CAP UCLA presents Kyle Abraham/ Abraham.In.Motion Dearest Home Thu, Apr 5 Fri, Apr 6 Sat, Apr 7 Freud Playhouse UCLA

Photos by Carrie Schneider East Side, West Side, All Around LA Welcome to the Center for the Art of Performance

The Center for the Art of Performance is not a place. It’s more of a state of mind that embraces experimentation, encourages Center for the Art of Performance presents a culture of the curious, champions disruptors and dreamers and supports the commitment and courage of artists. We promote Dearest Home (2017) rigor, craft and excellence in all facets of the performing arts. A.I.M 2017–18 SEASON VENUES Choreography | Kyle Abraham in collaboration with Abraham.In.Motion

Music Composition | Jerome Begin Royce Hall, UCLA Freud Playhouse, UCLA Lighting & Set Design | Dan Scully The Theatre at Ace Hotel Little Theater, UCLA Costumes | Kyle Abraham Will Rogers State Historic Park Film | Carrie Schneider

UCLA’s Center for the Art of Performance (CAP UCLA) is dedicated to the advancement Recorded Score | Vivian Yau (vocals), Cyrus Beroukhim, Jennifer Choi, of the contemporary performing arts in all disciplines—dance, music, spoken word Wendy Lau, Danika Paskvan (musicians) and theater—as well as emerging digital, collaborative and cross-platforms utilized by today’s leading artists. Part of UCLA’s School of the Arts and Architecture, CAP UCLA Performers | Matthew Baker, Kayla Farrish, Tamisha Guy, Catherine Ellis curates and facilitates direct exposure to contemporary performance from around the Kirk, Marcella Lewis, Jeremy “Jae” Neal globe, supporting artists who are creating extraordinary works of art and fostering a vibrant learning community both on and off the UCLA campus. The organization invests Running Time: Approx. 65 mins. | No intermission in the creative process by providing artists with financial backing and time to experiment and expand their practices through strategic partnerships, residencies and collaborations. Funds provided by the Doris Duke Charitable Foundation Endowment As an influential voice within the local, national, and global arts community, CAP UCLA Fund, The Andrew W. Mellon Foundation multi-year grant for Collaborative serves to connect audiences across generations in order to galvinize a living archive of Intersections in the Visual & Performing Arts, and the New England our culture. Foundation for the Arts (NEFA) through the National Dance Project. Additional funds were provided by The Surdna Foundation in support of cap.ucla.edu CAP UCLA’s CODA21 initiative #CAPUCLA PROJECT SUPPORT CHOREOGRAPHER’S NOTE

Dearest Home was commissioned by the Yerba Buena Center for the Arts, In 2015, I felt full…not in a sense of fulfillment, but rather fullness of rage, The Hopkins Center for the Arts, and with a grant from The O’Donnell-Green sadness and frustration based on the issues we were tackling in our work Music & Dance Foundation. and the unintentional relevance associated with ways in which these works addressed this country’s wrought history. American history is so deeply laced Additional generous support was provided by the New England Foundation with pain and struggle, that drawing on it as source material began to for the Arts’ National Dance Project, with lead funding from the Doris Duke personally take a toll on me. Charitable Foundation and the Andrew W. Mellon Foundation, Princess Grace Foundation-USA Special Project Grant, and The MAP Fund, supported by the As a result, I decided to focus my next work, Dearest Home, on themes of Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation. Love, Loss and Longing under the assumption that these themes have the potential to heal and or bring people together…forgetting for a moment the Public support for Dearest Home was provided by The New York State Council eerie serendipitous coincidences that have existed within the two-year creative on the Arts, and The National Endowment for the Arts. Dearest Home was processes of all of my previous works. developed during residencies at ASU Gammage, The Hopkins Center for the Arts, University Musical Society, and Yerba Buena Center for the Arts. 2012’s Pavement, for example, which drew its inspiration from W.E.B Dubois’ Souls of Black Folk and John Singleton’s Boyz N The Hood, was aimed at addressing police brutality and the active genocide of black families across the country specifically during my adolescence in the early 1990’s. Sadly, this work became all the more relevant after the shocking death of Trayvon Martin the same year that Pavement was already set to premiere.

With Dearest Home, I had no idea that I would lose my mother exactly one year from the previously announced world premiere of this work, or end a relationship with the man I thought I’d marry….all in the same calendar year. That said, this work is still a healer in many ways.

We’ve had the great pleasure to take part in a variety of workshops and conversations with community groups across the country on the topics of Love, Longing and Loss. These interactions have led to multi-generational epiphanies, newly formed friendships…and in one case, a marriage proposal.

Thank you to my wonderful collaborators including dancers who were involved in Dearest Home at one point or another during the creative process: Vinson Fraley Jr., Keerati Jinakunwiphat, Penda N’diaye, and Stephanie Terasaki. Special thank you to Charlotte Brathwaite and Risa Steinberg for their contributions to the work. And to Sandra Chinn for helping us prepare for every show in both San Francisco and New York. Lastly, we thank you all for sharing your evening with us tonight!

—Kyle Abraham ABOUT THE COMPANY Abraham.In.Motion is a proud supporter of Dancers Responding to AIDS, which helps ensure that those most in need receive the care and comfort The mission of Abraham.In.Motion is to create an evocative interdisciplinary they would otherwise do without. Founded in 1991 by former Paul Taylor body of work. Born into hip-hop culture in the late 1970s and grounded in Dance Company members Denise Roberts Hurlin and Hernando Cortez, Abraham’s artistic upbringing in classical cello, piano, and the visual arts, the DRA relies on the extraordinary compassion and efforts of the performing goal of the movement is to delve into identity in relation to a personal history. arts community to fund a safety net of social services for those in need. The work entwines a sensual and provocative vocabulary with a strong Together, we can make a difference for those less fortunate than us. Donate emphasis on sound, human behavior and all things visual in an effort to at dradance.org/donate. create an avenue for personal investigation and exposing that on stage. A.I.M is a representation of dancers from various disciplines and diverse personal Support the creation of new work and community outreach! Contributions backgrounds. Combined together, these individualities create movement that may be made payable to “Abraham.In.Motion,” P.O.Box 986, New York, NY is manipulated and molded into something fresh and unique. 10113. Abraham.In.Motion is a 501(c)(3) charitable organization. All donations are tax deductible to the full extent allowed by law. For more information, to get involved, or purchase your AIM merchandise, please visit abrahaminmotion.org. For booking information, contact Lotus Arts Management, Sophie Myrtil- McCourty, President, at 72-11 Austin Street, Suite 371, Forest Hills, NY 11375. Tel: 347.721.8724; email: [email protected]; website: COMPANY CREDITS lotusartsmgmt.com Artistic Director | Kyle Abraham Media: Abraham.In.Motion Board of Directors Website: abrahaminmotion.org Stephen Simcock (chair), Kyle Abraham (Artistic Director, ex-officio), Twitter: @abrahaminmotion Cheryl Bergenfeld, Chris Calkins, , Bebe Neuwirth, Instagram: @abraham.in.motion Carrie Schneider, Eric Shiner, Gilda Squire, Julia Strickland

Abraham.In.Motion Staff Executive Director: Joe Stackell Production Manager & Lighting Supervisor: Dan Stearns General Manager: Hillary Kooistra Finance Manager: Lucy Mallett Choreographic Associate: Matthew Baker Rehearsal Director: Tamisha Guy Administrative Assistant: Rebecca Gual

Generous support for Abraham.In.Motion provided by: Engaging Dance Audiences, administered by Dance/USA and made possible with generous funding from the Doris Duke Charitable Foundation; The Fan Fox & Leslie R. Samuels Foundation; The Harkness Foundation for Dance, the Howard Gilman Foundation; The JKW Foundation; Joyce Theater Foundation; Mertz- Gilmore Foundation; New England Foundation for the Arts’ National Dance Project, with funding from the Doris Duke Charitable Foundation; New York Community Trust; O’donnell-Greene Music & Dance Foundation; Princess Grace Foundation-USA; The Rockefeller Brothers Fund; The Samuel H. Scripps Foundation; Emma A. Sheafer Charitable Trust; and The Shubert Foundation. Public funding provided by The National Endowment for the Arts, The New York State Council on the Arts with support of Governor Andrew Cuomo and the NYS Legislature; and the NYC Department of Cultural Affairs in partnership with the City Council. ABOUT THE ARTISTS Colin Trevorrow. Abraham is currently touring Dearest Home, an intimate evening-length work for AIM which premiered at The Yerba Buena Center for KYLE ABRAHAM (Artistic Director) the Arts in San Francisco, May 2017. 2016 Doris Duke Recipient and 2015 City Center Choreographer in Residence, Kyle Abraham is a 2013 MacArthur Fellow who began his dance training at New works include the currently untitled commission for LA Dance Project the Civic Light Opera Academy and the Creative and Performing Arts High premiering March 2018 and three new works for AIM set to premiere May 2018 School in , Pennsylvania. He continued his dance studies in New at The Joyce Theater in New York. York, receiving a BFA from SUNY Purchase and an MFA from NYU Tisch School of the Arts, an honorary Doctorate in Fine Arts from Washington Jefferson In 2011, OUT Magazine labeled Abraham as the “best and brightest creative College, and is currently serving as a visiting professor in residence at UCLA. talent to emerge in New York City in the age of Obama”.

In November 2012, Abraham was named the newly appointed New York Live Arts Resident Commissioned Artist for 2012–2014. Just one month later, Alvin Ailey American Dance Theater premiered Abraham’s newest work, Another Night, at New York’s City Center to rave reviews.

Rebecca Bengal of Vogue writes, “What Abraham brings to Ailey is an avant- garde aesthetic, an original and politically minded downtown sensibility that doesn’t distinguish between genres but freely draws on a vocabulary that is as much Merce and Martha as it is Eadweard Muybridge and Michael Jackson.” That same year, Abraham was named the 2012 Jacob’s Pillow Dance Award recipient and 2012 USA Ford Fellow, before serving as a choreographic contributor for Beyonce’s 2013 British Vogue cover shoot.

Abraham received a prestigious Bessie Award for Outstanding Performance in Dance for his work in The Radio Show, and a Princess Grace Award for DANCERS Choreography in 2010. The previous year, he was selected as one of Dance Magazine’s 25 To Watch for 2009, and received a Jerome Travel and Study MATTHEW BAKER (Choreographic Associate, Dancer) hails from Ann Grant in 2008. Arbor, Michigan. He received his BFA (’08) in dance from Western Michigan University. In NYC, he worked with such choreographers as Mark Dendy His choreography has been presented throughout the and and Keith Thompson before joining Keigwin + Company, under the Artistic abroad, most recently at Fall for Dance Festival at New York’s City Center, Direction of Larry Keigwin and co-founder Nicole Wolcott, from 2009-2014. , Brooklyn Academy of Music, The Joyce Theater, The Los As Choreographic Associate for AIM, Matthew works with the Artistic Director Angeles Music Center, Jacob’s Pillow Dance Festival, Théâtre de la Ville, and his colleagues to maintain and develop the company’s repertory. Maison de la Danse, Tanz Im August, On The Boards, Danspace Project, Matthew was the recipient of a Distinguished Alumni Award from his Alma Dance Theater Workshop, Bates Dance Festival, Harlem Stage, Montreal, Mater in 2014. Matthew joined Abraham.In.Motion in 2011. Italy, , Sweden, , Jordan, Ecuador, Dublin’s Project Arts Center, The Okinawa Prefectural Museum & Art Museum located in Okinawa , KAYLA FARRISH (Dancer) was born and raised in Raleigh, North Carolina. The Andy Warhol Museum, The Byham and The Kelly-Strayhorn Theater in his She graduated from the University of Arizona in 2013 summa cum laude, and hometown of Pittsburgh, PA. was granted the Gertrude Shurr Award for excellence in modern dance and passionate dancing. Since moving to New York, she’s had the opportunity In addition to performing and developing new works for his company, to work with wonderful choreographers including Punchdrunk Sleep No Abraham.In.Motion, Abraham recently premiered Untitled America, a 3-part More, Helen Simoneau Danse, Kate Weare Company, Nicole Von Arx and commissioned work for the Alvin Ailey American Dance Theater and finished Artists, Rashaun Mitchell and Silas Reiner, Aszure Barton and Artists, Gallim touring The Serpent and The Smoke, a new pas de deux for himself and Dance, Chris Masters Dance, and others. She has also premiered her own acclaimed Bessie Award-winning and former Principal photography, film, and dance work through various opportunities, such as her Dancer Wendy Whelan as part of Restless Creature and choreographed for work as a Chez Bushwick Artist in Residence. Kayla joined Abraham.In.Motion the upcoming feature-length film, The Book of Henry with acclaimed director, in 2017. CREATIVE TEAM TAMISHA GUY (Rehearsal Director, Dancer), a native of Trinidad and Tobago, began her formal dance training at Ballet Tech, the New York City JEROME BEGIN (Composer) Called a “fabulous composer-pianist” and Public School for Dance under the direction of Eliot Feld. Later she attended an “unimpeachable” choice of collaborator by The New York Times, Begin’s Fiorello H. LaGuardia High School, and SUNY Purchase College as a double works have been performed throughout the USA, Europe and Asia, including major in dance and arts management. She has completed summer programs a nationally televised performance of his score for Bill T. Jones/Arnie Zane with Complexions Contemporary Ballet, Springboard Danse Montreal, and Dance Company for President Obama at the 2010 Kennedy Center Honors. Nathan Trice and performed works by William Forsythe, Pam Tanowitz, Other dance commissions include works for Hubbard Street Dance, Chicago; Loni Landon, Mark Morris, and Martha Graham etc. In 2013 Guy graduated The Juilliard School; Brian Brooks Moving Company; Keigwin + Company; with honors from SUNY Purchase College and joined the Martha Graham Gallim Dance; Sean Curran Company; Sacramento Ballet; Richmond Ballet; Company shortly after. In 2016 Guy was selected as one of Dance Magazine’s Alabama Ballet; and many others. His music was featured in the PBS Top 25 to Watch and she also received the 2016 Princess Grace Award. American Masters on Bill T. Jones work. Recent projects include: Kwaidan, a Tamisha joined Abraham.In.Motion in 2014. large-scale multimedia opera installation based on traditional Japanese ghost stories, NEVEREND, an evening length dance work for Jin Ju Song-Begin/Da- CATHERINE ELLIS KIRK (Dancer) is originally from Dallas, Texas. After On Dance, the score a documentary Flex is Kings, and recording an album attending Booker T. Washington High School for the Performing and Visual with Chris Lancaster in their synth/cello duo band, Tranimal. Current projects Arts, Kirk graduated with a BFA from Tisch School include new works for Brian Brooks Moving Company, Loni Landon Dance of the Arts and holds a yoga certification through Mind Body DancerTM. Projects, Jerome currently serves on the faculty of The Juilliard School. Kirk has completed programs with San Francisco Conservatory of Dance, Gaga Intensive in Tel Aviv, and Springboard Danse Montreal, and had the CARRIE SCHNEIDER (Filmmaker) (b. 1979 Chicago, lives Brooklyn) is an opportunity to perform works by Fernando Melo, Ohad Naharin, Sharon Eyal, artist working in performative photography, film, and video. Exhibitions Peter Chu, Andrea Miller, Robert Battle, and Alex Ketley. Upon graduating, include: The Andy Warhol Museum, Pittsburgh; the Third Azerbaijan Biennial Catherine has had the pleasure of working with Danaka Dance, Chihiro in Baku; Gallery 44, Toronto; Kunsthal Charlottenborg, Copenhagen; Istanbul’s Shimizu and Artists, and apprenticing for Sidra Bell Dance NY. Kirk is currently santralistanbul; and The Finnish Museum of Photography, Helsinki. Awards dancing for UNA-Projects, Helen Simoneau Danse, and is thrilled to continue include the Joan Mitchell Foundation Residency Fellowship, and production with Abraham.In.Motion, which she joined in 2013. grants from the Jerome Foundation and the Finnish Center for Media Culture (AVEK). Schneider attended Carnegie Mellon University (BFA 2001), The Art MARCELLA LEWIS (Dancer) hails from Los Angeles, CA, where she began Institute of Chicago (MFA 2007), the Skowhegan School of Painting and her dance training at the Lula Washington Dance Theatre at the age of 3. Sculpture (2007) and the Finnish Academy of Fine Arts, Helsinki, as a Fulbright She then continued her studies at the Los Angeles County High School for the Fellow (2008). Currently Carrie is faculty at the International Center of Arts(LACHSA). She later received her BFA from the Purchase Conservatory Photography in New York. of Dance, where she was awarded the Adopt-A-Dancer Scholarship. While at Purchase, Marcella performed works by Doug Varone, Gregory Dolbashian, DAN SCULLY (Lighting & Set Design) is a New York based lighting and madboots, Kevin Wynn and Ori Flooman. Marcella has completed summer projection designer, and has been designing for Kyle Abraham/Abraham. programs at the San Francisco Conservatory of Dance, Hubbard Street In.Motion for over ten years, including the full-length evening works Dance and Alonzo King Lines Ballet, where she was awarded the Homer Avila Pavement, Live! The Realest M.C., and the Bessie Award winning The Radio Scholarship. Marcella joined Abraham.In.Motion in 2016. Show. Recent work includes Rocky (Broadway), Jedermann (Salzburger Festspeile), The Orchestra Rocks! (Carnegie Hall), and Another Night (Alvin JEREMY “JAE” NEAL (Dancer) was born and raised in Michigan and Ailey). Regional: Trinity Rep., GEVA, Asolo Rep., Cleveland Playhouse, Hudson received his training from Western Michigan University. There, he performed Valley Shakespeare Festival and Two River Theater Company. MFA-NYU/Tisch. in professional works such as Strict Love by Doug Varone, Temporal Trance by Frank Chavez and Harrison McEldowney’s Dance Sport. Since relocating to DAN STEARNS (Production Manager & Lighting Supervisor) is a lighting New York Jeremy has had the privilege of working with SYREN Modern Dance, designer, scenic designer, and production manager interested in the Christina Noel Reaves, Catapult Entertainment, Katherine Helen Fisher Dance, intersections of dance, theater, music, and video. In addition to Abraham. and Nathan Trice. Jeremy joined Abraham.In.Motion in 2011. In.Motion, recent collaborations include Jane Comfort and Company, Pavel Zuštiak/Palissimo, LeeSaar The Company, Scott Ebersold, Paul H. Bedard/Theater in Asylum, Tara Ahmadinejad/Piehole, and Tami Stronach. He has worked in venues such as BAM, The Joyce, New York Live Arts, La MaMa, Abrons Arts Center, HERE, Dixon Place, and 3LD in New York; and internationally from France to Korea and many places in between. He is a graduate of NYU’s Tisch School of the Arts.

Art in Action Design for Sharing

“Art in Action is somewhere between an academic symposium and the “Design for Sharing enriches and supports learning, social awareness and vibrancy of an eagerly awaiting coloring book. This is where we explore in responsible cultural arts citizenship creating a new generation of artists public to release the energetic potential of sharing ideas together.” and audiences.” —Kristy Edmunds —Kristy Edmunds Design for Sharing (DFS) is our free K-12 arts education program that provides public Art in Action, our free public engagement program, offers a wide range of experiential school students from across the Los Angeles metro area access to the performing arts, art activities around the ideas emanating from the work of artists on our season. Through both at UCLA and in their own classrooms. The arts provide a gateway for students to workshops, lectures, master classes, films, salons and art-making forums, Art in Action explore shared ideas across communities and culture–sparking their curiosity and imag- provides a platform for our UCLA and Los Angeles communities to exchange ideas and ination. Since 1969, Design for Sharing has provided performances, workshops and school participate in shared cultural experiences. residencies to almost a million public school students, offering a diverse array of music, contemporary dance, and innovative theater. cap.ucla.edu/dfs This season, we’re continuing two ongoing initiatives and introducing a third. Writing the Landscape returns with new takes on the Poetry Bureau and special activities with our This season, the following CAP artists library partners, exploring how the impulse to make something results in an altered land- will participate in Design for Sharing programs: scape, or new view. Hearing Beyond Listening devises ways to “listen better,” with artist- curated playlists, personalized music maps, intimate salons, and the now popular, CAP Dancenorth/Lucy Guerin Inc Gabriel Kahane Listening Lab. A new series of programs, Facing the Blank Page, takes direct inspiration AteNine João Donato from this season’s the theater is a blank page. Activities throughout the season will ONIX Ensamble Antonio Sanchez & Migration investigate how we transmit traces of ourselves through the written word, movement, Kronos Quartet Kyle Abraham/Abraham.In.Motion sound and imagery. cap.ucla.edu/ArtInAction House Rules The Executive Producer Council CAP UCLA EXECUTIVE is CAP UCLA’s philanthropic leadership PRODUCER COUNCIL PHOTOGRAPHY PLEASE NOTE: Occasionally when our group that develops and contributes re- Murray Hidary Photography, video and the use of any shows at The Theatre at Ace Hotel are not sources vital to the Center’s programming Georgina Huljich recording equipment is strictly prohibited sold out, we will invite the audience to move and mission. The Council is comprised of Anne Jarmain at all times during performances at all in closer to the stage to fill in empty seats individuals who champion the creative Renee Luskin UCLA campus performance venues and to create a more intimate atmosphere development, presentation and public Ginny Mancini at The Theatre at Ace Hotel. Any/all press for both the audience and artists. Patrons dialogue with contemporary performing Katie Marsano Alan M. Schwartz ALWAYS have access to their ticketed seats artists by providing direct support for the photography must be approved in writing Roslyn Holt Swartz in advance by the Center for the Art of if anyone else is sitting in them, regardless Center’s annual programming. They are Bradley Tabach-Bank Performance representative. For press of whether or not we have invited people to engaged in the artistic and curatorial Leslie White inquiries and to make a request to cover move in. So please be aware that there is practices that inform the annual pro- Patty Wilson an event, visit cap.ucla.edu/press a possibility that you may have to change grams, long-term initiatives and collabo- Lori Wolf seats again if you move into a seat that is rative planning efforts which stand at the Karyn Orgell Wynne CAMERAS & SMART PHONES not your ticketed seat. heart of CAP UCLA’s mission and public purpose. Student Committee for the Arts representatives: The use of cameras, smart phones, cell Christina Moushoul phones and recording equipment of any CHILDREN Alyssa Scot kind is strictly prohibited at all times Children over age 5 are welcome to most CAP UCLA EXECUTIVE during performances at all UCLA campus events and, regardless of age, must have a PRODUCER CABINET performance venues and at The Theatre ticket. Infants on laps are not permitted. Valerie Cohen at Ace Hotel. All devices must be silenced Inquire when purchasing tickets of age Fariba Ghaffari before the start of the performance. Please appropriateness for specific events and Ann Harmsen be considerate to those around you and check out website for specific performance Deborah Irmas refrain from texting, emailing or surfing the information. Diane Levine Kathleen Quisenberry web during performances. Anne-Marie Spataru ACCESSIBILITY LATE SEATING The Theatre at Ace Hotel offers ADA access- Late seating will be subject to company ible seats and restrooms. You can buy ADA approval and will occur only at a suitable seating on our ticketing site or by calling AXS SPECIAL THANKS TO OUR time at the discretion of the house staff. at 888-9-AXS-TIX (888-929-7849). 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For such WEST Restaurant website for late seating policies for specific seating, please request a “transfer seat.” performances or opt in to our email data- base by signing up for our newsletter and If you need accessible seating the night of This Event Program was Printed by... pre-show emails with helpful information the event and don’t have a special ticket, about pre-show activities, parking, late we’ll do our best to accommodate you once seating, running time, nearby dining you arrive at the theater. opportunities and more at cap.ucla.edu/enews Assisted listening devices are available.

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Swartz Endowment for the Bonnie and Philip Homsey Performing Arts Lauren Kasmer ENDOWMENTS Royce Center Circle Endowment Jim Frohna and Diana Kunce Over time, many generous indi- Fund Bernard and Peggy Lewak viduals have initiated leadership Royce Gala Endowment Sherrill D. Luke gifts to establish endowments Sally & William A. Rutter Endow Herbert and Karin Machleder that support the performing arts ment for the Performing Arts Kathy and Michael Moray at UCLA in perpetuity. Shirley & Ralph Shapiro Director’s Morgan Stanley Global Impact Discretionary Fund Funding Trust Terry and Todd Arthur E. Guedel Memorial Shirley & Ralph Shapiro Gilman Family Foundation Lectureship Fund Endowment for Design for Paulette and Ronald Nessim Beatrix F. Padway Endowed Sharing Become a Member Mary Montella and Jeffrey Fund for Design for Sharing Newman Design for Sharing Endowment Claude Petite Doris Duke Charitable IN-KIND CONTRIBUTIONS Your membership with the Center for the Art of Performance is more than ticket discounts, Anonymous Foundation Endowment Fund priority seating, invitations to additional programs and special member gatherings—it is sup- James Rodney Evelyn & Mo Ostin Endowment port for what we are able to champion within the wider cultural landscape. When you make a Linda and B. Thomas Seidman/ for the Performing Arts

® gift to the Center for the Art of Performance or to our Design for Sharing program, you join a Seidman Family Foundation Ginny Mancini Endowment for drink water, not sugar Marjorie and Peter Singer Vocal Performance community of advocates inspired by artistic exploration and new ways of knowing. We belong to a culture of the curious, and by supporting great artists, we land on new perspectives.

Our members are committed to groundbreaking contemporary performance locally, globally and everywhere in between. Your support is how we ensure that artistic expression will thrive on stage, on the UCLA campus and in the Los Angeles community for years to come. Mem- bership dollars provide the means for us to interact with the leading artists of our time, and to share what we discover with as many people as we can.

With your involvement, we can provide young audiences with the chance to experience life through the lens of the modern stage, offer fans and aficionados the recent work of artists who propel us boldly forward, and enhance the public mission of one of the nation’s leading Leaning Forward research universities. Your membership dollars are the primary financial resource that sustains us. We need your support now more than ever. Please become a member today.

cap.ucla.edu/membership “Spirited African songbird, Angélique Kidjo channels [The] Talking Heads and burns down the house at Carnegie Hall… She not only got the capacity audience on its feet but also got everyone to dance as well.” —Zeal NYC

ANGÉLIQUE KIDJO Remain In Light Sat, May 5 @ 8PM | The Theatre at Ace Hotel

cap.ucla.edu 310-825-2101 #CAPUCLA