N E X T W a V E F E St Iv a L D E C 2 01 8

DEC 2018 DEC NEXT WAVENEXT FESTIVAL

Roy Lichtenstein, Reflections on Hair, 1990

Published by: Season Sponsor: 2018 BAM Next Wave Festival #BAMNextWave

Brooklyn Academy of Music

Adam E. Max, Katy Clark, BAM Board Chair President

William I. Campbell and Nora Ann Wallace Joseph V. Melillo, BAM Board Vice Chairs Executive Producer Greek Scottish Opera/Opera Ventures

BAM Howard Gilman Opera House Dec 5, 6 & 8 at 7:30pm; Dec 9 at 3pm

Running time: approx. 1 hour 20 minutes, no intermission

Libretto by Steven Berkoff from his play Greek Adapted by Mark-Anthony Turnage and Jonathan Moore Composed by Mark-Anthony Turnage Conducted by Stuart Stratford Directed by Joe Hill-Gibbins Associate director Daisy Evans Set design by Johannes Schütz Costume design by Alex Lowde Original lighting design by Matthew Richardson Re-light design by David Manion Video design by Dick Straker Movement by Jenny Ogilvie Dramaturgy by Caroline Steinbeis

Season Sponsor: Soloists from The Orchestra of Scottish Opera

Greek is part of Speaking Truth to Power, Co-Presented by BAM and the Onassis Cultural Center New York

Leadership support for opera at BAM provided by: Aashish & Dinyar Devitre The Andrew W. Mellon Foundation Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Chubb is a Lead Sponsor

Support for the Signature Artists Series provided by the Howard Gilman Foundation

Major support for opera at BAM provided by Sarah Billinghurst & Howard Solomon, and The Francena T. Harrison Foundation Trust Greek

Susan Bullock, Andrew Shore, Allison Cook, and Alex Otterburn. Photo: Jane Hobson Greek

CAST Eddy Alex Otterburn Eddy’s Mum/Waitress/Sphinx Susan Bullock Eddy’s Sister/Waitress later Eddy’s Wife/Sphinx Allison Cook Eddy’s Dad/Café Manager/Chief of Police Andrew Shore

PRODUCTION Assistant conductor Susannah Wapshott Assistant set designer Johanna Meyer Video content programmer Dan Trenchard Répétiteur Lliam Paterson Production manager Andrew Storer Wardrobe supervisor Emma Butchart Make-up and wigs supervisor Laurie Rankin Stage supervisor Stephen Fulton Lighting supervisor Robert Dickson Props supervisor Marian Colquhoun Props chargehand Katie Todd Stage manager Donald Ross Deputy stage manager Kieron Johnson Supertitles operator Gordon Grant Touring manager Amy Dolan for GLF Ltd

Sung in English with English supertitles.

Co-produced by Opera Ventures and Scottish Opera

First performed at the Gasteig, Munich on June 17,1988. First performed in the UK at Leith Theatre, Edinburgh on August 25, 1988 as part of the Edinburgh International Festival. First performance of this production at the Festival Theatre, Edinburgh on August 5, 2017 as part of the 71st Edinburgh International Festival.

These performances are given by arrangement with Schott Music Ltd, London.

This production was made possible with support from Howard and Sarah Solomon Foundation and Denise Coates Foundation.

With additional support from the KT Wong Foundation and the Boltini Trust.

Scottish Opera receives core funding from the Scottish Government. Greek

SYNOPSIS

ACT I

Eddy, a modern-day Oedipus, relates his background story. He is from Tufnell Park, north London— a “cess pit.” He dreams of a better and more sophisticated life.

Over breakfast, Eddy’s dad tells him a story. When Eddy was a child, his dad visited a fortune teller. The prophecy, repeated years later by the fortune teller’s son, was shocking. Eddy’s dad would die a violent death, and Eddy would get “a bunk-up with his mum.” Appalled, Eddy leaves home.

Time passes. The country is in a state of emergency: political in-fighting, strikes, petrol rationing, uncollected rubbish, an infestation of rats. There is a permanent threat of violence. The Plague is rampant.

Police attack a group of protestors. Eddy gets involved and is beaten by the chief of police. He escapes, and finds himself in a small café.

A row erupts between Eddy and the waitresses, who are too busy discussing previous sexual encounters to serve him. The café manager arrives. A fight breaks out. Eddy kills him.

One of the waitresses reveals she is the café manager’s wife. What will she do now? Eddy says he will look after her. They fall in love. She feels that he reminds her of someone—perhaps her long-lost son, Tony.

Meanwhile, Eddy’s mum and dad worry about the fortune tellers’ double prophecy—and a secret they have kept from Eddy.

ACT II

Ten years later. Eddy and the café manager’s former wife have married. The café is now a thriving business. The couple are happy. Eddy’s mum and dad visit the café. They warn Eddy that the Plague still haunts the country, its cause unknown. Death is all around.

Eddy’s mum tells of a sphinx beyond the city that is killing those who cannot solve its riddles. Eddy resolves to take on the sphinx. But when he gets there he discovers there are, in fact, two. They extol the dominance of women over men. But Eddy knows the answer to their riddle and kills them. He returns home triumphant.

However, Eddy’s mum and dad have a shock in store for him. They are not his parents. Eddy is Tony. His wife is his mother. He has killed his father. In despair, Eddy realizes that he is the cause of the Plague. He blinds himself, and his body is carried away. But, in the end, love just might conquer all. Who’s Who

MARK-ANTHONY TURNAGE’s (adaptation centenary of the outbreak of the First World War. and music) first opera,Greek , established the His new opera Coraline was premiered by the composer’s reputation as an artist who dared Royal Opera at London’s Barbican Centre in to forge his own path between modernism and March this year. Much of Turnage’s music is tradition, by means of a unique blend of jazz recorded on Decca, Chandos, EMI, Black Box, and classical styles. Three Screaming Popes, and the London Philharmonic Orchestra label, Kai, Momentum, and Drowned Out emerged while Scorched, on Deutsche Grammophon, during his time as Composer in Association in was nominated for a Grammy Award. Turnage Birmingham with Simon Rattle (a post supported is Research Fellow in Composition at the by the Radcliffe Trust), followed by Blood on Royal College of Music, and is published by the Floor, his score written for the distinguished Boosey & Hawkes. jazz musicians John Scofield and Peter Erskine, and Martin Robertson. His second full-length STEVEN BERKOFF (libretto) studied drama and opera, The Silver Tassie, won both the South mime in London and Paris. He then entered a Bank Show and the Olivier Awards for opera in series of repertory companies before forming 2001. His third opera, Anna Nicole, played to the London Theatre Group in 1968. His plays sold-out houses at Covent Garden in 2011 and and adaptations have been performed in many has received new productions in Germany and countries and in many languages. Among the New York (BAM, 2013), as well as a revival stage adaptations he has created, directed, at Covent Garden in Autumn 2014. Turnage and toured are Kafka’s Metamorphosis and has been resident composer with the Chicago The Trial, Agamemnon after Aeschylus, and Symphony Orchestra, BBC Symphony Orchestra, Poe’s The Fall of the House of Usher. He has and London Philharmonic Orchestra, and in directed and toured productions of Shakespeare’s 2013 began an association with the London Coriolanus (also playing the title role), Richard II, Symphony Orchestra for which he wrote a major Hamlet, and Macbeth, as well as Oscar Wilde’s new work, Speranza. The relationship continued Salome. His original stage plays include East, with Remembering, his highly acclaimed score West, Messiah: Scenes from a Crucifixion, The which the LSO and Simon Rattle premiered and Secret Love Life of Ophelia, Decadence, Harry’s recorded in January 2017. Turnage has recently Christmas, Massage, Acapulco, and Brighton written several ballet scores for both Sadler’s Beach Scumbags. He has performed his solo Wells—Undance—and the Royal Ballet— shows—One Man, Shakespeare’s Villains, and Trespass and Strapless. A piano concerto for Requiem for Ground Zero—in venues all over Marc-André Hamelin and a drumkit concerto, the world. He has acted in the filmsA Clockwork Erskine, featuring jazz drummer Peter Erskine, Orange, Barry Lyndon, Octopussy (as General premiered in 2013. The year 2014 saw the Orlov), Beverly Hills Cop, Rambo, Under the premiere at London’s Wigmore Hall of his second Cherry Moon, Absolute Beginners, and The string quartet, Contusion, written for the Belcea Krays. He directed and co-starred with Joan Quartet, and more recently a 40th anniversary Collins in the film version of his playDecadence . commission for the Emerson Quartet produced He has published a variety of books on the Shroud, which has already received multiple theater, including the production journals I am performances. Other recent works include Hamlet, Meditations on Metamorphosis, and Frieze, conducted by Vasily Petrenko at the BBC Coriolanus in Deutschland. stevenberkoff.com Proms, and Passchendaele, commemorating the Who’s Who

JONATHAN MOORE (adaptation) is a London- West (Scottish Opera, English National Opera); based award-winning British/Irish actor, Brünnhilde, Der Ring des Nibelungen (Royal published playwright, librettist, and director. He Opera House, Deutsche Oper Berlin, Staatsoper has worked in Britain and internationally (Royal Vienna, La Fenice Venice, Frankfurt, Melbourne, Shakespeare Company, English National Opera, Tokyo, Lisbon, Toronto); title role, Elektra (Royal National Theatre, West End, Shakespeare’s Opera House, La Scala Milan, Metropolitan Globe at the invitation of Mark Rylance, Royal Opera New York, Florence, Prague, Washington, Opera House, Scottish Opera, Opera North, Dresden, Stuttgart, Frankfurt, Toulouse, Toronto, BBC TV and radio, Almeida, Donmar, La Fenice Hong Kong); Isolde, Tristan und Isolde (Opera Venice, and many more). He directed (and North, Frankfurt, Verona, Rouen); Emilia Marty, co-adapted the libretto for) the world premiere The Makropulos Case (Frankfurt); Elizabeth of Greek by Mark-Anthony Turnage (Munich I, Gloriana (Royal Opera House); Mrs. Lovett, Biennale, Edinburgh International Festival, and Sweeney Todd (Houston); Kostelnicka, Jenůfa ENO) for which he received Best Director and (Grange Park Opera); and Mother/Witch, Hänsel Best Libretto awards at Munich Biennale and und Gretel (Opera North). She received the Royal an Olivier Award nomination. He co-directed Philharmonic Singer’s Award in 2009 and was the BBC Film version with Peter Maniura (Royal appointed CBE in 2014. Philharmonic Society Award and a Midem Award at Cannes). In the summer of 2018 he directed ALLISON COOK’s (Wife/Doreen/Waitress 1/ a successful revival for a 30th anniversary Sphinx 2) recent operatic engagements include production for the Arcola Grimeborn Festival in the title role in Salome (English National London. He co-starred in his own play Treatment Opera); Duchess of Argyll, Powder Her Face for the BBC TV film version opposite Gabriel by Thomas Adès (New York City Opera, La Byrne. His play Inigo, about Ignatius of Loyola Monnaie Brussels, Teatr Wielki Warsaw); Judith, and the Jesuits, has been published in English Bluebeard’s Castle (Teatr Wielki, Teatro Nacional and Spanish and performed globally. Last year de São Carlos Lisbon); Miss Jessel, The Turn he co-wrote/directed Invention of Morel (music of the Screw (La Scala Milan), Schoenberg’s by Stewart Copeland) at Chicago Opera Theater. Erwartung (Bergen International Festival), and He directed the world premiere of Savage Winter Saariaho’s Emilie (Salzburg Landestheater). by Douglas J Cuomo at Pittsburgh Opera earlier She has given the world premiere performances this year, which had a run in the 2018 Next of the Marquise de Merteuil in Francesconi’s Wave Festival. He has directed premieres of Quartett at La Scala, Gran Teatre del Liceu operas by Henze, Schnittke, Turnage, Müller- Barcelona, Teatro Colón Buenos Aires, Wiener Wieland, MacMillan, Nyman, and Berkeley, Festwochen, Cité de la Musique Paris, and among many others. jonathanmooreuk.com the Holland and Strasbourg festivals. She also sang in the world premiere of Gerald Barry’s SUSAN BULLOCK, (Mum/Waitress 2/Sphinx 1) Alice’s Adventures Under Ground (Los Angeles soprano, was born in Cheshire and studied Philharmonic Orchestra and Britten Sinfonia) and at London University, the Royal Academy of in Mark-Anthony Turnage’s Anna Nicole (Royal Music, and the National Opera Studio. Operatic Opera House, Covent Garden). engagements include: Minnie, La fanciulla del Who’s Who

STUART STRATFORD (conductor) studied 2016, is the recipient of the Sky Arts Futures conducting at the University of Cambridge Fund, and a winner of Best Opera Production at with David Parry, and with Ilya Musin at the St the OffWestEnd Awards. Petersburg Conservatoire. He joined Scottish Opera in 2015 as the company’s sixth music JOE HILL-GIBBINS (director) is a British theater director, joining a distinguished succession and opera director. His previous productions that originated with the company’s founder, have included A Midsummer Night’s Dream, Sir Alexander Gibson. For Scottish Opera, he Measure for Measure, The Changeling, The has conducted productions of Jenůfa, Rusalka, Glass Menagerie, A Respectable Wedding, Pelléas et Mélisande, La bohème, Greek, and The Beauty Queen of Leenane (Young Vic Flight, Eugene Onegin, and the groundbreaking London); Absolute Hell, Edward II (National Pagliacci in a tent in Paisley. He introduced the Theatre); Richard II, Little Revolution (Almeida popular Sunday Series of lesser-known Operas Theatre London); Mary Page Marlowe (Theater in Concert, which has featured such titles as Basel); Powder Her Face (English National L’amico Fritz, Le villi, Iolanta, Francesca da Opera); The Village Bike, The Girlfriend Rimini, Aleko, and Edgar. The 2018/19 season Experience (Royal Court Theatre London). sees him conduct Anthropocene, a new opera by Stuart MacRae and Louise Welsh, and a ALEX LOWDE (costume designer) studied new production of Kátya Kabanová, both for drama at the University of Hull before training Scottish Opera, as well as conducting the revival in the Motley Theatre Design Course in London. of the classic David Alden production of Lucia Design engagements include: The Adventures of di Lammermoor for English National Opera. Mr. Broucek (Scottish Opera); Victory Condition In the UK he has worked with Opera North, (Residenz Theater Munich); The Fall of the Welsh National Opera, Opera Holland Park, Master Builder (West Yorkshire Playhouse English National Opera, the Buxton Festival, and Leeds); Persuasion (Royal Exchange Theatre Birmingham Opera, with repertoire ranging from Manchester); Pygmalion (Headlong/WYP); Flood Giovanni d’Arco to Satyagraha. He is known for (HKYAF); random/generations (Chichester); his expertise in Russian and Czech music, and Three Sisters (Lyric Theatre Belfast); Dutchman, his passion for bringing opera to new audiences Victoria Station/One for the Road, Tobias and outside of a traditional theater setting. the Angel (Young Vic London); Linda (Royal Court Theatre London); Froken Julie (Aarhus); DAISY EVANS (associate director) is a theater Game (Almeida Theatre London); ’Tis Pity She’s and opera director working internationally. Her a Whore (Shakespeare’s Globe London); Krapp’s most recent work includes Sounds and Sorcery: Last Tape (Sheffield Theatres);Enjoy (WYP); The Celebrating Disney Fantasia (Vault/Disney), La Body of an American (Gate Theatre London); traviata (Longborough Festival Opera), Vixen Edward II (Royal National Theatre); Takin’ Over (English National Opera/Silent Opera at the the Asylum, The Marriage of Figaro (Royal Vaults London, Beijing Music Festival), and Lyceum Theatre Edinburgh); Innocence (Scottish King Arthur (Academy of Ancient Music at Dance Theatre); A Clockwork Orange (Theatre the Barbican London). Theater credits include Royal Stratford East); While You Lie (Traverse Orpheus and Eurydice, Our Country’s Good Theatre Edinburgh); August Osage County, The (The King’s Players), Bacchae, The Tempest Glass Menagerie, Anna Karenina, She Town, A (Waistcoat Theatre). She is the artistic director Doll’s House, The Elephant Man, Equus (Dundee of Silent Opera and is supported by English Rep); Rigoletto (Wexford); The Lion’s Face, The National Opera. She was nominated for Best Nose (ROH2/The Opera Group); Le nozze di Young Director at the International Opera Awards Figaro (Sadler’s Wells London). Who’s Who

DAVID MANION (re-light designer) was born ALEX OTTERBURN, (Eddy) baritone, has in Oxfordshire, England. He became head of recent operatic engagements including Eddy, lighting at the New Theatre Oxford in 1999, Greek (Edinburgh International Festival, Scottish before moving to Glyndebourne in 2003. As Opera); Harlequin, Ariadne auf Naxos (Scottish associate lighting designer, he has worked on Opera, Opera Holland Park); Cascada, The Merry many Glyndebourne productions, including Widow (Opera North); and Pallante, Agrippina Falstaff, La Cenerentola, The Turn of the Screw, (Grange Festival). Forthcoming engagements Die Entführung aus dem Serail, Saul, Hamlet, include Chip, On the Town (Hyogo Performing and The Barber of Seville. He was also lighting Arts Center Japan), and Squibby, Jack the designer for Glyndebourne’s production of Ripper by Iain Bell, as well as Pluto, Orpheus Macbeth, and for Vladimir Jurowski’s farewell in the Underworld, and Morales, Carmen as concert at the opera house. Elsewhere, he has an English National Opera Harewood Artist. worked on The Turn of the Screw (Tenerife Opera Otterburn has received an Independent Opera House and Dallas Opera), and Saul and Hamlet Fellowship Award. (Adelaide Festival). MATTHEW RICHARDSON (lighting designer) JENNY OGILVIE (movement director) is an was born in England. He trained and worked actress, director, and movement specialist. She in theater in New Zealand before returning to studied modern languages at the University the UK. Opera lighting design engagements of Oxford and acting at Webber Douglas include: Pelléas et Mélisande, From the Academy, and trained in movement studies at House of the Dead, Fidelio, Madam Butterfly the Royal Central School of Speech and Drama. (English National Opera); Falstaff, Tamerlano Recent credits in theater and opera include, as (Royal Opera House); Lulu, Eugene Onegin, director: The Burning Fiery Furnace (Scottish The Queen of Spades (Glyndebourne); Otello, Opera); Dr. Angelus (Finborough Theatre Macbeth (La Scala Milan); Moses und Aron, A London). As associate director: Absolute Hell Midsummer Night’s Dream (Metropolitan Opera (National Theatre). As movement director or New York); Don Carlos, Juliette, Peter Grimes, choreographer: Midsummer (National Theatre Parsifal (Opéra National de Paris); War and of Scotland); Love and Information (Sheffield Peace (Mariinsky Theatre St Petersburg); Les Crucible); The Turn of the Screw (Open Air troyens (Munich); Jenůfa, The Cunning Little Theatre Regent’s Park, English National Opera); Vixen (Amsterdam); and Aufstieg und Fall der La traviata (Longborough Festival Opera); Stadt Mahagonny, Rigoletto (Maggio Musicale B (Royal Court Theatre London); Britten’s A Florence). He has also lit numerous theatre Midsummer Night’s Dream (Aldeburgh Festival productions, including for the Royal Shakespeare Opera); A Midsummer Night’s Dream (Young Company, Royal National Theatre, Royal Court Vic London); Lucia di Lammermoor (Buxton Theatre and Young Vic in London. As director, Festival Opera); The Seven Deadly Sins (Welsh Scottish Opera productions are The Devil National Opera, Cardiff University); Three Sisters Inside (world premiere), Ghost Patrol (world (Southwark Playhouse London); P’yongyang, premiere), Rigoletto, Five:15 2010, The Tales of Somersaults, The Soft of Her Palm (Finborough Hoffmann, Jenůfa. Theatre London); Knock Yourself Out (Courtyard Theatre London). Who’s Who

JOHANNES SCHÜTZ (set designer) studied Bergen; Bottom, A Midsummer Night’s Dream in theater design with Wilfried Minks at the Boston; title role, Don Pasquale (Santa Fe); title Hamburg Academy of Visual Arts. He has role, Wozzeck (Opera North); Il viaggio a Reims a longstanding association with the director and L’heure espagnole (Royal Opera House); Jürgen Gosch, and since 2007 has worked Dulcamara (Metropolitan Opera, NY). closely with the writer and director Roland Schimmelpfennig, notably on Der goldene CAROLINE STEINBEIS (dramaturg) is a Drache at the Burgtheater in Vienna. He won freelance director. She was born in Munich the Nestroy Theatre Prize for his designs for and lives in London. She studied at the London Thomas Vinterberg’s Das Begräbnis at the University of Royal Holloway and completed her Burgtheater. His set design credits also include MA at the Central School of Speech and Drama. Schimmelpfennig’s Die vier Himmelsrichtungen Steinbeis won the JMK Award for Outstanding and Matthias Hartmann’s production of Racine’s Directors in 2009 and was invited to present Phèdre at the Salzburg Festival; Luc Bondy’s her work at the Radikal Jung Festival in Munich productions of Pinter’s The Homecoming and in 2011. She was international associate for Marivaux’s Les fausses confidencesat the Odéon the Royal Court Theatre in London from 2011 in Paris; and Joe Hill-Gibbins’ production of A to 2013 and is currently associate director at Midsummer Night’s Dream at the Young Vic in Sheffield Theatres. Recent directing credits London. Since 1990 he has also worked as a include: Edward II (Cambridge Arts Theatre); theater and opera director. He teaches set design The Tempest (Royal & Derngate Northampton); at the Düsseldorf Academy of Art. The Crucible (Manchester Theatre Royal); We Want You to Watch (National Theatre); The ANDREW SHORE (Dad/Café Manager/Chief of Broken Heart (Shakespeare’s Globe London); Police) was born in Oldham and studied at the Show 6 (Lyric Hammersmith); Take, Love, Run Royal Northern College of Music, Manchester (Molodiy Theatre Kiev); Talkshow, Mint, A Time and the London Opera Centre. He is particularly to Reap (Royal Court); Brilliant Adventures noted for his interpretation of Alberich (Der (Royal Exchange Manchester); Earthquakes in Ring des Nibelungen), which he has sung London (UK tour for Headlong Theatre); Charged at Bayreuth. Operatic engagements include (Soho); The Cost of Things (Public Theater New title role Falstaff (Glyndebourne, Opera North, York); Sports et Divertissements (La Carrier English National Opera, Chicago Lyric Opera, du Normandoux Poitier); Mad Forest, Photo and Berlin Komische Oper); Beckmesser in Story (Battersea Arts Centre); and Mile End The Mastersingers of Nuremberg, Melitone in (Southwark Playhouse and UK tour). The Force of Destiny, Major-General Stanley in The Pirates of Penzance, Kolenatý in The DICK STRAKER (video designer) has completed Makropulos Case, Dulcamara in L’elisir d’amore, hundreds of productions as a projection and Faninal in Der Rosenkavalier, Bartolo in The video designer and consultant. In 1992 Barber of Seville, Mr. Punch in Punch and Judy he founded the projection, animation, and by Birtwistle, and the title role in Jakob Lenz video graphics company Mesmer, through by Rihm (ENO); the baritone roles in Death in which he has produced projection designs for Venice for ENO and in Amsterdam; Frank in Die fashion shows, commercial and architectural Fledermaus for ENO and in Chicago; Bartolo in projection events, and theater productions. Le nozze di Figaro at Edinburgh International He has worked for the Royal National Theatre Festival, BBC Proms, and Glyndebourne; Bartolo (as video consultant from 1999 to 2006), in Il barbiere di Siviglia (Welsh National Opera); Royal Opera House, and creative consultancy Alberich in Buenos Aires, Barcelona, and Gainsbury & Whiting (including four fashion Frankfurt; Pooh-Bah, The Mikado in Chicago and shows for Alexander McQueen and the Savage for Scottish Opera; Tsar Dodon, Le coq d’or in Beauty exhibitions). Alex Otterburn. Photo: Jane Hobson Photo: Yannick Grandmont Orchestra Gareth Brady SOPRANO/ALTO/BARITONE SAXOPHONE Lawrence Gill† CLARINET CLARINET/BASS Nicholas Ross * FLAT CLARINET/E CLARINET/BASS CLARINET Kirstie Logan Amy Turner *† OBOE/COR ANGLAIS Ewan Robertson FLUTE/ALTO FLUTE/PICCOLO Peter Fry * DOUBLE BASS Aline Gow Sarah Harrington Marie Connell CELLOS Lev Atlas*† VIOLA Soloists fromTheOrchestraofScottishOpera Scotland † VisitingTutor of totheRoyal Conservatoire * SectionPrincipal All themusiciansalsoplayhandpercussion Susannah Wapshott CELESTE Lliam Paterson PIANO/FENDER RHODES Saida deLyon * HARP Ruari Donaldson*† Jay Allen* PERCUSSION Alan Pash TROMBONE Simon Bird† TRUMPET David Pryce Sue Baxendale*† FRENCH HORNS Who’s Who

OPERA VENTURES VICE-PRESIDENTS Dame Elish Angiolini DBE QC Opera Ventures is a transformational new Colin J S McClatchie CBE FRSE charity founded by John Berry CBE to develop GENERAL DIRECTOR major new opera and mixed-media projects in Alex Reedijk FRC partnership with arts organizations worldwide. MUSIC DIRECTOR Stuart Stratford Creating and staging new productions of MUSIC ADVISOR contemporary opera is one of the biggest Sir Thomas Allen CBE challenges in the performing arts today, especially in an environment where reduced BOARD OF DIRECTORS public funding has forced opera houses and Peter Lawson Chair festivals to do less and take fewer risks. John McCormick Vice-Chair Professor Dorothy Miell Vice-Chair Opera Ventures is a new charity set up Alison Brimelow CBE specifically to respond to this challenge Jessica Burns with its own combination of artistic vision, Tony Burton OBE producing expertise, and a focused network of Liz Cameron philanthropists. The charity will create powerful Roberta Doyle new productions which can be shared by several Andrew Lockyer partners, harnessing and coordinating existing Stuart Patrick infrastructures (orchestras, theaters, rehearsal Alex Reedijk FRC rooms, and administration) of internationally Jenny Slack recognized organizations such as the Edinburgh International Festival, Scottish Opera, and Scottish Opera is Scotland’s national opera Brooklyn Academy of Music. company and the largest performing arts organization in Scotland. It was founded by ARTISTIC DIRECTOR Alexander Gibson in 1962 and was inaugurated John Berry CBE with a production of Madama Butterflyat the EXECUTIVE DIRECTOR AND PRODUCER King’s Theatre in Glasgow. In 1974 Scottish Loretta Tomasi OBE Opera purchased the Theatre Royal Glasgow, TRUSTEES which reopened in 1975 as Scotland’s first Sally Groves MBE Chair national opera house. The Orchestra of Scottish Sarah Billinghurst Opera was founded in 1980. Peter Espenhahn Nicholas Prettejohn Notable achievements include the world ARTISTIC ADVISORY BOARD premiere of James MacMillan’s Inés de Castro Sarah Billinghurst at the 1996 Edinburgh International Festival; Sir Jonathan Mills complete Ring cycles at the 2003 Edinburgh International Festival, which won the 2004 South Bank Show Award for Best Opera SCOTTISH OPERA Production; and the Achievement in Opera Award at the 2017 UK Theatre Awards for Sir FOUNDER David McVicar’s production of Debussy’s Pelléas Sir Alexander Gibson and Mélisande. PATRON HRH The Duchess of Gloucester GCVO Recent commissions include Five: 15 Operas PRESIDENT Made in Scotland (2008–10), The Lady from Lady Veronica Gibson the Sea, Clemency, and the double bill of In the Locked Room and Ghost Patrol (premiered Who’s Who Photo: Susan Bullock, Andrew Shore, and Allison Cook. Jane Hobson

at the 2012 Edinburgh International Festival), Scottish Opera is committed to bringing the and 2016’s The Devil Inside, with which widest possible range of opera, performed to Scottish Opera made its debut appearance in the highest possible standards, to the maximum North America, in Toronto. Ghost Patrol won a audience throughout Scotland and the UK; South Bank Sky Arts Award, and In the Locked each year it performs in Glasgow, Edinburgh, Room and Ghost Patrol were nominated for an Aberdeen, and Inverness and dozens of other Olivier Award. theaters, village halls, and community centers. It also operates an extensive program of outreach Earlier this year the company made its US debut and education work which involves over 8,000 with BambinO at the Metropolitan Opera in primary school children every year, as well as New York. many other activities including adult learning and Unwrapped taster sessions.

Scottish Opera’s income is derived from public subsidy, box office, and private and commercial support. A holiday tradition cracked wide open TheDEC 10—18 ONLY Hard Nut Photo: Julieta Cervantes

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Find the level that’s right for you. Explore at BAM.org/support. 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 2018

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2019 Winter/Spring Preview Grupo Corpo

Mark Morris Dance Group, Pepperland. Photo: Mat Hayward Executive Producer Joseph V. Melillo’s final season is jam-packed with an array of scintillating performances. Bach. Photo: Jose Luiz Pederneiras Brazil’s Grupo Corpo returns to heat up the stage in Bach & Gira, which showcase the company’s unique Speaking Truth to Power fluidity and athleticism. The Onassis Cultural Center New York partners with BAM on Speaking Truth to Power.

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Roy Lichtenstein was one of the most influential and innovative artists of the second half of the 20th century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and al- tered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. —Avis Berman

In 1983, Roy Lichtenstein designed BAM’s inaugural Next Wave Festival poster and journal cover. Now, 35 years later, his widow Dorothy Lichtenstein has generously donated another Roy Lichtenstein print to Roy Lichtenstein serve as the 2018 Next Wave Festival BAMbill cover to honor Joseph V. Reflections on Hair, 1990. Lithograph, Melillo in his final year as BAM’s executive producer. screenprint, woodcut, metalized PVC collage, embossing on mold-made Somerset paper. 56-1/8” x 45”. Gift of Dorothy Lichtenstein Reflections on Hair is available for purchase with all proceeds going to in honor of Joseph V. Melillo. Front cover and support BAM programs. To inquire, please contact Alli Arnold by email at image above: © Estate of Roy Lichtenstein [email protected]. @BAM_Brooklyn 2019 Winter/Spring 2019 Winter/ Spring Preview

By Susan Yung Pepperland. Photo: Mat Hayward

The 2019 Winter/Spring Season at BAM is an Director Ivo van Hove is now hotter than July, intriguing, diverse line-up of performances. with several smash Broadway shows to his They share at least one thing in common—they credit. But he’s been a regular at BAM over the were chosen by Joseph V. Melillo as his final years, directing eight productions, from epic to BAM season. The executive producer of more intimate. His production of the Janáček opera than three decades steps down from his BAM Diary of One Who Disappeared (Apr 4—6), position at the end of December, but has curated co-produced by Toneelgroep and Muziektheater programs through June of 2019. This swan Transparant, takes shape in a 22-scene love song slate embodies many of the singular talents song cycle for voice and piano. Triptych (Eyes and genres that have captivated audiences of One on Another) (Jun 6—8), directed by throughout his tenure. Daniel Fish, features music by the National’s Bryce Dessner, sung by vocal ensemble Roomful The season kicks off with Théâtre de la Ville’s of Teeth. Photographer Robert Mapplethorpe’s Ionesco Suite (Jan 23—26), directed by iconic black and white photographs are projected Emmanuel Demarcy-Mota, which amps up the on a huge scale; the libretto is by Korde absurdity and hilarity of Ionesco’s text by dicing Arrington Tuttle and considers the vastly differing and splicing five of his plays and recounting experiences of viewing Mapplethorpe’s work them in the guise of a dinner party at the BAM alone or in a crowd. Fisher. Physical theater has thrived at BAM in recent years. Recirquel of Hungary makes its If international music superstars are your jam, US debut with Non Solus, choreographed by Senegalese legend Youssou NDOUR alights for Bence Váagi (Feb 14—16), in which two male a two-evening engagement (May 31 & Jun 1). performers strive to join forces through powerful, Brazilian Caetano Veloso performs Ofertório (Apr daring nouveau cirque. French Compagnie 111 12 & 13) with his three sons Moreno, Zeca, returns to BAM with Espæce (Jun 20—22). and Tom, playing selections from their recent Director Aurélien Bory, known for creating release as well as iconic classics from Caetano’s stunning theatrical tableaus, explores the storied career. And in the canon of early music, limits and vicissitudes of the Howard Gilman the protean William Christie conducts Les Arts Opera House stage. Florissants in Rameau, maître à danser (Mar @BAM_Brooklyn 2019 Winter/Spring

1—3), a double bill of Daphnis et Églé and Lang, Raz Mesinai, and Kevin Keller. The work La naissance d’Osiris. These two short opera- showcases Varone’s lushly expressive, emotionally ballets were created for the private court of evocative movement by his company of 12. Fontainebleau and are rarely staged. This marks Christie’s 28th BAM program. Three companies cross borders to perform at BAM. Batsheva Dance Company of Israel The dance offerings are bountiful and varied. presents Venezuela, a two-part work in which Merce Cunningham is feted in Night of choreographer Ohad Naharin’s Gaga movement 100 Solos: A Centennial Event—“events,” or appears simultaneously effortless and impossible anthologies, of 100 solos performed by 25 by his incomparable dancers. Ballet BC, of dancers at each of three venues, shared live and Vancouver, dances a triple bill with works via video for a single historic performance on Apr by Artistic Director Emily Molnar, renowned 16. The 42nd DanceAfrica, under the direction Canadian choreographer Crystal Pite, and William of Abdel R. Salaam, occupies its customary spot Forsythe, known for his revolutionary ballets and during Memorial Day weekend, celebrating the works of dance-theater. The three artists spent dance of Rwanda, plus the bazaar, film, art, time together at Ballett Frankfurt, which was and live music. directed by Forsythe. And from Brazil, Grupo Corpo brings Bach & Gira, two distinct works Brooklyn neighbor Mark Morris Dance Group which demonstrate the breadth of the company’s performs the New York premiere of Pepperland, sinuous, highly dynamic range in choreography which celebrates the 50th anniversary of the by Rodrigo Pederneiras. Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. Ethan Iverson’s score for Morris’ production is not The season is a rich sampling of Melillo’s a literal rendition of the album, but more of a jazz curatorial flair, be it dance, theater, physical riff on its themes; the costumes evoke the eye- theater, or music. Join us in celebrating his 35 popping style of the 60s. in the shelter of the fold years of taste-making! /epilogue, by Doug Varone, is set to an eclectic score composed and performed by Bang on a Susan Yung is senior editorial manager at BAM. Can All-Stars Lesley Flanigan, Julia Wolfe, David © 2018 Brooklyn Academy of Music, Inc. All rights reserved. Photo: Jan e Hobson Diary of One Who Disappeared .

@BAM_Brooklyn Speaking Truth to Power Onassis Cultural Center New York Partners with BAM

By Young Richard Kim Alex Otterburn in Greek . Photo: Jane Hobson Alex

This fall, BAM has partnered with the Onassis art, theater, literature, philosophy, and civic Cultural Center New York to present Speaking institutions, among manifold other things. Truth to Power, a multi-disciplinary set of BAM, with its adventurous spirit and tireless performances, talks, films, and exhibitions. programming in the arts, is an ideal partner At a time when the nature of truth itself is for the Onassis Foundation, and together we often called into question, we celebrate the are most pleased to bring to the public a series courage it takes to speak boldly to those in of talks and films, under the titular aegis of or with power—a concept expressed in the Speaking Truth to Power. It will explore the Greek notion of parrhesia. In an increasingly contours, the limitations, and the threats to our fractured moment, artistic spaces provide an living together in community and how we might opportunity to gather, hear and see one another, resist the darkest turns we see in the halls of to engage with truths that can be agreeable, power in this country. perhaps uncomfortable or controversial, but often inarguably valuable to explore. Come We credit the Greeks—and rightfully so—with back throughout the season to watch, discuss, the invention of “democracy.” At the same challenge, speak and engage with your own time, we perhaps maintain a (naïve) idealistic truth and the truth of others. Find more understanding of what democracy was like information at BAM.org. in ancient Greece, in particular in Athens, —Molly Silberberg, Associate Director, selectively forgetting that even in its most Humanities, BAM radical form, it enfranchised only the adult male citizens. Women, foreigners, slaves—together The core mission of the Onassis Foundation outnumbering all of the male citizens—never USA is the promotion of Greek culture, which had a share in the “power to the people.” is realized through cultural and educational Furthermore, we imagine that some enlightened programs in partnership with organizations in ancient Greeks, philosophers even, envisioned New York City and beyond. From antiquity to a new way of living together, where all (adult, now, the imprint of Greece is ever present—in citizen) men were equal, with shared rights and

cont. WORKING IN CONCERT KAUFMAN ELLIOTT PHOTO: IS WHAT WE DO. Fly toward something better with the help of 80,000 Delta employees who do everything they can to help you explore what’s possible. @BAM_Brooklyn Speaking Truth to Power the power to determine together the destiny of for demagoguery. And so we must protect and their community. And somehow, this political preserve, nourish, and prune our polity. ideal was peacefully implemented in Athens, and it spread to other city-states in the Greek world. Free speech—by individuals, organizations, Of course the reality is, that the development of movements, the media—is essential for democracy was messy, at times ugly… it was democracy to flourish, and in particular, we must trial and error; it was success and failure; it was be able to speak freely to (against?) those in experiment; it was... violent. positions of power, especially when we witness the looming shadows of injustice. We must The historical figure most closely associated give voice to the ignored, the marginalized, with Athenian democracy was Pericles. He and the oppressed. We must resist the darkness. his co-conspirators ushered in the most radical Freedom of speech, however, does not mean form of democracy in Athens. In his famous that we can say whatever, whenever, however speech, the so-called “Funeral Oration,” Pericles we want; there are limits to our public discourse. boasted: “For we do not borrow from the laws But at the same time, we must wrestle with the of our neighbors, by imitating their polity; we question of who establishes the boundaries. In ourselves are the paradigm to them, rather than his vision of the ideal polity, Plato thought that imitators of others” (Thucydides, History of the state-enacted censorship was a necessary feature Peloponnesian War 2.37). of keeping his society intact, The Athens of his day, of yet such power begs the course, was an imperialist familiar maxim, quis custodiet state, appropriating the Democracy ipsos custodes (“who will resources of its allies to guard the guardians?”). beautify itself and wage war—dare we say a civil never was, The answer in a democracy war—against other Greeks. must be We the People. Still, Yet, Pericles claimed, “For we nor ever will We the People can become make friends not by receiving a dangerous mob, easily favor, but by giving it” (2.40). swayed by bluster, and so we And so, there is an inherent be, a static must be an educated, well- paradox in our admiration informed, critically-thinking for the ancient Greeks—the thing. We the People. Furthermore, Athenians certainly laid the foundations for what across the political spectrum we have a tendency we believe today, that of all the flawed ways to ensconce ourselves in our respective echo humanity has experimented in governance, chambers, hearing only those things that democracy is the most equitable and just form. reinforce what we already hold true. We have, in a troubling way, forgotten the art of dialectic. Indeed, ancient Athens was also a cultural We are losing our ability to discern what is nexus, wherein some of our best ideas and true from what is not. And so the collaboration practices flourished—art and architecture, between the Onassis Cultural Center New York philosophy, the free exchange of ideas…the and BAM for Speaking Truth to Power is a small, theater. But we must contrast such achievements but meaningful step in recovering what makes with the darker side of history—inequality, our democracy strong through ideas, images, patriarchy, colonialism. By reckoning with the conversations, performances, and debates. Just past and all of its beautiful and at the same maybe, if we sit together long enough, listen to time ugly realities, we might find ourselves on our neighbor, and see the beauty of our diverse firmer ground to consider our present moment. faces, then perhaps we can begin to rediscover Democracy never was, nor ever will be, a static our shared humanity, become We the People thing. It is always changing—and we hope once again, and speak truth to power. evolving—into something better, but it was and remains fragile, easily manipulated. Plato, Young Richard Kim, PhD, is Director of one of the harshest critics of ancient Athenian Educational Programs/Assistant Executive democracy, thought it was just a step away from Director at the Onassis Foundation USA. tyranny, that populism was the seedbed © 2018 Brooklyn Academy of Music, Inc. All rights reserved. @BAM_Brooklyn Grupo Corpo

Forever Young

Grupo Corpo Bach. Photo Jose Luiz Pederneiras Brazil’s Grupo Corpo brings Bach & Gira to the an immense pleasure to have this experience. Howard Gilman Opera House (Jan 31—Feb 2). Choreographer Rodrigo Pederneiras answered Q: For Bach, how did you decide upon Marco some questions about the productions. Antônio Guimarães for the score?

Q: What inspired you to pair Bach and Gira? A: At the time we already had two partnerships with Marco Antônio Guimarães, so we knew A: Bach is a piece from 1996, and the main very well his accomplishment and talent as a idea was a tribute to Johann Sebastian Bach. composer, besides our friendship. He was a Starting from there, we wanted something cellist with Minas Gerais Orchestra for many superior, elevated, that transmits the greatness years, and as we are, he is a great lover of of the German composer. Gira, a view of Afro- Johann Sebastian Bach’s work. Brazilian religions, has a spiritual characteristic. From this angle, we have the elevation of Q: And in the same vein, how did you come to spirituality throughout both pieces, and it work with Metá Metá for Gira? What specifically seemed interesting to present them together. did they bring to the work?

Q: What was it like to premiere Bach at the A: Metá Metá was a different process. Paulo 1996 Lyons Dance Biennial? Pederneiras (the artistic director) invited them to compose the original music. They brought A: That was our first premiere abroad and the an unknown world to us that demanded deep reception was more than we expected. This research from all of us. I attended on a daily premiere was in a festival which has global basis the “terreiros de umbanda,” (temples of importance, and it was both a great honor and Umbanda, an Afro-Brazilian religion) and slowly TBHC was founded in 1845 and BAM was founded in 1861. Together, we share more than 325 years of serving Brooklyn!

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Warning The photographing, the safety of others by lighting Music, Inc. © Brooklyn Academy of videotaping, or sound recording of matches or smoking in prohibited Music, Inc. 2018. any performance without written areas during the performances and permission of the management, is intermissions. This violates a New BAM theater managers and press prohibited by law. Violators may be York City ordinance and is punishable agents are represented by the punished by ejection and may be by law. —Fire Commissioner Association of Theatrical Press Agents liable for money damages. and Managers, BAM backstage employees Local #18032, Fire Notice The exit indicated by a are represented by the IATSE, AFL-CIO. red light and sign nearest to the seat International Alliance of you occupy is the shortest route to Theatrical Stage Employees BAM is a charter member of the the street. In the event of fire or other (I.A.T.S.E.). League of Historic American Theaters emergency, please WALK TO THAT and an affiliate member of the League EXIT, FOLLOWING THE DIRECTIVES BAM®, Brooklyn Academy of MusicTM, of American Theaters and Producers. OF THE HOUSE STAFF. Thoughtless Next Wave®, and Teknopolis® are Children under five not admitted persons annoy patrons and endanger trademarks of Brooklyn Academy of unless explicitly noted. @BAM_Brooklyn Bach & Gira Gira . Photo Jose Luiz Pederneiras

started to learn how the rituals happened, how A: That started in the late 80s and early 90s. each entity manifested itself when incorporated We always heard about Brazilian dance, but in a “cavalo” (the person who lends his body to what we saw were ideas or Brazilian characters the entity to be manifested is called a “horse”). represented by movements that weren’t ours at all—sometimes by the classical technique, Q: Can you talk a bit about how Umbanda sometimes by great international masters such informs the aesthetics and form of Gira? as Martha Graham or José Limon. So, at that time, we started to research the Brazilian A: We did huge research on how each entity traditional dances and popular parties. It’s manifests itself. Each moves in a particular important to highlight that Brazil is diverse, way and has its very own grimaces. Then and when we talk about Brazilian culture, you we incorporate those movements to the have to consider the influences from Europe, contemporary dance that Grupo Corpo has been Africa, our indigenous people, and so forth. So, developing for all these years. Each entity has a little by little, we transformed those dances in lineage well-marked, easy to identify, but still, contemporary movements and assimilated that each one has very specific movements. to our repertoire, which had a classical base.

Q: You are known for combining numerous forms © 2018 Brooklyn Academy of Music, Inc. All rights reserved. of classical and traditional dance techniques into your works. How did this come to be? Securing BAM’s Future

BAM Endowment A great institution is built upon on a secure future. At BAM, a robust endowment is the foundation for our adventurous programming and archival, community, and educational initiatives. BAM sincerely thanks those listed below for their generous support of the BAM Endowment. $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 Performance Endowment Fund for Community, Jonathan F.P. & Diana V.C. Rose Fund Educational, & Public Affairs Martha A. & Robert S. Rubin Rita K. Hillman Programs Nora Ann Wallace & Jack Nusbaum HSBC Bank USA, N.A. Goldman Sachs Gives at the $1,000,000 to $4,999,999 $250,000 to $499,999 recommendation of Anne Hubbard Altria Group, Inc./Next Wave The Bohen Foundation & Harvey Schwartz Forward Fund The Charles & Valerie Diker Dance Richard Hulbert BAM Fund to Support Emerging Endowment Fund Independence Community Bank and Local Musicians The Horace W. Goldsmith Foundation Miriam Katowitz & Arthur Radin Brooklyn Community Foundation Michael Bancroft Goth Endowed Mr. & Mrs. Edgar A. Lampert The Campbell Family Foundation Annual Performance Fund Annie Leibovitz & Studio The Irene Diamond Fund William Randolph Hearst Leo Burnett, USA Doris Duke Charitable Foundation Endowment for Education and James McLaren & Lawton Fitt Emily H. Fisher Humanities Programs Sarah G. Miller & Frank L. Coulson Judith R. & Alan H. Fishman The Rita & Alex Hillman Foundation The Morgan Stanley Community The Ford Foundation Fund to Carole & Irwin Lainoff and Educational Fund Support Collaborative Creativity Maxwell Family Fund in Community J.P. Morgan & Co. Incorporated Among U.S. Artists Funds, Inc. Nash Family Foundation Diane & Adam E. Max The Jessica E. Smith and Kevin R. The Jerome Robbins Foundation, Inc. The Andrew W. Mellon Foundation Brine Charitable Trust May & Samuel Rudin Family Fund For Opera & Music-Theater The Geraldine Stutz Trust, Inc. Foundation Bruce C. Ratner Anonymous Edward Spilka William Boss Sandberg Axel Stawski & Galia Meiri The Peter Jay Sharp Fund for Opera $100,000 to $249,999 Mr. & Mrs. Ame Vennema and Theater Michael Bailkin, Marvin Levine, Verizon Communications The SHS Foundation Jesse Masyr, David Stadtmauer The Isak and Rose Weinman The Starr Foundation Robert & Joan Catell Fund for Foundation in honor of Madame The Thompson Family Foundation Education Programs Lilliana Teruzzi Charina Endowment Fund The Winston Foundation $500,000 to $999,999 Neil D. & Kathleen M. Chrisman Anonymous The Devitre Fund Mr. & Mrs. Henry Christensen III As of November, 2018

For more information on the BAM Endowment please contact Bill Kramer, Vice President for Development at 718.724.8261 or [email protected].

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

Planned Giving You can help BAM prepare for the future by making a provision in your estate plans. In doing so, your legacy giving will support BAM programs and initiatives for many years to come. Options for planned giving include making a bequest in your will and naming BAM as a beneficiary in your retirement plan or insurance policy. We are deeply grateful to the partners below, our BAM Angels, who have made planned gifts to BAM.

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

For more information on planned giving opportunities, visit BAM.org/plannedgiving. Or contact Bill Kramer, Vice President for Development at 718.724.8261 or [email protected]. All inquiries will remain confidential. Strengthening Communities

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BAM_5.25x8.375_Bleed.indd 1 9/6/18 11:11 AM Upcoming Events @BAM_Brooklyn

Ionesco Suite. Photo: Jose Agathe Poupeney

BAM is deeply grateful to the supporters and patrons listed below for their vital gifts to BAM over the last year. (List represents gifts between July 1, 2017—August 30, 2018)

$5,000,000 and above Frances A. Resheske $25,000 to $49,999 Violet & Christopher Eagan $5,000 to $9,999 The Thompson Family The Jerome Robbins Roger Alcaly & Helen Bodian Estate Of Katherine Schrier Theresa Galvin & Mark Foundation Foundation, Inc. Rose M. Badgeley Residuary Fribourg Family Foundation Almeida New York City Department Jonathan F.P. & Diana Charitable Trust Steven J. Gartner The American Chai Trust of Cultural Affairs Calthorpe Rose Anne H. Bass Ms. Roberta Garza Takis C. Anoussis The City of New York—Bill The Morris and Alma The Bay and Paul Foundations GBRG, Inc. Joseph Baio de Blasio, Mayor Schapiro Fund Tony Bechara MaryAnne Gilmartin Daniel Baldini The New York City Council— The Shubert Foundation, Inc. Charles Hayden Foundation John M. Goldsmith David Bank & Jason R. Corey Johnson, Speaker Joseph and Sylvia Slifka Goldman Sachs Gives at Elaine Golin Stone The New York City Council— Foundation the direction of R. Martin Pamela Grace Barry Barbash BrooklynDelegation Brian Stafford & Céline Chavez Robert M. Greenberg & Estate of Benjamin Barber The New York City Council— Dufétel Jim Chervenak Corvova Choy Lee Ronald Baron Laurie A. Cumbo Axel Stawski & Galia Meiri Mr. & Mrs. Henry Henry B. & Karoly S. Gutman Alan L. Beller Stawski Christensen III The Marc Haas Foundation, Linda Berley $1,000,000 to The Joseph S. and Diane Pamela Codispoti & Mark Inc. Elaine S. Bernstein $4,999,999 H. Steinberg Charitable Habner Mr. & Mrs. Burton K. Haimes The Bloomingdale’s Fund of Apple Trust Constans Culver Foundation The Francena T. Harrison the Macy’s Foundation Howard Gilman Foundation Joseph A. Stern Ide & David Dangoor Foundation Trust Barbara & Christopher Brody Jeanne Donovan Fisher Theater Subdistrict Council Rohit and Katharine Desai Gilbert & Shelly Harrison Centerbridge Partners LP Diane & Adam E. Max Tiger Baron Foundation Family Foundation The Jim Henson Foundation Beverly & Herbert Chase New York City Economic Time Warner Inc. The Dutch Performing Arts Cheryl Henson & Ed Finn Jaye Chen & Peter Brown Development Corporation Pedro Jose Torres & Cecilia Fund NL The DuBose and Dorothy Timothy & Carol Cole The Robert W. Wilson Picon Estate Of Henry Christensen III Heyward Memorial Fund Greg Coleman Charitable Trust Virginia B. Toulmin Foundation Gotham Organization, Inc. Hilton Brooklyn New York The Aaron Copland Fund Robert L. Turner Charles J. & Irene F. Hamm Sophie Hughes for Music, Inc. $500,000 to $999,999 The Wall Street Journal Barbara Haws & William IATSE - Theatrical Stage Cowen Group Brooklyn Borough Josephson Employees Local 4 The Cowles Charitable Trust President’s Office—Eric $50,000 to $99,999 Penn & Diane Holsenbeck Consulate General of Israel Creative Artists Agency Adams The Achelis and Bodman Miriam Katowitz & Arthur Pamela Jackson Peter Davidson & Drew Doris Duke Charitable Foundation Radin Japan-US Friendship McGhee (The J.M. Foundation Jody & John Arnhold Dan & Abbe Klores Commission Kaplan Fund) Jerome L. Greene Foundation Jonathan & Jessika Auerbach John Lichtenstein J. J. Kasper Jr. Elizabeth & Matthew Denys The Rita and Alex Hillman Bank of America The Frederick Loewe Gene & Terry Kaufman The Dermot Company, Inc. Foundation Sarah Billinghurst & Foundation, Inc. Will & Prattana Kennedy Brooke Devine Goldman Sachs Gives at Howard Solomon Lorraine Lynch Alexander E. Kipka & Beth Rudin DeWoody the recommendation of Brooklyn Community David & Susan Marcinek Katherine Nintzel Dwight W. & Ann C. Ellis Anne Hubbard & Harvey Foundation MetLife Foundation Kameron M. Kordestani Henry & Kathy Elsesser Schwartz Chicago Community Mertz Gilmore Foundation Joan Kreiss Matthew Feldman Robin & Edgar Lampert Foundation Donald A. Pels Charitable Eileen M. Lach Nathaniel N. Felsher Stavros Niarchos Foundation Natasha Chefer & Joel Trust Solange Landau Linda & Gregory Fischbach PASNY Tompkins Marcel Przymusinski Leon Levy Foundation Britton & Melina Fisher The SHS Foundation Linda & Adam Chinn rag & bone The Bertha and Isaac Susan L. Foote & Stephen United States Department Citi Foundation Richenthal Foundation Liberman Foundation L. Feinberg of State, Bureau of Steven & Alexandra Cohen The River Café John Lipsky & Zsuzsanna Fox Searchlight Pictures Educational and Cultural Foundation Sarah & Spencer Robertson S. Karasz Mr. & Mrs. Austin T. Affairs Suzy & Anthony Davis May and Samuel Rudin M&T Bank Fragomen, Jr. Della Rosa Family Foundation Family Foundation, Inc. Susan & Morris Mark Laurie Garrett $250,000 to $499,000 The Gladys Krieble Delmas Bette & Richard Saltzman Medgar Evers College Gifts Ann and Gordon Getty Bloomberg Family Foundation Foundation The Scherman Foundation, and Grants Foundation Bloomberg Philanthropies Mark Diker & Deborah Colson Inc. Peter Mensch Nomi Ghez Foundation William I. Campbell & Yrthya Dinzey-Flores & Timothy & Julie Sebunya Moet Hennessy USA John N. & Gillett A. Gilbert Christine Wächter- Antonino D’Ambrosio Amy Sherman-Palladino Edward S. Moore Beth & Gary Allen Glynn Campbell Andre & Stephanie Dua Edward & Virginia Spilka Foundation June O. Goldberg JPMorgan Chase & Co. Epstein Teicher Simon Sinek Morgan Stanley The Grodzins Fund Thérèse M. Esperdy & Philanthropies Ellen & Sam Sporn Sanford Nager Scott & Ellen Hand Robert G. Neborak Steven & Susan Felsher The Harold and Mimi The O’Grady Foundation Peter & Beth Hammack The Fan Fox & Leslie R. Barry M. Fox Steinberg Charitable Trust Peck Stacpoole Foundation Jeanne Hardy Samuels Foundation, Inc. The Freeman Foundation William & Anne M. Tatlock Laura Pels International Pamela J. Hoiles First New York Partners William R. Kenan Jr. Anonymous Foundation for Theater Richard Hulbert Management Charitable Trust Pfizer Inc. The Hyde & Watson Judith R. & Alan H. Fishman The Emily Davie & Joseph $10,000 to $24,999 Maya Polsky Foundation Agnes Gund S. Kornfeld Foundation Jad Abumrad & Karla Murthy Katharine Rayner Scott & Viktoriia Irwin The Hearst Foundations, Inc. Philippe & Posey Krakowsky Academy of Motion Picture Red Bull Mark Jackson & Karen Stephanie & Timothy Ingrassia The Lepercq Charitable Arts and Sciences The Reed Foundation Hagberg James I. McLaren & Lawton Foundation The Aeroflex Foundation William D. & Susan Kahan JLRJ, Inc. W. Fitt Gary Lynch & Kate Hall AHBA, Inc. Rifkin Alan Jones & Ashley Garrett New York State Council on Scott C. McDonald American Express Max Rifkind-Barron Mary Kantor the Arts The Ambrose Monell Ameriprise Financial Mr. & Mrs. Theodore C. Christoph & Flora Kimmich Onassis Cultural Center NY Foundation Allan Arffa & Kay Matschullat Rogers David L. Klein, Jr. John L. & Eva Usdan Barbara & Richard Moore David Ashen Rolex SA Foundation Nora Ann Wallace & Jack Henry and Lucy Moses BNY Mellon The Late Robert S. Rubin Steven & Carolyn Kotler Nusbaum Fund, Inc. The Barker Welfare Anonymous Ruth & Sid Lapidus Anonymous National Endowment for Foundation Rena Shagan Maurice & Faith Lefkort the Arts The Howard Bayne Fund The Evelyn Sharp Foundation New York State Assembly— $100,000 to $249,999 Samuel I. Newhouse Nathaniel Beck & Karen Showtime Joseph R. Lentol Amazon Studios Foundation, Inc. Hackett Melanie & Joseph Shugart Garrick Leonard & Leslie Frances Bermanzohn & The Pinkerton Foundation Catrina Bentley & Carey Alfred & Stephanie Shuman Feder Alan Roseman Gabriel & Lindsay Pizzi R. Ramos Susan & Larry Sills Carol & Joel Levy The Brooklyn Hospital Center Renaissance Charitable Bergdorf Goodman, Inc. Laurie M. Tisch Illumination Marion Leydier Con Edison Foundation Inc. William & Margaret Berkley Fund Christopher Li Greci & Chubb Anna Kuzmik Sampas & Paula & Earl Black Trust for Mutual Robert Ohlerking Delta Air Lines George Sampas Mr. & Mrs. Tony Bowe Understanding Virginia Lovejoy Aashish & Dinyar Devitre Santander Brooklyn Daily Eagle Teresa Tsai The Lupin Foundation Dow Jones Foundation Bartholomew A. Sheehan & The Brooklyn Brewery Wendy vanden Heuvel Anne Mackinnon Robert and Mercedes Sheila A. 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Major support for Discounted Leadership support for every season Ticket Initiatives provided by the provided by the BAM Board of Trustees, Jerome L. Greene Foundation Next Wave Festival supporters: The led by Adam E. Max, Chair & William I. Achelis and Bodman Foundation; Rose Campbell, Vice Chair. M. Badgeley Residuary Charitable Trust; brigittenyc; Citi Foundation; The Gladys Leadership support for dance in the BAM Major Sponsor of BAM Community Krieble Delmas Foundation; Epstein Harvey and BAM Fisher provided by: Programs: Teicher Philanthropies; The Fan Fox and Leslie R. Samuels Foundation; The Francena T. Harrison Foundation Trust; The Rita and Alex Hillman Major support for BAM Hamm Archives Foundation; The Kovner Foundation; provided by Charles J. & Irene F. Hamm The Ambrose Monell Foundation; Henry and Lucy Moses Fund, Inc.; Samuel I. Leadership support for dance at BAM Major support for opera at BAM provided Newhouse Foundation, Inc.; Donald provided by: by Sarah Billinghurst & Howard Solomon A. Pels Charitable Foundation; The Reed Foundation; The Jerome Robbins Support for the Signature Artists Series Foundation, Inc.; The Morris and provided by: Alma Schapiro Fund; The Scherman Foundation, Inc.; The SHS Foundation; Michelle Dorrance is the recipient of the The Shubert Foundation, Inc.; Starry Harkness Dance Residency at the BAM Night Fund; and The Harold and Mimi Fisher in 2018 Speaking Truth to Power: A Mini-Fall Steinberg Charitable Trust 2018 Festival at BAM is co-presented Lead Sponsor of BAM: by BAM and the Onassis Cultural Center The Steinberg Screen at the BAM New York. Supported by the Onassis Harvey Theater is made possible by Foundation USA, the Onassis Cultural The Joseph S. and Diane H. Steinberg Leadership support for Scandinavian Center New York is an educational and Charitable Trust programming provided by The Barbro arts center that is committed to the Osher Pro Suecia Foundation promotion of Greek culture BAM Rose Cinemas are named in recognition of a major gift in honor of Leadership support for BAM Cinema Jonathan F.P. and Diana Calthorpe Rose, and Community Programs provided by and have been generously supported by The Thompson Family Foundation The Peter Jay Sharp Foundation, and the The 2018 Richard B. Fisher Next Wave Estate of Richard B. Fisher Leadership support provided by: Award honors Joseph V. Melillo and his 35 years of visionary leadership of the The BAM facilities are owned by the Next Wave Festival City of New York and benefit from public funds provided through the New York Support for Satyagraha provided by Rohit City Department of Cultural Affairs Leadership support for BAM Visual and Katharine Desai Family Foundation with support from Mayor Bill de Blasio; Art provided by Agnes Gund and Cultural Affairs Commissioner Tom Toby Devan Lewis Support for dance at the BAM Fisher Finkelpearl; the New York City Council provided by the Mertz Gilmore including Council Speaker Corey Johnson, Leadership support for low-priced tickets Foundation Finance Committee Chair Daniel Dromm, provided by: Cultural Affairs Committee Chair Jimmy Support for Female Composers and Van Bramer, Council Member Laurie A. Choreographers in the Next Wave Cumbo, and the Brooklyn Delegation provided by The Virginia B. Toulmin of the Council; and Brooklyn Borough Leadership support for opera at BAM Foundation President Eric L. Adams provided by: BAM would like to thank the Brooklyn Aashish & Dinyar Devitre JACK &, I hunger for you, The Good Delegations of the New York State The Andrew W. Mellon Foundation Swimmer, and NERVOUS/SYSTEM Assembly, Joseph R. Lentol, Delegation are made possible with support from Leader; and New York Senate, Senator Official Piano of BAM: the Joseph V. Melillo Fund for Artistic Velmanette Montgomery Innovation Your tax dollars make BAM programs Major Sponsor of BAMcinématek: Programming in the BAM Howard Gilman possible through funding from: Opera House is supported and endowed by the Howard Gilman Foundation. Programming in the BAM Harvey Theater is endowed by the Doris Duke Charitable Foundation. Programming in BAM’s Lepercq Space is supported by The Lepercq Charitable Foundation. BAM Supporters & Patrons

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Wait Consulate General of The Victoria L. Sharp Jonathan Miller Duane McLaughlin & M. Alex Kirk & Jenny Joslin Netherlands in New York Brian & Lindsay Shea Simon Yates Salomé Galib Jenny Kirschner & Aari Maury Newburger George Sheanshang Nancy Zamudio Al Garner Kirschner David E. Newman & Gil Shiva Micha Ziprkowski Richard & Jane Gartner Jonathan Klein Stephanie Lazar Harry Simino Anonymous Liz Gerring & Kirk Radke Matthew Kliegman Christine Noble John & Helen Simonson Patricia Gift Kenneth & Susan Kramer Marguerite Nougué-Sans Meredith Singer-Crew & For more information on Anne Gilbert & Gordon Joan Kronick Empire Educational Services Jason Crew supporting BAM, please Goldstein Rob Krulak Daniel & Rebecca Okrent Elaine Sloan contact the office of Bill Gregory Gilmartin Roberta Krumholz Barry Michael Okun Sasha Slorer Kramer, Vice President Lauren C. Glant & Michael Judith & Douglas Krupp Roger W. Oliver Amy Smith & Jeremy of Development, at J. Gillespie Mr. Abby Kushner & Mr. Lena Opper Mindich 718.724.8261 or Virginia Gliedman Glen Kushner Jane Ormerod & Peter Darrell Stephen R. Smith & Ford [email protected] Karen & Andrew Goldberg Edward & Phyllis Kwalwasser Jon Otis Rogers I. Michael Goodman & Helen & James Lally Lois Ottombrino Angela Solomon & Joel Judith Uman Judith A. Langer Kathleen Owens & Morse Solomon November 2018 Bindhu Gopalan Robert S. Langley Wilkenfeld Richard & Mimi Somerby

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Brooklyn Academy of Music Fran Bermanzohn Adam E. Max Hon. Corey Johnson Laurie Mallet Gordon Bowen Scott McDonald Hon. Eric L. Adams Cathy-Ann Martine-Dolecki Chair of the Board William I. Campbell James I. McLaren Hon. Tom Finkelpearl David L. Ramsay, M.D., M.Ed. Adam E. Max Natalia Chefer Joseph V. Melillo Emma Wolfe, Rep. for Hon. Hon. Franklin R. Weissberg Linda Chinn Ahrin Mishan Bill de Blasio Vice Chairs of the Board Katy Clark David L. Picket Lori H. Luis, Rep. for Hon. BAM Endowment Trust William I. Campbell Dr. Rudolph F. Crew Frances A. Resheske Eric Adams Chair Nora Ann Wallace Suzy Franczak Davis Jonathan F.P. Rose Chris Coffey, Rep. for Hon. Gabriel Pizzi Cheryl Della Rosa Anna Kuzmik Sampas Corey Johnson President Dinyar S. Devitre Timothy Sebunya Treasurer Katy Clark Mark N. Diker Bartholomew A. Sheehan III Chairmen Emeriti Keith Stubblefield Yrthya Dinzey-Flores Brian Stafford Neil D. Chrisman Secretary Andre Dua Axel Stawski Seth S. Faison * Members Mark H. Jackson Thérèse M. Esperdy Doug Steiner Alan H. Fishman William A. Douglass III Richard E. Feldman Joseph A. Stern Bruce C. Ratner Steven G. Felsher Treasurer Steven G. Felsher Alexa Davidson Suskin Alan H. Fishman James I. McLaren Jeanne Donovan Fisher Pedro J. Torres Honorary Trustees Elizabeth Holtzman Barry M. Fox John L. Usdan Beth Rudin DeWoody Marcel Przymusinski Presidents Emeriti MaryAnne Gilmartin Brigitte Vosse Mallory Factor Alberto Sanchez Karen Brooks Hopkins Robert M. Greenberg Nora Ann Wallace Robert L. Forbes Timothy Sebunya Harvey Lichtenstein * Anne Hubbard Adam Wolfensohn Charles J. Hamm R. Edward Spilka Philippe Krakowsky Claire Wood Barbara B. Haws Nora Ann Wallace Members Edgar A. Lampert William Josephson Adam E. Max, Ex Officio Jonathan S. Auerbach Gary Lynch Ex Officio Mary Kantor James I. McLaren, Ex Officio Tony Bechara Lorraine Lynch Hon. Bill de Blasio John Lipsky *in memoriam

BAM Staff

Katy Clark, President ARCHIVES Cady Knoll, Operations & Rentals SECURITY Joseph V. Melillo, Executive Sharon Lehner, Director of Archives Manager, BAM Fisher Scott Shaw, Security Director Producer Louie Fleck, Archives Manager Sarah Kelly Konig, Admin. Asst. Bobby Arnold, Asst. Security Manager David Binder, Artistic Director Evelyn Shunaman, Processing Earline Stephen, FOH Rep/Rentals Shaunte Snipes, Admin. Coordinator Designate Archivist Asst. Collie Dean, Supervising Attendant Coco Killingsworth, Vice President Anita Goss, Volunteer Librarian Guard of Education & Community Denis Azaro, Volunteer PRODUCTION Kenneth Aguillera, Michael Whyte, Engagement Mackeba Braham, Intern Dylan Nachand, Production Manager Senior Attendant Guards Bill Kramer, Vice President of Collin Costa, Production Manager, Juan Lebron, Lead Guard Development BAM ROSE CINEMAS Fisher Building Marlon Desouza, Yasmin Diaz, John Lanasa, Vice President of Gina Duncan, Assoc. Vice Paul Bartlett, Senior Production Kevin Lemon, Teonia Smith, Andel Marketing & Communications President, Film Supervisor Thomas, Kelly Wheaton, Attendant Patrick J. Scully, Vice President & BAM FILM Ryan Gastelum, Olivia O’Brien, Guards General Manager Ashley Clark, Senior Repertory Brian Sciarra, Courtney Wrenn, Keith Stubblefield, Chief Financial Film Programmer Production Supervisors THEATER MANAGEMENT Officer and iceV President of Jesse Trussell, Repertory Film Tony Crawford, Palmer Johnston, Christine M. Gruder, Theater Manager Finance & Administration Programmer Laura Williams, Production John L. Jones, Assoc. Theater Ryan Werner, Programmer at Large Coordinators Manager PRESIDENT’S OFFICE Natalie Erazo, Department Bianca Davies, Admin. Coordinator Sonia Clayton, Jacqueline David, Michael Doyle, Manager Coordinator Claire Gresing, Nadine Mahmoud, Leroy Houston, Theater Staff Andrea Montesdeoca, Admin. Asst. CINEMA OPERATIONS Production Interns Supervisors Efi Shahar, Cinema Executive Kourtney Charles, Melo Davis, BOARD RELATIONS Manager Samuel Ravelo, Fellows in Stagecraft EDUCATION AND COMMUNITY Alexandra Biss, Director of Board Jesse Green, BAM Cinema ENGAGEMENT Relations Technical Manager STAGE CREW Brandi Stephney, Admin. Asst. Camille Lawrence, Board Relations Michael Katz, Projectionist Thomas Paulucci, Crew Chief to VP of Education and Asst. Adam Goldberg, Asst. Manager Alison Dabdoub, Sound Engineer, HT Community Engagement Sashawna Donaldson, Andreea Edward Donohue, Master of HUMAN RESOURCES Drogeanu, Anthony Shields Jr., Properties, HT OPERATIONS Seth Azizollahoff, Assoc. Vice Patrece Stewart, Head Floor Staff Oscar Gruchalski, Head Carpenter, Shana Parker, Director of Operations President, HR OH Jennifer Leeson, Senior Operations Samara Alexander, Assoc. Director, HUMANITIES John Manderbach, Head Electrician, Manager HR Molly Silberberg, Assoc. Director, OH Sommer McCoy, Operations Manager Cynthia Smith, Payroll Manager Humanities Nicholas Varacalli, Master of Leo Paredes, Operations Coordinator Alexis Boehmler, Benefits Manager Lucy Petropoulos, Humanities Asst. Properties, OH Zunairis Velazquez, Education Gerard Franco, HR Coordinator Marc Putz, Sound Engineer, OH Operations Intern Courtney Best, Admin. Asst. VISUAL ART James Kehoe, Head Carpenter, HT Alli Arnold, Visual Arts Development Chris Wilenta, Head Electrician, HT COMMUNITY ENGAGEMENT ARTISTIC PROGRAMMING & Sales Manager Wayne Brusseau, Asst. Carpenter, Schawannah Wright, Director of Stonie Darling, Assoc. Director, Morgan King, Program Asst. OH Community Programs Artistic Programming Dept. June Rustigan, Intern Heather Gallagher, Asst. Dewonnie Frederick, Community Juan Pablo Siles, Manager of Electrician, OH Affairs & Bazaar Manager Artistic Planning GENERAL MANAGEMENT Sean Kelly, Asst., Sound & Video Patricia Fogah, Community Affairs Michelle Lapadula, Intern Liz Zieminski, Director, GM Joseph Werner III, Asst. Carpenter, HT, & Bazaar Asst. Budgets & Contracts Tom Holler, Richard Wurzbach, PROGRAMS & CURATORIAL Alexander Orbovich, Assoc. Utility Men EDUCATION FAMILY PROGRAMS Amy Cassello, Producer General Manager Ginger Blake, Wardrobe Supervisor Steven McIntosh, Director of Sarah Horne, DanceMotion USASM Jaclyn Bouton, Senior Project Education & Family Programs Project Director Manager ARTIST SERVICES Ava Kinsey, Assoc. Director of Danny Kapilian, Producer, R&B Liana Agredo, Project Manager Mary Reilly, Director of Artist Services Education Festival, MetroTech Jimmy Walden, Budget & Contract Stacey Dinner, Artist Services Manager Mikal Lee, Verushka Wray, Program Steven Serafin, Special Consultant; Manager Paloma Estévez, Britney Polites, Managers Editor, BAM: The Complete Works Johanie Olivero, Project Supervisor Audrey Rosenblith, Artist Services Sasha Metcalf, Program Analyst | & BAM: The Next Wave Festival Samuel Denitz, GM Supervisor Representatives Mellon/ACLS Public Fellow BAM Staff

Patreece Jackman, Intern Sarah Hayes, Manager of Website MAJOR GIFTS & PATRON CUSTODIAL SERVICES Program Coordinator Operations PROGRAMS Ramon Cabassa, Custodial Quincy Simmons, Education Alison Kozol, Manager of Digital Stacy Margolis, Assoc. VP of Supervisor Asst. | BOLD Fellow Operations Major Gifts & Patron Programs Derrek Demary, Jean Smith, Lead Ramzi Awn, Director of Patron Custodians LEAD INSTRUCTORS AUDIENCE DEVELOPMENT & Services Yossess Allen, Ludlow Jennifer Armas, Mtume Gant, MARKETING Barbara Cummings, Director of Chamberlain, Isaias Flores, Arts & Justice Charlotte Levitt, Director of Audience Development Mayra Guillen, Ron Rathan, Jenny Rocha, Dancing into the Development & Marketing Maayan Dauber, Director of Akeon Thomas, Jerry Wright, Future Raphaele de Boisblanc, Assoc. Patron Programs Custodians Lonnie Woods III, Brooklyn Interns Director of Marketing William Lynch, Director of for Arts & Culture Instructor Sam Polcer, Assoc. Director of Leadership Giving & Special FINANCE Content Strategy Projects Kozue Oshiro, Controller TEACHING ARTISTS Allison Kadin, Senior Marketing Michael Kendrick, Senior Tameka White, Asst. Controller Raquel Almazan, Gideon Bautista, Manager Manager of Patron Services & Claudia Bailey, Adam Sachs, Morris Beasley, Rebecca Bliss, Stacey Sharlene Chiu, Senior Manager, Donor Relations Assoc. Directors of Finance Bone Gleason, Mahogany Brown, Audience Development & Jessica Hindle, Patron Services Brian Gee, Accounting Manager Melissa Brown, Chia-Ti Chiu, Darian Insights Manager Tyler Cleveland, Staff Accountant Dauchan, Harris Eisenstadt, Imani Vilina Phan, Marketing Manager Deema Salem, Patron Programs Heli Soell, Budget Analyst Faye, Okai Fleurimont, Kimani Fowlin, Lori Zakalik, Senior Cinema Manager Chaya Coppersmith, AP Samara Gaev, Ingrid Gordon, Pat Hall, Marketing Manager Jesse Rose-Pulitzer, Major Gifts & Administrator Chelsea Harrison, Mel House, Albert Andrew Rubenbauer, Marketing Patron Programs Asst. Meaghan McLaughlin, Fiscal Iturregui-Elias, Devin Kawaoka, Abigail Manager, Development Kayte Zhang, Patron Services Asst. Coordinator Levine, Spencer Lott, GV Maldonado, Shamim Hossain, Advertising Meredith Kelly, Patron Services Paige Haroldson, Finance Asst. Farai Malianga, WT McRae, Anthony Coordinator Intern Merchant, Elia Monte Brown, Michael Anna Troester, Marketing Manager INFORMATION TECHNOLOGY Mullen, Janet Onyenucheya, Pamela Lindsay Brayton, Marketing & MEMBERSHIP & DEVELOPMENT William Allen Lee III, Assoc. Patrick, Mike Ramsey, Gwenyth Reitz, Publicity Asst. OPERATIONS Vice President of Information Efeya Sampson, Victor Sanchez, Jashua Jasmine Blake-Swaby, Content Claire Charlesworth, Director of Technology SaRa, Billy Schultz, Lauren Sharpe, Strategy Intern Membership & Development Jason Q. Minnis, Assoc. Director, Jen Shirley, Elizabeth Simmons, Taylor Peterson, Drew Wesley, Operations IT Development Marcus Smalls, Šara Stranovsky, Marketing Interns J Olson, Assoc. Director, Ira Sibulkin, Assoc. Director, IT Taylor Steele, Karen Thornton-Daniels, Development Operations & Technical Services Jono Waldman, Sarah Wansley, Adia TICKET SERVICES Analytics Svetlana Mikhalevskaya, Whitaker, Todd Woodard G. Scott Kubovsak, Director of Travis Calvert, Senior Manager, Database Manager Ticket Services Budget & Operations Matthew Taylor, Senior Web MARKETING & Kevin McLoughlin, Head Treasurer Cheryl Miller, Membership Developer COMMUNICATIONS Russell Grier, First Asst. Treasurer Manager Benjamin James, Web Developer Ece Ozaman, Admin. Asst. to VP of Victor Jouvert, Charlie Dolce, Kyle Elizabeth Sarkady, Project Man- Jersy Rodriguez, Technical Marketing & Communications Williams, Asst. Treasurers ager, Crediting & Operations Support Manager Britt Aronovich, Marketing Royda C. Venture, Assoc. Director, Richard Serrano, Research Manager Tamar Audate, Technical Support Revenue Manager Ticket Services Bruce Smolanoff, Assoc. Director, Tech Frank Marsilio, Marketing Georgina Richardson, Customer Telefund Manager Susan Bishop, Admin. Coordinator Operations Manager Care Manager Steven Knudsen, Development Kenneth Flores, Senior Desktop Latasha McNeil, Asst. Manager Operations Coordinator Analyst COMMUNICATIONS Ryan Mauldin, Ticket Services Emily Searles, Membership Asst. Lucas Austin, Rafael Iglesias, Sandy Sawotka, Director of Coordinator Desktop Analysts Communications Miranda Gauvin, Ticket Services SPECIAL EVENTS INSTITUTIONAL ADVOCACY Sarah Garvey, Assoc. Director Senior Representative James Vause, Director of Special Ellen Leszynski, Senior Manager of Publicity Saul Almiachev, Wendy Berot, Events Katerina Patouri, Capital Projects Susan Yung, Senior Editorial Anaïs Blin, Shadell Brown, Lucca Grace Eubank, Special Events & Government Affairs Manager Manager Damilano, Justin Dash, Robert Manager Emma Malerba, Intern David Hsieh, Cynthia Tate Ebanks, Greg Garner, Matthew Gina Dyches, Special Events Publicity Managers McKenna, Warren Ng, Edward Coordinator James Sutton, Publications Asst. Raube-Wilson, Angela Romualdez, Hector Rios, Special Events Asst. Bookseller | Greenlight Bookstore Andreas Yung Chih Huang, Intern Allyson Steele, Noel Vega, Ticket European Production Representative Services Representatives FINANCE & ADMINISTRATION On Tour Ltd., Roger Chapman CREATIVE SERVICES CAPITAL PROJECTS Film Buyer | Adam Birnbaum Andrew Sloat, Creative Director DEVELOPMENT Jonathan Jones, Director, Capital Patrick Morin, Assoc. Director Olivia Jacobs, Admin. Asst. to Projects Immigration Counsel of Design the VP of Development Daniel Costa, Capital Projects Jonathan Ginsburg, Fettman, Joseph Kaplan, Kimberly Lum, Manager Tolchin and Majors, PC Alison Whitworth, Designers CORPORATE RELATIONS & Andi Floyd, Blue Skies Ben Katz, Video Producer SPONSORSHIP FACILITIES MANAGEMENT Immigrations Services, LLC Kaitlyn Chandler, Video Editor & Chantal Bernard, Director of James Boese, Director of Facilities Insurance Broker | Dewitt Stern Motion Designer Corporate Relations & Lynn Alexander, Facilities Manager Medical Consultant | Ahmar Butt, MD Joseph Barglowski, Video Editor Sponsorship Danny Jiang, Engineering Project Dorothea Trufelman, Asst. Video Rebecca Carew, Associate Director Manager General Counsel | Mark Jackson Editor of Corporate Partnerships & Markee Glover, Logistical Services Restaurateur | Great Performances Jenny Choi, Publications Manager Sponsorships Coordinator Charity Coleman, Farah Haidari, Mari Ogino, Corporate Relations & Ronald Jones, Admin. Coordinator Nov 1, 2018 Copywriters Sponsorship Manager Joshua Allen, Ahmad Ghany, Raul Kati Rehbeck, Creative Services Clara Hung, Sponsorship. Asst. Gotay, Anthony Sam, Building Project Coordinator Services Assocs. Annie Heath, Creative Services Asst. INSTITUTIONAL GIVING Mariana Sanchez Bueno, Video Clemente Luna, Director of BUILDING MAINTENANCE Intern Institutional Giving Anthony Shields, Maintenance Natalia Flores, Graphic Design Kailin Husayko, Assoc. Director Supervisor Intern of Institutional Giving Steve McDowell, Lead Stephanie Caragliano, Institutional Maintenance Technician DIGITAL MEDIA Giving Manager Allan Boyce, Calvin Brackett, Aaron Weibel, Director of Digital Emma Kilroy, Institutional Ronald Hunter, Maintainers Production Giving Asst. Carl Blango, Asst. Maintainer Emma Gold, Intern