angeles Philharmonic, new music” (Los Angeles Times). Joining the Orchestra Radio France, St. Paul Chamber All-Stars in 2009, she is now also a member Orchestra, São Paulo State Symphony, Sydney of New Music Detroit, X88, and GRANDBAND. Symphony, Gothenburg Symphony, Hong Kong Who’s Who

Symphony, and Singapore Symphony. Cossin layers, and Freshwater. New York credits include ventures into other art forms including sonic work at BAM, Second Stage, Signature Theatre, installations, which have been presented in The Public Theater, The Women’s Project, New York, Italy, and Germany. He is the curator SoHo Rep, and HERE Arts. He has performed for the Sound Res Festival, an experimental regionally and internationally including at Yale music festival in southern Italy and also teaches Rep, Arena Stage, Actors Theatre of Louisville percussion at Queens College in New York City. (Humana Festival), Berkshire Theatre Festival, davidcossin.com. Penguin Rep, Getty Villa (LA), The Court (Chica- go), Krannert Center, Walker Art Center, Wexner EMILY EAGEN (voice) is a versatile singer who Center, MC93 Bobigny (Paris,France), Bonn performs in a variety of styles ranging from Biennale, Dublin Theatre Festival, and GIFT baroque to folk to avant garde. She studied early festival (Tbilisi, Georgia). TV/Film credits include and contemporary music in the Hague, and White Collar, Law & Order, Law & Order: SVU, moved to New York in 2007. Eagen sings with All My Children, Dead Canaries, and Hospitality. the M6: Meredith Monk Music Third Genera- He holds a BA from Wesleyan University; Acting tion, toured for several years with the eclectic Apprentice, ATL. Gianino is the third generation vocal ensemble moira smiley and VOCO, and has of a New York theater family and a member of worked with artists ranging from Sufjan Stevens the Actors Center. to Mandy Patinkin to Gyan Riley. She is a regular faculty member at the Amherst Early Music Fes- MOLLY QUINN (voice) has captivated audiences tival (CT) and the Augusta Heritage Center (WV), with her “radiant” soprano, possessing an “ar- and is a teaching artist for Carnegie Hall. Also a resting sweetness and simplicity” (The New York two-time International Whistling Champion, Em- Times) in diverse repertoire ranging from Mon- ily can be heard whistling, singing, and playing teverdi to the Rolling Stones. She is a soloist on the ukulele with the Brooklyn blues and old-time Trinity Choir’s Grammy-nominated recording of band The Whistling Wolves. Handel’s Israel in Egypt, and has appeared with them in London, Moscow, and Paris and joined KATIE GEISSINGER (voice) has worked them in singing back up for The Rolling Stones at previously with Julia Wolfe on Steel Hammer Barclays Center. Quinn has been a long-time col- at MASS MoCA and the Obie Award-winning laborator with TENET. The ensemble is currently The Carbon Copy Building (Canteloupe), co- recording a follow-up album to 2013’s critically composed by Bang on a Can composers Michael acclaimed Uno + One: Italia Nostra. Having Gordon, David Lang, and Julia Wolfe. Geissinger strong roots in the music of Appalachia and is a long-time member of Meredith Monk’s Vocal Ireland, Quinn has performed in the programs Ensemble, with whom she tours staged produc- Come to the River with Apollo’s Fire and The tions and concerts worldwide, and regularly Music of Dublin with The Folger Consort. She records (including the Grammy-nominated Im- was a 2013 season Adams Fellows at the Car- permanence). Recent performances include On mel Bach Festival and holds a masters in Vocal Behalf of Nature at BAM and in San Francisco, Performance from CCM. mollyquinn.com and several concerts in Brazil and at Carnegie Hall. Previous performances at Carnegie include MARK STEWART (guitar, mountain dulcimer, Bach’s Magnificat, the Witch in Honegger’s Le harmonica), raised in America’s dairy land of Roi David, and Einstein on the Beach (Elektra Wisconsin and a multi-instrumentalist, singer, Nonesuch). She also appeared at BAM in Bach’s composer, and instrument designer, has been St. Matthew Passion (Jonathan Miller, dir.); heard around the world performing old and Broadway credits include Coram Boy and La new music. Going to conservatory to study both Bohème (Baz Luhrmann, dir.). guitar and cello, he came to NYC to work as a performer on both instruments; however upon GIAN-MURRAY GIANINO (ensemble), as a completing school he was most drawn to the member of SITI, has helped created roles in the electric guitar. Today Stewart plays regularly theater is a blank page, Persians, Café Varia- with with a wide range of musicians: since tions, Trojan Women (After Euripides), Radio 1998 he has recorded, toured and been musical Macbeth, bobrauschenbergamerica, systems/ director with Paul Simon. A founding member Who’s Who

of the Bang on a Can All-Stars, Stewart is also and NewMusic USA. He is a Conn-Selmer/ a member of Steve Reich & Musicians and the Selmer Paris and D’Addario Woodwinds Artist. comic duo Polygraph Lounge with keyboard and ktonline.net theremin wizard Rob Schwimmer and has per- formed with Anthony Braxton, Bob Dylan, Stevie STEPHEN DUFF WEBBER (ensemble) has per- Wonder, Bruce Springsteen, Bobby McFerrin, formed with SITI all over the world since 1994 in Paul McCartney, the Everly Brothers, David By- Persians; Steel Hammer; A Rite; Café Variations; rne, and James Taylor. Stewart has collaborated American Document; Antigone; Radio Macbeth extensively with composer Elliot Goldenthal on (Macbeth); Hotel Cassiopeia; Under Construc- music for the feature films The Tempest, Across tion; Freshwater; Death and the Ploughman; the Universe, Titus, The Butcher Boy, The War of the Worlds (Orson Welles); bobrauschen- Good Thief, In Dreams, and Heat, often playing bergamerica; systems/layers (with Rachel’s); La instruments of his own design and construction. Dispute; A Midsummer Night’s Dream; Cabin He is on the faculty of the Manhattan School Pressure; Going, Going, Gone; Culture of Desire; of Music and his New York “lab” is home to an The Medium; Private Lives; Hay Fever; War of instrument workshop and sonic salon where the Worlds—The Radio Play (Orson Welles), traditional and new instruments cohabitate. He and Short Stories. New York: Death and the lives in New York City making his living playing Ploughman (Classic Stage Company), War of the and writing popular music, semi-popular music, Worlds, Hotel Cassiopeia, A Rite (BAM), Culture and unpopular music. of Desire (New York Theatre Workshop), Trojan Women 2.0 (En Garde Arts), Freshwater (Wom- KEN THOMSON (clarinets, harmonica) is a en’s Project Theater), The Golden Dragon (Play Brooklyn-based clarinetist, saxophonist, and Company), Radio Macbeth (The Public Theater), composer. In demand as a composer and American Document (Joyce Theater), Antigone freelancer in many settings, he moves quickly (New York Live Arts), and Radio Play (Joe’s between genres and scenes, bringing a fiery Pub). Regional: American Repertory Theater, intensity and emotional commitment to every Actors Theatre of Louisville (Betrayal, Glengarry musical situation; Time Out NY called him “the Glen Ross), Milwaukee Repertory Theater, San hardest-working saxophonist in new-music show Jose Repertory Theatre, Magic Theatre, Portland business.” In addition to the All-Stars, Thomson Stage Company, Alabama Shakespeare Festival, has been an anchoring force with Bang on a Can Court Theatre, and Stage West. as music director and saxophonist with Asphalt Orchestra and as a faculty member of Bang on BANG ON A CAN, founded in 1987 by compos- a Can’s Summer Music Festival at MASS MoCA. ers Michael Gordon, David Lang, and Julia With his quintet, Slow/Fast, he has toured and Wolfe, has been creating an international com- released two discs including Settle (NCM East munity dedicated to innovative music, wherever Records, 2014) about which the Chicago Reader it is found, and has grown from a one-day New said, “Few musicians travel as assuredly and York-based marathon concert to a multi-faceted meaningfully between jazz and new music,” and performing arts organization with a broad range The New York Times wrote, “Mr. Thomson’s com- of year-round international activities. Current positions are intricately wrought and incident- projects include the annual Bang on a Can steeped.” His 2013 CD, Thaw (Cantaloupe Marathon; the People’s Commissioning Fund, Music), of his compositions performed by the a membership program to commission emerg- heralded JACK Quartet was called the #1 Clas- ing composers; the Bang on a Can All-Stars, sical CD of 2013 by Rhapsody.com and listed who tour to major festivals and concert venues on NPR’s “Top 10 Songs Public Radio Can’t Stop around the world every year; recording projects; Playing.” Thomson co-leads the chamber/punk/ the Bang on a Can Summer Music Festival—a jazz band Gutbucket, with which he has toured professional development program for young extensively throughout the US and internation- composers and performers led by today’s pio- ally over 16 years. As a composer, he has been neers of experimental music; Asphalt Orchestra, commissioned by the American Composers Bang on a Can’s extreme street band that offers Orchestra, Bang on a Can, Doug Perkins, and mobile performances re-contextualizing unusual others, and has received awards from ASCAP music; Found Sound Nation, a new technology- Who’s Who

based musical outreach program now partnering turing Chinese superstar singer Gong Linna, and with the State Department of the United States much more. With a massive repertoire of works of America to create OneBeat, a revolutionary, written specifically for the group’s distinctive post-political residency program that uses music instrumentation and style of performance, the to bridge the gulf between young American All-Stars have become a genre in their own right. musicians and young musicians from developing The All-Stars record on Cantaloupe Music and countries; cross-disciplinary collaborations and have released past recordings on Sony, Universal projects with DJs, visual artists, choreographers, and Nonesuch. filmmakers, and more. Each new program has evolved to answer specific challenges faced by Bang on a Can Staff: Artistic Directors: Michael today’s musicians, composers, and audiences Gordon, David Lang, Julia Wolfe; Executive in order to make innovative music widely ac- Director: Kenny Savelson; Development Direc- cessible and wildly received. Bang on a Can’s tor: Tim Thomas; Project Manager: Philippa inventive and aggressive approach to program- Thompson; Production Manager: Yisroel Lazaros; ming and presentation has created a large and Found Sound Nation Co-Directors: Chris Mari- vibrant international audience made up of people anetti, Jeremy Thal, Elena Moon Park; Accounts of all ages who are rediscovering the value of Manager: Brian Petuch; Online Store Manager: contemporary music. Formed in 1992, the Bang Adam Cuthbert on a Can All-Stars are recognized worldwide for their ultra-dynamic live performances and Bang on a Can Board of Directors: Daniel recordings of today’s most innovative music. Baldini, President, Jeffrey Bishop, Michael Freely crossing the boundaries between classical, Gordon, Lynette Jaffe, Alan Kifferstein, Michael jazz, rock, world, and experimental music, this Kushner, David Lang, Raulee Marcus, Elizabeth six-member amplified ensemble has consistently Murrell, Robert A. Skirnick, Jane Stewart, Sandra forged a distinct category-defying identity, taking Tait, Julia Wolfe, Adam Wolfensohn. music into uncharted territories. Together, the All-Stars have worked in unprecedented close Bang on a Can’s 2015 programs are made pos- collaboration with some of the most important sible with generous lead support from Amphion and inspiring musicians of our time, includ- Foundation, ASCAP and ASCAP Foundation, At- ing Steve Reich, Ornette Coleman, the virtuoso lantic Records, Daniel Baldini, Robert D. Bielecki Chinese singer Gong Linna, Tan Dun, DJ Spooky, Foundation, Bishop Fund, Alice M. Ditson Fund and many more. The group’s celebrated projects of Columbia University, City of New York Depart- include their landmark recording of Brian Eno’s ment of Cultural Affairs, Aaron Copland Fund ambient classic Music for Airports as well as for Music, Gladys Krieble Delmas Foundation, live performances with Philip Glass, Meredith Exploring the Arts, Randy Ezratty & Jo Ann Cork- Monk, Don Byron, Iva Bittova, Thurston Moore, ran, Jeremy Geffen, Howard Gilman Foundation, Terry Riley, and others. Recent project highlights Jaffe Family Foundation, Alan Kifferstein & Joan include the premiere performances and recording Finkelstein, Michael Kushner & Carol Dauman, of Julia Wolfe’s Pulitzer Prize winning Anthracite Herb Leventer, MAP Fund, MASS MoCA, Henry Fields for the All-Stars and guest choir, the record S. McNeil, Mid Atlantic Arts Foundation, Jeremy release of Wolfe’s acclaimed Steel Hammer, Mindich & Amy Smith, Elizabeth Murrell & Gary featuring Trio Mediaeval, plus the new staged Haney, National Endowment for the Arts, New collaboration with SITI Company and director York State Council on the Arts (with the support Ann Bogart; Field Recordings, a major new of Governor Andrew Cuomo and the New York multi-media project and CD/DVD package featur- State Legislature), Fan Fox and Leslie R. Samuels ing over 20 commissioned works by Tyondai Foundation, Scopia Capital Management, Paul Braxton, Mira Calix, Anna Clyne, Bryce Dessner, Simon, Matthew Sirovich & Meredith Elson, Florent Ghys, Jóhann Jóhannsson, Christian Maria & Robert A. Skirnick, Jane & Dick Stewart, Marclay, Steve Reich, Todd Reynolds, and more; Trust for Mutual Understanding, U.S Department the world premiere, performances, and recording of State, Williamson Foundation for Music, Adam of Steve Reich’s 2x5 including a sold-out perfor- Wolfensohn & Jennifer Small, and Wolfensohn mance at Carnegie Hall; the world premiere of Family Foundation. The Lord in the Clouds, a new collaboration fea- Who’s Who

SITI COMPANY was built on the bedrock of ensemble. SITI Company is: Akiko Aizawa, J. Ed Araiza, Anne We believe that through the practice of collaboration, a Bogart, Will Bond, Gian-Murray Gianino, Leon group of artists working together over time can have a Ingulsrud, Ellen Lauren, Kelly Maurer, Charles L. Mee, significant impact upon both contemporary theater and Jr., Tom Nelis, Barney O’Hanlon, Neil Patel, James the world at large. Through our performances, educa- Schuette, Brian H Scott, Megan Wanlass, Stephen Duff tional programs, and collaborations with other artists Webber and Darron L West and thinkers, SITI Company will continue to challenge the status quo, train to achieve artistic excellence in SITI Company Board of Directors: Anne Bogart, Gigi every aspect of our work, and offer new ways of seeing Bolt, Barbara Cummings (Vice-Chair), Rena Chelouche and of being as both artists and as global citizens. SITI Fogel, Jennifer Greenfield, Christopher L. Healy (Trea- Company is committed to providing a gymnasium-for- surer), Kim Ima (Secretary), Leon Ingulsrud, Alexandra the-soul where the interaction of art, artists, audiences, Kennedy-Scott, Kevin Kuhlke, Ellen Lauren, Thomas and ideas inspire the possibility for change, optimism Mallon, Kelly Maurer, Charles L. Mee, Jr., Ruth Nighten- and hope. Founded in 1992 by Anne Bogart, Tadashi gale (Chair), Annie Pell and William Wagner Suzuki, and a group of likeminded artists, SITI Com- pany began as an agreement to redefine and revitalize SITI Company Emeritus Board: Nicole Borelli Hearn, contemporary theater in the United States through an Matthew Bregman, Lynn & Ronald emphasis on international cultural exchange, training, Cohen, Martha Coigney, Jim Cummings, Judy Guido, and collaboration. Originally envisioned as a summer Leonard Perfido, Daniel C. Smith, Jaan Whitehead institute in Saratoga Springs, NY, SITI expanded to encompass a year-round season inclusive of touring, SITI Company Staff: Michelle Preston, Executive the creation of new work and running a conservatory Director; Megan Hanley, Education Manager; Alexandra program for nine months of the year to cultivate the next Lalonde, Development & Communications Manager; generation of independent theater artists. Based in New Vanessa Sparling, General Manager; Aranxta Araujo, York City, SITI Continues to operate its international Jeremy Pickard and Neil Redfield, Interns training program during its summer season in Saratoga. The company is known nationally and internationally as SITI Company Consultants: Blake Zidell & Associates, a top-level artistic collective that generates groundbreak- Public Relations; Christopher L. Healy & Thomas Mal- ing theater. In addition to Co-Artistic Directors Anne Bo- lon, Attorneys; Al Foote III, Web Programmer; Schall & gart, Leon Ingulsrud, and Ellen Lauren, SITI Company Ashenfarb, LLC, Auditors comprises eight actors, four designers, and a playwright. The company represents a change in thinking about the Contact Information: relationships between artists and institutions. Offering 520 8th Avenue tel 212.868.0860 performances from our varied repertoire, and workshops 3rd Floor, Suite 310 [email protected] in the unique theater training we champion, SITI New York, NY 10018 siti.org Company is dedicated to establishing long lasting rela- Facebook: @SITI Company Anne Bogart tionships with theater presenters and their communities Twitter: @siticompany around the world. Exclusive Worldwide Tour Representation: Rena Shagan Associates shaganarts.com 16A West 88th Street | New York, NY 10024 212.873.9700 / 212.873.1708 (fax)

FOUNDATION, GOVERNMENT AND CORPORATE SUPPORT The Shubert Foundation Tony Randall Foundation Patrons: $50,000+ The Trust for Mutual Understanding The Andrew W. Mellon Foundation, New York Theater Program, administered by the New York Foundation for the Arts. Sponsors: Under $10,000 Actors’ Equity Foundation, Inc. Benefactors: $10,000 – $49,999 Channing Daughter’s Winery Public Funds from New York City Department of Cultural Affairs The Lucille Lortel Foundation, Inc. Fan Fox & Leslie R. Samuels Foundation Network of Ensemble Theaters The MAP Fund, a program of Creative Capital, primarily sup- TD Bank ported by the Doris Duke Charitable Foundation. Additional The Treats Truck funds come from the Andrew W. Mellon Foundation. Geoffrey F. & Virginia Hill Worden Fund of the Community The National Endowment for the Arts Foundation of New Jersey The New York State Council on the Arts ©2015 Viacom Inc. All rights reserved. rights All Inc. ©2015 Viacom

Final Size: 5.25" x 8.375" • Ratio: 1' = 1' • Resolution: 300 DPI • Color: CMYK 24781 BAM Salute Ad 4C Viacom_2015 A cropped photographA cropped of Merce photographA croppedCunningham’s of Merce photograph Cunningham’s How Toof How MercePass, To Pass, Kick, Cunningham’s Kick, Fall Fall and Run Run How To Pass, Kick, Fall and Run omitting John Cage omittingsitting John stage Cageomitting left. sitting Merce Johnstage left.CunninghamCage Merce sitting Cunningham stageDance Dance left. Company Company Merce 1970 Cunningham1970 Dance Company 1970 Photo: JamesPhoto: Klosty, James courtesy Klosty, courtesy Photo:BAM BAM Hamm James Hamm Archives Klosty, courtesy BAM Hamm Archives A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives

A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives Dec 2015

Contents

Trisha Brown Dance Company The Glory of the World

Newark. Photo: Stephanie Berger

Trisha Brown Dance Company returns to BAM with proscenium repertory featuring renowned artist collaborators. by Susan Yung Ramiz Monsef and Collin Morris. Photo: Bill Brymer Charles Mee’s play is brought to life by Actors Theatre of Meet BAM President Katy Clark Louisville, directed by Les Waters Get to know BAM’s new president, Katy Clark. by Marty Rosen by Robert Wood

BAMbill Cover

SHINIQUE SMITH is the 2015 Next Wave Festival Cover Artist, part of BAM’s tradition of visual art on the cover of BAMbill. Since 1983, dozens of artists have participated, including Roy Lichtenstein, Andy Warhol, Chuck Close, Rosemarie Trockel, and more. Three new artworks created by Smith will rotate between Sep–Dec 2015. These archival inkjet prints, each 22” x 30”, are available to purchase for $1200 individually or $3500 for all three. Proceeds benefit BAM. For inquiries or to purchase, please contact BAM Visual Art at [email protected] or 718.636.4101.

Shinique Smith (b. 1972, Baltimore, MD) is a New York-based artist whose work is inspired by the vast nature of things that we consume and discard, which resonate on a personal and social scale. The graffiti of her youth, Japanese calligraphy, and abstraction are influences from which she extracts “the graceful and spiritual qualities in written word and the everyday.” Over her career, Smith has had more than 20 solo exhibitions and has exhibited internationally, including at the Brooklyn Museum of Art, Deutsche Guggenheim (Berling), Los Angeles County Museum of Art, Museum of Contemporary Art (North Miami), The New Museum, and MOMA/PS1. Most recently, the Museum of Fine Arts, Boston mounted a solo exhibition titled Shinique Smith: Bright Shinique Smith, Abiding Light, 2015, 22”x30”, Matter, which featured 30 key works from the past decade alongside recent archival inkjet print. Photo courtesy the artist. work. Smith earned her BFA and MFA from Maryland Institute College of Art and Master of Arts in Teaching from the School of the Museum of Fine Arts and Tufts University. She is represented by James Cohan Gallery, New York and Shanghai, David Castillo Gallery in Miami, and Brand New Gallery, Milan. @BAM_Brooklyn #TrishaBrown Newark . Photo: Stephanie Berger

Dance, Valiant & by Susan Yung Molecular On the surface, Trisha Brown’s proscenium get in line. (Helping out with downtime.) 4. Stay dances are kinetically intriguing and relatable, on the outside edge of the stage (The spatial formed of waves of roiling, fluid phrases. But dig issue.) 5. Act on instinct. (The wild card.)” down, and the intellectual rigor and self-imposed rules factoring into their creation reveal Brown’s Brown collaborated on six dances with Robert fascinating thought processes, and connect them Rauschenberg, including Set and Reset (which to her early task-based or site-specific works premiered in 1983 as part of the first Next Wave such as Walking on the Wall or Roof Piece. Festival); Laurie Anderson provided the hypnotic Three major proscenium works will be performed score, with its robotic refrain of “long time no by the Trisha Brown Dance Company at the see.” Brown wrote, “The proscenium stage is BAM Howard Gilman Opera House from January something like a wasteland when you approach 28—30, celebrating a relationship that dates it without light, costumes, and set. I turned to from 1976. Robert Rauschenberg, a painter and sculptor with extensive experience in the theater, to supply the As organic as her movement appears, Brown missing elements, to create the stage picture that laid down fairly specific action guidelines. In her the audience encounters when the curtain goes essay “How to Make Modern Dance When the up.” After much dialogue, including midnight Sky’s the Limit” (in Trisha Brown: Dance and Art phone calls from Bob to Trisha, the work took in Dialogue, 1961—2001), she described the shape, evolving into a repertory classic. dance’s essential structure. “For Set and Reset, I made a very long phrase that circumvented the One of Brown’s operative tenets was visibility/ outside edge of the stage, serving as a conveyor invisibility, and here the use of the stage’s belt to deliver duets, trios, and solos into the legs—the vertical drapes hiding the offstage center of the stage. All of the dancers were area—came into play. “The stage’s velour legs taught the phrase and given the following set of have been reconstituted as see-through black five instructions: 1. Keep it simple. (The clarity scrim edged with a vertical stripe of ice-white issue.) 2. Play with visibility and invisibility. (The satin, which demarcates the difference between privacy issue.) 3. If you don’t know what to do, onstage behavior and off,” she wrote. “Our @BAM_Brooklyn Jan 28—30 sanctuary is gone, invisibility dashed, downtime then weighty. Murray was a longtime friend of on display. To this situation Bob added gorgeous Trisha Brown, who has produced a significant filmy white transparent costumes, silkscreened output as a visual artist. Her body of work with pale-gray-to-black urban industrial images.” germinated and flourished in 1970s New York, Set and Reset is from Brown’s “unstable where boundaries between genres fell away and molecular cycle,” one of several poetically named collaboration was not simply choice, but a way to series comprising her oeuvre that hew to certain live and create. These stately proscenium dances concepts or dogma. are the largest-scale works in a richly layered oeuvre. Newark (Niweweorce) (1987) falls into the “valiant cycle,” characterized by athleticism and Susan Yung is Senior Editorial Manager at BAM. full-out physical experimentation; Donald Judd designed the set, and Peter Zummo wrote the score. Brown writes, “I began my search for vocabulary by pushing furniture around in the studio. This behavior translated into a resolve to push myself and my dancers into powerful movement and carefully designed body- geometries, initially similar to furniture.” It is remarkable for its technical and physical difficulty and the spatial manipulation of the moving scenography. Brown noted, “Don’s stage design comprised five proscenium-size drops in the three primary colors plus brown and another shade of red. They split the stage into sections forming four corridors, which could alternately block and reveal the dance.”

By asking a visionary artist to collaborate, Brown had in turn become obligated to Judd’s scheme. “I had unwittingly allowed Judd to usurp the choreographer’s territory of time and space. He could cut off a dancer flung high in an arc, or . Photo: Stephanie Berger Set and Reset confine us in a narrow strip on the downstage light line, five feet deep and 40 wide. My choreographic solution was to visually design the dance into the motional elements of the set, albeit adapting a few aspects to my favor. Why did I put up with it? Too late to change for one, but remember that abstract modern dance, unfettered by story and music, is, necessarily, in search of a logic or rationale to reduce the proliferation of options that hang around winking at us. The Newark set did impose tough dialogues and severe internal limitations, but it also delivered a spatial and temporal score that forced invention and issued one of the most striking pieces in our repertory.”

PRESENT TENSE (2003) rounds out the BAM program, with set design by Elizabeth Murray and a score by John Cage. This work falls into Brown’s “music cycle,” a bit ironic since Cage poked music’s rules. It features dancers lifting one another—soaring, suspended; weightless, TAKING OFF 5,000 TIMES A DAY. TAKING ON EVERYTHING ELSE. Delta is proud to be the offical airline of BAM. @BAM_Brooklyn @KatyLClark Photo: Jesse Winter

Meet Katy Clark Katy Clark, BAM’s new president, answered figurines of the band Wilco—Jeff Tweedy et al. some questions posed by Robert Wood about issues small and large. Wilco notwithstanding, you’re a former violinist with the BBC Symphony. How has your experience as a performer influenced your First of all, welcome to BAM. All moved in? philosophies on the executive side of things? Favorite neighborhood lunch spots picked? Being a performer has given me a very acute All moved in at BAM, and soon to be moved sense of the pressures and challenges that artists into a new home in Brooklyn with my family. feel on stage and during the rehearsal period. As for lunch, favorites so far would be soup BAM is a home for artists as well as audiences, and sushi from The Greene Grape and noodles and I want them to have the best experiences from National! I also love Romans, Walters, and here. I’ve also learned a lot about leadership from Madiba, all on DeKalb. watching different conductors. The best allow their musicians to speak with their own artistic What were the first things you hung or voices while still providing an inspirational and unpacked in your new office? interpretative framework. That’s what I try to do.

Pictures of my family and pieces from the BAM You applied that philosophy during your five Visual Art collection, including a Richard Avedon years as president and executive director at the photo of former BAM leader Harvey Lichtenstein Orchestra of St. Luke’s, which you left earlier and a piece by the brilliant Shinique Smith. this year. What do you consider your biggest I also couldn’t forget a paperweight my son personal accomplishment during that time? gave me and some of his art work. Or my little CELEBRATE COMMUNITY

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My experience with the BBC Symphony Regardless of our size, what we do won’t be made me think a lot about the ideal working valued by absolutely everyone. But it should still environment for artists. While I was at OSL, I be accessible to anyone. We curate but are not was able to lead the design and construction just for connoisseurs. One way to ensure this is of the DiMenna Center for Classical Music, a through our education and community programs, beautiful rehearsal and recording space geared but we also do it by creating more inviting towards enabling musicians to do their best spaces. This is on my mind a lot at the moment work. It’s an arts building top to toes, with as we think about renovations surrounding the spaces for orchestra rehearsals, private lessons, BAM Harvey Theater, where we are making and more. It also shares space with another changes to improve the experiences of our non-profit, the Baryshnikov Arts Center, so audiences, and also in terms of the wonderful there’s always a creative buzz in the air. As a street-level public space that will be included multi-use space dedicated solely to classical elsewhere in the BAM Strong complex down the music, nothing like it existed in New York until it street. opened. I’m very proud of that. What’s the real value of experiencing BAM has made its own additions lately, “adventurous” art as an audience member? including the 250-seat BAM Fisher in 2012. More is on its way, with new movie theaters set That these experiences never really leave you. to open across Ashland Place in 2018. What is it You think about them over and over again, and about a bigger BAM that makes for a better BAM? they change you somehow.

We curate but are not just for connoisseurs.

Given the precarious state of the performing Maybe related to that, what’s one of the more arts in our culture, it is hard to imagine that underrated feelings that someone can have there could be too much BAM or too much of while experiencing an artwork on the stage? any other cultural organization for that matter! BAM’s growth is art and culture’s growth. What’s That’s such a great question! I would say important is that these things continue to expand fear. Also, the feeling of being completely their reach, regardless, in many ways, of who is overwhelmed. enabling them to do so. Of course, we’re thrilled to be able to contribute. What has surprised you the most so far about BAM? Speaking of growth, Fort Greene is going to see as many as 15,000 new residents in the near The breadth of what we do. It’s a voyage of future. What’s something that a new resident discovery! could say upon entering BAM for the first time that would make you extremely happy? Guilty-pleasure music of the moment?

“Shakespeare and free R&B?!” Or “finally.” “Levitation” by Beach House. And “Kaput” and “Times Square” by Destroyer. My son introduced The performing arts can sometimes suffer from Destroyer to me after being introduced to them insularity: those who appreciate them and have by my husband. He’s become a great listener. the means to them are often those lucky enough to have had the chance to experience them at an early age. How do you break through that echo Follow Katy Clark on Twitter: @KatyLClark chamber in order to draw new, diverse audiences? Robert Wood is Senior Copywriter at BAM. BAM Directory

STAY CONNECTED BAM Box Office Patron Services BAM.org Peter Jay Sharp Building For donors who make an annual Mon–Sat: 12–6pm; closed holidays contribution of $1,500 or more: #BAMNextWave Sun 12–4pm (performance days only) 718.636.4182 BAM.org/blog [email protected] BAM Harvey Theater and BAM BAMwifi_forBK Fisher box offices open 90 minutes Lost & Found Facebook.com/BAMstage prior to curtain on performance 718.636.4150, Mon—Fri: 9am—5pm @BAM_Brooklyn days (same-date ticket sales and pick-up only). Restrooms BAMorg/video BAM Howard Gilman Opera House: Group Sales mezzanine and balcony level LOCATIONS For ticket orders of 10 or more (handicapped accessible: 718.623.7885 | [email protected] orchestra level and BAMcafé) PETER JAY SHARP BUILDING 30 Lafayette Ave BAM Rose Cinemas BAM Harvey Theater: BAM Howard Gilman Opera House Advance Ticket Sales: lobby and gallery level Lepercq Space/BAMcafé 877.789.MOVIE BAM Rose Cinemas BAM.org/#film BAM Fisher: Hillman Attic Studio Info: 718.636.4100 lower lobby, 4th floor, and 7th floor

BAM HARVEY THEATER Box office opens 30 minutes before Headphones 651 Fulton St the first screening of the day. BAM offers infra-red listening devices for the hearing impaired; please BAM FISHER BAM Rose Cinemas is wheelchair inquire at the coat check. accessible. Infra-red headsets for 321 Ashland Pl OTHER Fishman Space the hearing impaired are available; Hillman Studio inquire at the box office. Administrative Offices Rooftop Terrace and Stutz Gardens 718.636.4111 Leavitt Workshop Student Rush Info www.BAM.org/student-rush Rental Information Brooklyn, NY 11217 718.636.4198 | [email protected] BAM.org/rentals [email protected] SERVICES BAM Visual Art TICKETS Membership 718.636.4194 718.636.4101 BAM Ticket Services [email protected] BAM.org/BAMVisualArt Performance tickets and info Level 5 special access to orchestra seats, [email protected] 718.636.4100 call Ticket Services at 718.636.4100 [email protected] Questions and Comments BAMcafé [email protected] Reservations/info: 718.623.7811 BAM.org/contactus

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Warning The photographing, the safety of others by lighting BAM theater managers and press videotaping, or sound recording of matches or smoking in prohibited agents are represented by the any performance without written areas during the performances and Association of Theatrical Press Agents permission of the management, is intermissions. This violates a New and Managers, prohibited by law. Violators may be York City ordinance and is punishable Local #18032, punished by ejection and may be by law. —Fire Commissioner IATSE, AFL-CIO. liable for money damages. BAM backstage employees BAM is a charter member of the Fire Notice The exit indicated by a are represented by the League of Historic American Theaters red light and sign nearest to the seat International Alliance of and an affiliate member of the League you occupy is the shortest route to Theatrical Stage Employees of American Theaters and Producers. the street. In the event of fire or other (I.A.T.S.E.). Children under five not admitted emergency, please WALK TO THAT unless explicitly noted. EXIT, FOLLOWING THE DIRECTIVES OF THE HOUSE STAFF. Thoughtless persons annoy patrons and endanger Thanks to our Next Wave Festival supporters

Season Sponsor: BAM dedicates the 2015 Next Wave Next Wave Festival supporters: Festival to the late Ronald E. Feiner—a The Achelis Foundation treasured BAM board member for 28 Booth Ferris Foundation years, our indispensable legal counsel, brigitte nyc and valued advisor. William I. Campbell & Programming in the BAM Howard Gilman Christine Wächter-Campbell Opera House is supported and endowed BAM 2015 Music Sponsor: Charina Endowment Fund by The Howard Gilman Foundation. The Gladys Krieble Delmas Foundation Programming in the BAM Harvey Theater Epstein Teicher Philanthropies is endowed by the Doris Duke Charitable Endowed funds supporting the Next Jeanne Donovan Fisher Foundation. Wave Festival: The Howard Gilman Judith R. & Alan H. Fishman Foundation; Lila Wallace-Reader’s Frederick Loewe Foundation Major support for Refuse the Hour is Digest Endowment Fund for Community, The Francena T. Harrison Foundation provided by the Marian Goodman Gallery. Educational, and Public Affairs Programs Trust at BAM; The SHS Foundation; The Stephanie & Timothy Ingrassia Leadership support for dance at BAM Andrew W. Mellon Foundation Fund for Diane & Adam E. Max provided by: Opera and Music-Theater; The Peter The Ambrose Monell Foundation Jay Sharp Fund for Opera and Theater; Henry and Lucy Moses Fund, Inc. The Ford Foundation Fund to Support Donald R. Mullen Jr. Collaborative Creativity Among U.S. Samuel I. Newhouse Foundation, Inc. Artists; Estate of Richard B. Fisher; BAM The Reed Foundation Leadership support for opera at BAM Fund to Support Emerging and Local The Jerome Robbins Foundation, Inc. provided by Aashish & Dinyar Devitre. Musicians; The Starr Foundation; Next The Morris and Alma Schapiro Fund Wave Forward Fund: Altria Group, Inc./ The Scherman Foundation The Rolex Institute supports emerging Founding Sponsor “Supporting the Spirit The SHS Foundation artists at BAM of Innovation”; and The Devitre Fund. The Shubert Foundation, Inc. The Harold and Mimi Steinberg Support for new dance presentations in Official Airline of BAM: Charitable Trust the BAM Fisher provided by the Mertz The TinMan Fund Gilmore Foundation. The Virgina B. Toulmin Foundation Two Trees Management Company Generous funding for Tabac Rouge The BAM facilities are owned by the The Winston Foundation, Inc. provided by Edward Jay Wohlgemuth. City of New York and benefit from public Estate of Martha Zalles funds provided through the New York Generous funding for Umusuna provided City Department of Cultural Affairs Title Sponsor of BAM Rose Cinemas and by Daniel Clay Houghton. with support from Mayor Bill de Blasio; BAMcinématek: Cultural Affairs Commissioner Tom Leadership support for BAM Visual Art Finkelpearl; the New York City Council provided by Agnes Gund and Toby Devan including Council Speaker Melissa Mark- Lewis. Viverito, Finance Committee Chair Julissa Ferreras, Cultural Affairs Committee BAM Rose Cinemas are named in recognition of a major gift in honor of Programming by New York City Artists in Chair Jimmy Van Bramer, the Brooklyn Jonathan F.P. and Diana Calthorpe Rose, the BAM Fisher supported by Rockefeller Delegation of the Council, and Council and have been generously supported by Brothers Fund. Member Laurie Cumbo; and Brooklyn Borough President Eric L. Adams. The Peter Jay Sharp Foundation, and the Estate of Richard B. Fisher. Leadership support for Scandinavian BAM would like to thank the Brooklyn programming provided by The Barbro Delegations of the New York State The Steinberg Screen at the BAM Harvey Osher Pro Suecia Foundation. Assembly, Joseph R. Lentol, Delegation Leader; and New York Senate, Senator Theater is made possible by: Presentations from Muslim majority Velmanette Montgomery, Delegation countries supported by the Building Leader. Bridges Program of the Doris Duke Foundation for Islamic Art. Official Beverage of BAM: Programming in the BAM Lepercq Space is supported by The Lepercq Charitable Major support for Savannah Bay provided Foundation. by The Florence Gould Foundation with BAM would like to thank the Brooklyn additional support from Laura Pels. Your tax dollars make BAM programs Delegations of the New York State possible through funding from: Assembly, Joseph R. Lentol, Delegation BAM Marquee Sponsor: Leader; and New York Senate, Senator Velmanette Montgomery, Delegation Leader.

Official Piano for BAM: BAM.org sponsor: @BAM_Brooklyn #GloryOfTheWorld Aaron Lynn, Andrew Garman. Photo Bill Brymer Aaron Lynn, L-R: Ramiz Monsef, Bruce McKenzie, Eric Berryman, Bruce McKenzie, Ramiz Monsef, L-R:

Glory Be By Marty Rosen When it premiered last spring at Actors Theatre legacy, Actors Theater Artistic Director Les Waters of Louisville, The Glory of the World, by Charles was not surprised by the energetic reaction to Mee, quickly became one of the most debated the play. “He’s iconic here,” Waters said in an productions in the decades-long history of the interview a few months after the production’s Humana Festival of New American plays. The initial run. “As I read his works and listened play had been commissioned to celebrate the to people talk about him, I realized that he is 100th birthday of the Trappist monk, Thomas claimed in different ways. In a way, because Merton, who spent most of his career writing and he doesn’t exist anymore, he has become, in a meditating in the secluded confines of the Abbey sense, a sort of blank that people fill in. People at Gethsemani just south of Louisville. At the would really go at it on who he was and what he heart of heated discussions: How accurately had stood for.” Merton’s legacy been portrayed? And, said Waters, at a certain point the creative Merton, author of some 70 volumes of poetry team—Mee and our literary office—realized that and essays (and the best-selling autobiography Merton’s contested legacy offered a fascinating Seven Storey Mountain) is revered around the approach to a man so complex that he is world—just a few months ago, in a speech to the “claimed” by Buddhists and Catholics, beatniks US Congress, Pope Francis singled Merton out as and Communists, social justice and anti-war a “great American.” But he’s especially beloved activists, and mystical theologians. in Kentucky, where the Thomas Merton Center is housed at Bellarmine University (and where Waters is not a fan of conventional biographical a recent campaign has emerged to name a new plays. First, he said, because they tend to Ohio River bridge after him). enforce a rigid, authoritative view of the subject they’re depicting—an approach that doesn’t fit Because of the enduring strength of Merton’s a figure like Merton. And second, because, “As #GloryOfTheWorld Jan 16—Feb 6

a director I’m interested in both the topic of the solemn philosophical discourse, Mee’s characters story and the form it takes.” sound like witty social media caricatures, whose ideas are embodied in name-dropped pop Just before rehearsals, Waters recalled, he’d been culture celebrities. And the bubbling verbal wit reading a book about John Cage. “Something he is complemented by richly muscular explorations said really struck me—that his work is less like of the physical rhetoric of the human body in an object and more like the weather. What we do scenes tender, ironic, cruel, and violent. in Glory is really what we do in every play. We say, ‘Enter a king in a thunderstorm.’ But there’s In these revels, the play builds a rich web of no king and there’s no thunderstorm. We’re textual and visual allusions to Merton’s works doing the same thing in Glory. The piece has a and influences (especially his reflections on kind of ferocious logic to it. It’s not the logic of Ionesco in the essay “Rain and the Rhinoceros”). words. It’s the logic of images and disruptions. And though the play isn’t biographical, it offers It’s a piece that opens imaginative doors, plenty of details (including hints of a romance) invites an audience to come through, and then that add flesh to this towering intellectual and withholds everything an audience expects.” spiritual figure.

If it’s through form—and acts of withholding— And through the “fierce logic” of these tableaus that the play invites audiences to enter the play grapples with the substance of imaginatively into Merton’s meditative process, Merton’s ideas. In severe, unsparing ironies there’s still plenty of exuberant theatrical giving we see Merton’s critique of a society bent on on stage. Charles Mee’s script lays out in a anaesthetizing itself against solitude by plunging series of surreal birthday party tableaus where into what he once described as the “warm Merton’s ideas (and the contesting claims about collective stupor” of unending amusement. Merton) percolate though uneasy depictions of love, cruelty, innocence, pretense, mercy—and Marty Rosen is a freelance writer who covers the looming specter of violence. Rather than theater for LEO (Louisville Eccentric Observer). L-R: Bruce McKenzie, Conrad Schott, Barney O’Hanlon. Photo by Bill Brymer Bruce McKenzie, L-R: Securing BAM’s Future

BAM Endowment A great institution is built upon on a secure future. At BAM, a growing endowment is the foundation for expansive programming that continues to set new standards for artistic daring and excellence. The BAM Endowment provides the financial underpinning to launch new artistic initiatives, plan for future years, seize opportunities for institutional advancement, and confront unanticipated challenges. BAM sincerely thanks those listed below for their generous support in securing BAM’s future.

$5,000,000 and above Charles J. & Irene F. Hamm Ide & David Dangoor Richard B. Fisher & Jeanne Stephanie & Tim Ingrassia Thérèse M. Esperdy & Robert G. Donovan Fisher Maribelle & Stephen Leavitt Neborak The Howard Gilman Foundation Mary & Jim Ottaway Jr. in honor of Madison S. Finlay The Peter Jay Sharp Foundation Ruth Blackburne Ottaway Forest City Ratner Companies Lila Wallace-Reader’s Digest Rockefeller Brothers Fund Francena T. Harrison Endowment Fund for Community, Jonathan F.P. & Diana V.C. Rose Performance Fund Educational, & Martha A. & Robert S. Rubin Rita K. Hillman Public Affairs Programs Nora Ann Wallace & Jack Nusbaum HSBC Bank USA, N.A. Goldman Sachs Gives at the $1,000,000 and above $250,000 and above recommendation of Anne Hubbard Altria Group, Inc./Next Wave The Bohen Foundation & Harvey Schwartz Forward Fund The Charles & Valerie Diker Dance Independence Community Bank BAM Fund to Support Emerging Endowment Fund Miriam Katowitz & Arthur Radin and Local Musicians The Horace W. Goldsmith Foundation Mr. & Mrs. Edgar A. Lampert Brooklyn Community Foundation Michael Bancroft Goth Endowed Annie Leibovitz & Studio The Campbell Family Foundation Annual Performance Fund Leo Burnett, USA The Irene Diamond Fund William Randolph Hearst James McLaren & Lawton Fitt Doris Duke Charitable Foundation Endowment for Education and Sarah G. Miller & Frank L. Coulson Emily H. Fisher Humanities Programs The Morgan Stanley Community Judith R. & Alan H. Fishman The Rita & Alex Hillman Foundation and Educational Fund The Ford Foundation Fund to Carole & Irwin Lainoff J.P. Morgan & Co. Incorporated Support Collaborative Creativity Maxwell Family Fund in Community Nash Family Foundation Among U.S. Artists Funds, Inc. The Jerome Robbins Foundation, Inc. Diane & Adam E. Max The Jessica E. Smith and Kevin R. May & Samuel Rudin Family The Andrew W. Mellon Foundation Brine Charitable Trust Foundation Fund For Opera & Music-Theater The Geraldine Stutz Trust, Inc. Edward Spilka Bruce C. Ratner $100,000 and above Axel Stawski & Galia Meiri William Boss Sandberg Michael Bailkin, Marvin Levine, Mr. & Mrs. Ame Vennema The Peter Jay Sharp Fund for Opera Jesse Masyr, David Stadtmauer Verizon Communications and Theater Robert & Joan Catell Fund for The Isak and Rose Weinman The SHS Foundation Education Programs Foundation in honor of Madame The Starr Foundation Charina Endowment Fund Lilliana Teruzzi $500,000 and above Neil D. & Kathleen M. Chrisman The Winston Foundation The Devitre Fund Mr. & Mrs. Henry Christensen III Anonymous

For more information on the BAM Endowment please contact As of September 1, 2015 Denis Azaro at 718.636.4193 or [email protected].

Photo: Peter Jay Sharp Building, by Ben Cohen Securing BAM’s Future

Planned Giving Another way to help BAM prepare for the future is by making a provision in your estate plans. You create a legacy for many generations to come and ensure BAM’s excellence continues for the next 150 years. Existing options for planned giving include making a bequest in your will, and naming BAM as a beneficiary in your retirement plan or insurance policy, among others. Unless otherwise specified by a donor, it is BAM’s policy to apply planned gifts toward its endowment. Individuals who have made such gifts are recognized in the select group of patrons known as BAM Angels.

Our special thanks to the foresight of the charitable BAM Angels listed below.

BAM Angels Denis Azaro Karen Brooks Hopkins Marie D. Powers Bettina Bancroft William Josephson David L. Ramsay, MD Robert & Joan Catell Charlotte & Stanley Kriegel William Boss Sandberg Neil D. Chrisman Edgar A. Lampert Louis Sanders Mr. & Mrs. Henry Christensen III Harvey Lichtenstein Harriet L. Senz Mallory Factor Phyllis Holbrook Lichtenstein Toni Mendez Shapiro Madison S. Finlay William Lynch Bella F. Stoll Richard B. Fisher Georgene M. Maxwell Lynn M. Stirrup Judith R. & Alan H. Fishman Scott C. McDonald PaulaMarie Susi Barry M. Fox Evelyn & Everett Ortner Judge Franklin R. Weissberg Rita Hillman Frank J. & Adeline Pannizzo Carol Yorke & Gerard Conn Barbara T. Hoffman William Winthrop Parsons

For more information on Planned Giving opportunities please contact Stephanie Franco at 718.724.8137 or [email protected]. All inquiries will remain confidential. BAM

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2016 WINTER/SPRING SEASON MASTER CLASSES BAM and Knight Blanc present Trisha Brown Dance Company | In conjunction with The Glory of the World | By Charles Mee | Trisha Brown Dance Company | Jan 23 at 10am | MM Directed by Les Waters | Actors Theatre of Louisville | THE MET: LIVE IN HD Jan 16—Feb 6 | HT The 30th Annual Brooklyn Tribute to Dr. Martin Lu- Bizet’s Les Pêcheurs de Perles | Jan 16 at 1pm | BRC ther King, Jr. | Presented by BAM, Brooklyn Borough Pre-screening lecture by Marc A. Scorca at 12pm President Eric Adams, and Medgar Evers College of The Puccini’s Turandot | Jan 30 at 1pm | BRC City University of New York | Jan 18 | OH Pre-screening lecture by Marc A. Scorca at 12pm t Trisha Brown Dance Company | Choreography by Trisha TALKS Brown | Jan 28—30 | OH BAM Gathering: The Glory of the World | In conjunc- BAMCAFÉ LIVE tion with The Glory of the World | With Charles Mee and Les Waters | Led by Bryan Doerries | Jan 20, FREE MUSIC FRI & SAT NIGHTS post-show | HT ‘Nuf Said | Jan 8 at 9pm Clifton Anderson | Jan 9 at 9pm BAMKIDS Onaje Allan Gumbs’ Trio Plus | Jan 15 at 9pm BAMkids Theater: Legend Has It | Jan 15—17 | FS Onaje Allan Gumbs and New Vintage | Jan 16 at 9pm BAMkids Music Series: Chargaux | Jan 23 at 10:30am Mariami | Jan 22 at 9pm & 2pm | BC Dina Regine | Jan 23 at 9pm As Lolas | Jan 29 at 9:30pm TM Stevens | Jan 30 at 9:30pm

BC=BAMcafé | BRC=BAM Rose Cinemas | FS=Fishman Space (BAM Fisher) | HS=Hillman Studio (BAM Fisher) HT=BAM Harvey Theater | OH=BAM Howard Gilman Opera House | MM=Mark Morris Dance Center The GloryPhoto: Bill Brymer of the World. BAM Supporters & Patrons

BAM wishes to thank our patrons for all the operating, capital, and endowment support you’ve given us over the past year. (List represents gifts between Oct 28, 2014—Oct 28, 2015)

$500,000 and above The Harkness Foundation Joseph LeRoy & Ann C. The Barker Welfare Foundation William & Laura Taft Paulsen brigitte nyc for Dance Warner Fund The Howard Bayne Fund Laura Pels International Brooklyn Borough The Francena T. Harrison Time Warner Inc. Roger & Brook Berlind Foundation for Theater President’s Office— Foundation Trust The TinMan Fund Mr. & Mrs. Anthony Bowe Pfizer Inc. Eric Adams Stephanie & Timothy Ingrassia Toll Brothers City Living The Brooklyn Brewery Plaza Construction William I. Campbell & Kate Spade Pedro Jose Torres & Cecilia Donald A. Capoccia Corporation Christine Wächter- The Kovner Foundation Picon Goldman Sachs Gives at Lyon & Hilary Polk Campbell The Lepercq Charitable Virginia B. Toulmin the direction of R. Martin Maya Polsky The City of New York— Foundation Foundation Chavez Daniel Porter & Melanie Bill de Blasio, Mayor Toby Devan Lewis Anonymous Credit Suisse Judd Doris Duke Charitable James I. McLaren & Lawton Crown Acquisitions Marcel Przymusinski Foundation W. Fitt $25,000 and above Pam Daley & Randy Phelps William & Katherine Rayner Jeanne Donovan Fisher Nash Family Foundation A24 Films Beatrice & James Del The Reed Foundation Judith R. & Alan H. New York State Council on Roger Alcaly & Helen Bodian Favero David Richenthal Fishman the Arts Jody & John Arnhold Ahmad Deek & Marie-Line William D. & Susan Kahan Ford Foundation Onassis Cultural Center NY BNY Mellon Grinda Rifkin The Howard Gilman Norman & Liliane Peck Mercedes T. Bass Charitable The Dermot Company, Inc. Max Rifkind-Barron Foundation Pepsi-Cola Bottling Corporation DeWitt Stern The River Café Goldman Sachs Gives Company of New York Anne H. Bass Jean and Louis Dreyfus Mr. & Mrs. Theodore C. Goldman Sachs Gives at The Jerome Robbins Tony Bechara Foundation, Inc. Rogers the recommendation of Foundation, Inc. Norman S. 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Stanton/The Con Edison of 1770 Henry B. & Karoly S. Gutman Maxwell Delancey Foundation Ide & David Dangoor Miriam Katowitz & Arthur The Marc Haas Foundation, WSP Cantor Seinuk The Joseph S. and Diane H. The Gladys Krieble Delmas Radin Inc. Richard C. Yancey Steinberg Charitable Trust Foundation Dan & Abbe Klores Mr. & Mrs. Burton K. Haimes Carol Yorke & Gerard Conn United States Department of Steven & Susan Felsher Kohn Pedersen Fox Dozier Hasty & Nancy Barbara & David Zalaznick State, Bureau of Educa- Fleurs Bella Associates PC Havens-Hasty Estate of Martha Zalles tional and Cultural Affairs Susan L. Foote & Stephen Philippe & Posey Krakowsky Cheryl Henson & Ed Finn Pia & Jimmy Zankel David & Jane Walentas L. Feinberg Robert & Teresa Lindsay The Jim Henson Anonymous Jed Walentas & Kate Gotham Organization, Inc. John Lipsky & Zsuzsanna Foundation Engelbrecht The Florence Gould S. Karasz Cecilia & James Herbert $5,000 and above The Robert W. 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Douglaston Development Tishman Construction of NY Shellie Gillespie Bianca Maria Orlando & Martine Beamon & Eddie The Max and Victoria Jane & Robert Toll Elise & Eric Girardin William McGinty Joyce Dreyfus Foundation, Inc. Teresa Tsai Virginia Gliedman Jim & Mary Ottaway Carol & Chris Beemer Henry & Kathy Elsesser Diane & Tom Tuft Parisa Golestaneh John Perkins & Hope Dana Anka & Louis Begley Teri Everett & Mark Davidson The Weininger Foundation, Inc. Rhonna & Ezra Goodman Marnie S. Pillsbury Richard & Elizabeth Nathaniel Felsher Donna Wick Gordon & Mary Gould Possible Productions Inc. Bellingham Barbara J. Fife Robert G. Wilmers Larry E. Dumont, M.D. & Pratt Institute David I. Berley Britton & Melina Fisher Nina Winthrop Martin Gould Aleksey Pryadko Barbara Berliner & Sol Rymer Barbara G. Fleischman Carolyn & H.L. Wise Francis Greenburger & Rajika & Anupam Puri JJ & Michelle Berney Mr. & Mrs. Austin T. Mr. & Mrs. James D. 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Friedman New England Foundation Andrea Barbieri Jeffrey Deitch Steiner Studios Alexander C. & Tillie S. for the Arts’ National Hugo Barreca & Wendy DeLaCour Family Foundation Tom & Wendy Stephenson Speyer Foundation Dance Project Schlemm Diana Delmonte-Wong & Stop & Stor Charitable Fund Paul A. Gangsei & Susan Michael Newhouse Samuel & Marion Bass Adrian Wong TD Charitable Foundation Herman Linda Nochlin Pommer Jeffrey Bauman Linda Dennery Thomas Tedone Giant Taping & Plastering, Inc. Christopher A. Noey & Stanley Baumblatt Elizabeth Denys Michael M. Thomas Lynn Gilbert Ghiora Aharoni Whitney Baxter Marie Derosa & Richard Laurie Tisch Walter Gilbert NYC & Company McNeil LOCAL COLLECTIVE

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BAM Supporters & Patrons

Jennie L. & Richard K. Robert & Barbara Heelan Brian & Florence Mahony Andrew Pinkowitz & Mary André Spears & Anne Rosen Descherer Isaac & Sheila Heimbinder Dr. Robert Maki Pinkowitz David Spears Brooke Devine Kris Heinzelman Matthew Mallow Pauline Pinto Joseph Spiegel Edwin & Paula DeYoung Jeffrey Henigson Ronald Daignault & Teresa Daria Pizzetta Gayatri Spivak Anne & John Dockery Edward Henry Maloney Carl Podwoski & Virginia Jonathan Sporn Lynn Dolnick Jeffery Hentze Anne Maltz Lovejoy Samarith Srey Donaldson Acoustics Co., Inc. David & Jennifer Herman- Andrea Marber Elizabeth Polanco Barbara Stanton Miriam Donoho Feldman Nadja Marcoz Paul & Marjorie Possick Shirley Staples & Donald Donna & Mitchell Drach Herrick, Feinstein LLP Barbara A. Marcus & Sandra Pierson Prior Vangel Molly Duffy Samuel & Hagit Hertz Michael Pollack Greg Pucillo Jillian Steadman Catherine Dumait-Harper & Adam & Sita Hess Marriott International Leslie & David Puth Gillian Steel Alan Harper Adria & Donald Hillman Phillip Marriott & Susannah Theodore Quinn Judy & Michael Steinhardt Allison Dunn HK Organization Taylor Tom Quinn & Celeste Wright Jeanne & Steven Stellman Violet & Christopher Eagan The Hoffman Law Firm John Marshall & Seriti Yamini Martin & Anna Rabinowitz Dr. Susan Stewart Frederick Eberstadt Frank Holozubiec William & Lori Marshall Maureen Raley Gail Stone & Matt Fishbein Dr. and Mrs. David Erlij Katherine Hosford & Frank Martinez Les Ramsey Leila Straus Lorren Erstad & David Lerner Christopher Welch Nina Matis Christopher Rapcewicz & The Dorothy Strelsin Boris Evelkin David Howe & Charlene Kim Maxwell Claudia Bungaro Foundation Richard & Florence Fabricant Wang Jerri & Tom Mayer Stephen Raphael & Ellen Katherine Sugg Bill & Jan Farber Whitney Hunter-Thomson Liese & Peter Mayer Marks Sukey Tamarkin Joe Fazio & Scott Hunter IATSE - Theatrical Stage Deborah McAlister & Alex Rappaport Kathleen Sullivan Martin Feinman & Amy Employees Local 4 Christopher Jones Bridget Read Gabrielle Tana Cooney Sam Ibrahim Joseph McDonagh Samuel Reinhart Julie Tarney Michael & Nancy Feller Jan Inscho & Seymour Miles Dale McDonald Richmond Hills High School Ronald & Adele Tauber Edith Ferber Irish Arts Center Travis McGhie & Thomas Juergen Riehm & Jody Josephine & Philip Teverow Igor Fert Dr. Lois Jackson Mizer Oberfelder Theater for a New Audience Richard Feuring & Charles Pamela Jackson Dr. James & Mrs. Jane Katherine E. Ringer Theaterical Wardrobe Krewson Beth Jacobs & Dr. Keith McGroarty John Rockwell & Linda Union, Local 764 Katherine & Luke Fichthorn Gottesdiener Alice McKown Mevorach Liz Thompson Joan Salwen Fields Steven & Susan Jacobson Susan McLaughlin The Rodgers & Hammer- Thornton Thomasetti Carl & Merle Fieser T. Radey Johnson & Jane Gordon McLeod & Melanie stein Organization Charlotte L. Thorp Karen L. & Evan L. Flatow Platt Grisanti Connie & Ted Roosevelt Catherine K. 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Miller Foster Chauncey Upson Rechelbacher Ms. Judith Khan Sandra and Lowell Mintz Nancy Sands Raymond Vickers M. Derene & Julius Frazier Vlad Khandros Darcy Miro & Ross Tuttle Lori Saperstein Frederick Victor Lauri Freedman William Kistler Lucy Mitchell-Innes Save Mor Copy Center Vollmuth & Brush Katherine Freygang Micheline Klagsbrun & Ken Donald & Gwen Moffat Rosemary Scanlon David Wagner Friars Foundation Grossinger Adrian Mojica Michele & Jose Scheinkman Ethan J. Wagner & Thea Effie & Robert Fribourg Michael Koch & Andrew Mary Anne Moloney/ In Mem- Douglas & Ans Schickler Westreich Sarah B. Friedman & Paul Kohler ory of Robert L. Barocci Ellen Schleifer & Jordan Katz Marcus Wainwright & Salama David Kolbusz Nikki Mondschein Lynn Schneider Glenna Neece James Friend Bennette Kramer & Eliot Long Deborah Montaperto Lynn C. Schneider Leigh & Robin Walters Susan & Michael Furman Kenneth & Susan Kramer Maria Montoya Miriam Schneider Barbara & Sedgwick Ward Treacy & Todd Gaffney Mr. Rob Krulak John Morning Roberta Schneiderman Seth Washinsky Al Garner The Krumholz Foundation Evangeline Morphos Florian Schodel Janet C. Waterhouse PhD Peter Gee Roberta Krumholz Kathy Morton & David Ellen Schonfeld Kathy & Bill Weigel Dr. Peter L. Geller Liz & George Krupp Nadelman Gabriel & Jolie Schwartz Sandra & George Weiksner Andra Georges & Timothy Rocco & Deborah Landesman Deirdre Mullane Richard Schwartz & Gita Laurie & David I. Weiner C. Shepard Judith A. Langer & Arthur Jim & Iris Munson Martohardjono Earl D. & Gina Ingoglia Liz Gerring & Kirk Radke Applebee Megan Murphy Ralf Schwieger Weiner Maxine Gerson Robert S. Langley Edward Nahem Elisabeth Searles & Richard Charlene Magen Weinstein Patricia Gift Drs. 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Michael Goodman & Richard Levy & Lorraine Empire Educational Services Elizabeth Sidamon-Eristoff Tyler Whitmer Judith Uman Gallard NYC Department of & Hunter Lewis Earl Wilcox Naomi Gordon Jeffrey Lewis & Karin Youth and Community Anne P. Sidamon-Eristoff Barbara Wilks David & Elaine Gould Miller-Lewis Development Larry & Ashley Silverman Ross Wisnewski Stephen R. Greenwald & Michael Li Daniel & Rebecca Okrent Harry Simino Thomas & Sarah Wisniewski Rebecca A. Sullivan Emma Lindsay Barry Michael Okun John & Helen Simonson Devera Witkin The Green-Wood Cemetery Simon Lipskar & Kate Roger W. Oliver Leslie Simpson Doug Wolff Jane & Jean-Marie Grenier Zuckerman Peter Darrell & Jane Holle Singer Dr. Elizabeth Wolff Bill Grogan Sandra Lipsman Ormerod Loren & Marlene Skeist Rachel Wood & Scott Olsen David Gruber Keith Lloyd Kathleen Owens Johanna Skrzypczyk & Fred Wright Amy & Ronald Guttman Cary Lochtenberg & Jan Ilana Pachter & William Wynn Emmanuel Gastard Mr. Peter Wright & Dr. Sally Noa Guy Lochtenberg Meredith Palmer Elaine Sloan Dricks Gunilla Haac Rachel Loeb & Zachary Block Cheryl Paradis & Gene Pamela Smith Aamir Wyne Esq. Helen & Peter Haje Tyler Lones McCullough Matthew Patrick Smyth Michael Young & Debra Harrison Atelier Randy Lott Gwenevere Parker Susan Snodgrass Raskin Robert D. Hall & Jane Joseph Lovett & James Cottrell Estelle Parsons & Peter L. Mitchell C. & Sandy Sockett Brett Zaccardi Hritz Hall Ann M. & Mitchell A. Zimroth Kenneth Soehner The Zeitz Foundation Patricia Hallstein & Axel Lowenthal Kirk & Sue Patrick James Sollins Jory Zimmerman Kramer Jane Macan Robert H. Pees Andrew P. Solomon & Frank & Arrien Zinghini Joan & Douglas B. Hansen Ann MacDonald & Charles Marco Perez Elizabeth Bartman Micha Ziprkowski Robert E. Hansmann Raubicheck Bill & Patty Dugan Perlmuth Richard & Mimi Somerby Anonymous (8) Hugh &Tiziana Hardy John Macintosh & Anna Amy Perry Melissa Schiff Soros David Hariton & Thomas Verdi Alexandra & Frederick Annaliese Soros October 28, 2015 Lippy Macro Sea Inc. Peters Jonathan & Jennifer Soros Joyce & Ira Haupt II Edward Mafoud Christopher Petescia & Beth Ellen Sorrin Douglas & Jessica Healy Antonio Magliocco & Carla Petescia Dr. Rogelio Sosnik & Dr. Joanna Hedge Solomon Elizabeth Peyton Irene Cairo BAM greatly appreciates all contributions in support of our work. We apologize for any inaccuracies. Please contact the Development Department at [email protected] with any corrections. BAM Board

Brooklyn Academy of Music Cheryl Della Rosa Alberto Sanchez Mary Kantor Dinyar S. Devitre Timothy Sebunya John Lipsky Chairman of the Board Mark Diker Bartholomew A. Sheehan III Laurie Mallet Alan H. Fishman Andre Dua Jessica Smith Cathy-Ann Martine-Dolecki Brendan J. Dugan Brian Stafford David L. Ramsay, M.D., M.Ed. Vice Chairmen of the Board Thérèse Esperdy Axel Stawski Elaine Weinstein William I. Campbell Teri Everett Joseph A. Stern Hon. Franklin R. Weissberg Adam E. Max Mallory Factor Pedro J. Torres Vaughn C. Williams, Esq. Richard E. Feldman, Esq. John L. Usdan President Steven G. Felsher Brigitte Vosse BAM Endowment Trust Chair Katy Clark Jeanne Donovan Fisher Nora Ann Wallace Timothy J. Ingrassia Barry M. Fox Veronica Westberg Secretary MaryAnne Gilmartin Adam Wolfensohn Vice Chair Joseph V. Melillo Robert M. Greenberg Claire Wood Gabriel Pizzi G. Penn Holsenbeck Andrew Zolli Treasurer Anne Hubbard Treasurer James I. McLaren Mark H. Jackson Ex Officio Keith Stubblefield Grant S. Johnson Gina Argento Presidents Emeriti Daniel A. Klores Lori Luis Members Karen Brooks Hopkins Philippe Krakowsky Laura Popa William A. Douglass III Harvey Lichtenstein Edgar A. Lampert Steven G. Felsher Gary Lynch Chairmen Emeriti Elizabeth Holtzman Members Patricia E. Michels Neil D. Chrisman James I. McLaren Tony Bechara Ahrin Mishan Seth S. Faison Norman L. Peck Fran Bermanzohn Donald R. Mullen Jr. Bruce C. Ratner Alberto Sanchez Gordon Bowen William A. Perlmuth Timothy Sebunya Linda Chinn David L. Picket Honorary Trustees R. Edward Spilka Henry Christensen III Frances A. Resheske Robert L. Forbes Nora Ann Wallace Pamela A. Codispoti Sarah C. Robertson Charles J. Hamm Henry Christensen III, Ex Officio Dr. Rudolph F. Crew Jonathan F.P. Rose Barbara B. Haws, C.A. Thérèse Esperdy, Ex Officio David E.R. Dangoor Anna Kuzmik Sampas William Josephson Alan H. Fishman, Ex Officio

BAM Staff

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So Many by Robert Wood John Henrys

It’s been said that you can never sing a folk But the details are predictably fuzzy. Was John song twice. Folk songs are living organisms, not Henry 5’1” or 6’1”? Was his wife Polly Ann or Sally reproducible objects, the argument goes, existing Ann? Did his hammer shine like silver or gold? to perpetually renew the contract between universal myths and the gritty particulars of our Wolfe’s answer, according to her libretto, is lives. Sometimes, because songs migrate and yes. A patchwork of juxtaposed nouns and the oral tradition gets creative, those particulars adjectives plucked from the story’s myriad work their way into the songs themselves and variants, her libretto celebrates proliferation and variations proliferate. A Scottish glen becomes pluralism—an American crazy quilt of contested, a Virginia holler, a silver dagger becomes a pen telephone-gamed fact. On stage, four female knife, rosy-red lips become lily-white hands. The vocalists take on the role of stoic Appalachian details change so that the myths don’t have to. balladeers, impassively conveying the ballad’s litany of discrepancies. Through an acerbic Such is the case with the “The Ballad of John post-minimalism, fleshed out by banjos, jaw Henry,” whose 200+ documented versions harps, guitars, and other instruments played form the basis of Pulitzer Prize-winning by the Bang on a Can All-Stars, they repeat, composer Julia Wolfe’s work Steel Hammer foreshorten, and linger over phrases as though and its theatrical adaptation, which comes to trying on the variants for size. BAM in December. The story of John Henry is a familiar one: a spike-driving railroad worker of Words have become raw material, stripped Bunyonesque strength beats a steam drill in a of context. And if folklore typically relies on contest to bore through a mountain, only to “die archetypes to work properly—the Trickster, with his hammer in his hands.” That folk music however tricky, the Tragic Hero, however tragic— historian Alan Lomax called the legend “possibly then this is its radical inversion: a hypnotic America’s greatest piece of folklore” is no wonder: celebration of content over narrative form in the mythos of the railroad, man vs. machine service of a bustling musical machine. anxiety, bootstraps individualism—the muscular American imaginary is there in its entirety. #SteelHammer Dec 2—6

The more traditional storytelling in Steel prison laborer who’d been falsely convicted. Hammer falls to six actors from Anne Bogart’s Foundational myth had been built on the back of SITI Company, who, along with step dancing the oppressed. and other choreography (by Barney O’Hanlon), offer theatrical interludes between musical In another segment, a woman recalls meeting movements. Yet in keeping with Wolfe’s oblique Henry at the age of 12 while he worked as a approach to the tale, the interludes take an pig slaughterer in the post-reconstruction south. alternative path as well. Using different texts Conditions were dire for blacks (“sanitation was written by playwrights Kia Corthron, Regina an unuttered idea”), she reminds the audience, Taylor, Carl Hancock Rux, and Will Power—each and Henry, out of breath, seemed to be on the of whom was tasked with telling the John Henry run from something. “Every man is an end in tale in their own idiosyncratic ways—the actors himself,” Henry says to her in passing, his days delve into the John Henry subconscious. of freedom presumably numbered. The stream drill is rendered as one foe among many. Myths repress, after all. We often can romanticize them only because their gritty In another, John Henry is in jail with no release preconditions are kept out of sight. In the case date in sight. What will we tell our kids?, he of John Henry, always portrayed as African- wonders through the bars to his wife. Their American, those givens are inescapably linked solution: an unlikely tale about how their father to race. How, after all, did John Henry end up died while at his railroad job, but not before working on the railroad in the first place? What beating the odds in a contest with a machine. would lead a person to fight for his job to the point of exhausting himself to death? “For me,” Anne Bogart has said, “this project is not about getting to the absolute truth of this In Steel Hammer’s first segment, a subtle contest tale. It’s about how we mold stories for the times of representation plays out. A group of largely we live in.” white town folk take turns recounting the legend with wide-eyed wonder before another woman, The details change, and yet our myths live on. referencing historical likelihood, tempers their story: John Henry worked the railroads as a Robert Wood is a copywriter at BAM. Photo: Michael Brosilow