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Wednesday–Saturday Evenings, October 15–18, 2014, at 7:30 Saturday Afternoon, October 18, 2014, at 2:00

Pre-concert discussion with Basil Twist and Jane Moss on Friday, October 17, at 6:15 in the Irene Diamond Education Center

The Rite of Spring (New York premiere)

Basil Twist , Director and Designer of St. Luke’s Jayce Ogren , Conductor Ayumu Poe Saegusa , Lighting Design Greg Meeh , Special Effects Design Daniel Brodie , Projection Design Lynne Buckson , Costume and Textile Design

This program is approximately 65 minutes long and will be performed without intermission. Commissioned by Carolina Performing Arts at the University of North Carolina at Chapel Hill Please join us for a White Light Lounge in the Irene Diamond Education Center immediately following the evening performances on Thursday, Friday, and Saturday. (Program continued)

The White Light Festival is sponsored by Time Warner Inc. Generous support for the White Light Festival presentation of The Rite of Spring is provided by The Fan Fox and Leslie R. Samuels Foundation, Inc. Additional support provided by The Jim Henson Foundation. This presentation of The Rite of Spring is made possible in part by endowment support from the American Express Cultural Preservation Fund. These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

Rose Theater Please make certain all your electronic Jazz at Lincoln Center’s Frederick P. Rose Hall devices are switched off. WhiteLightFestival.org 10-15 Rite_GP 10/2/14 2:42 PM Page 2

MetLife is the National Sponsor of Lincoln Center. Upcoming White Light Festival Events:

Movado is an Official Sponsor of Lincoln Center. Wednesday–Friday, October 22–24, at 7:30 in James Memorial Chapel, Union Theological Seminary United Airlines is the Official Airline of Lincoln How Like an Angel (U.S. premiere) Center. A unique melding of acrobatics by the troupe Circa and sacred song performed by I Fagiolini WABC-TV is the Official Broadcast Partner of Post-performance discussion with Robert Lincoln Center. Hollingworth and Yaron Lifschitz on Thursday, October 23 William Hill Estate Winery is the Official Wine of Lincoln Center. Friday–Sunday, October 24–26, in the Walter Reade Theater Artist Catering is provided by Zabar’s and White Light on Film: The Decalogue Zabars.com. Krzysztof Kie slowski , Director The complete ´cycle of 10 films is screened over a weekend. Orchestra of St. Luke’s participation is made Introduced by Annette Insdorf on October 24 at 7:30 possible with major support by The Andrew W. Presented in association with the Film Society of Mellon Foundation. Lincoln Center The Rite of Spring was commissioned by Carolina Saturday, October 25, from 3:45 to 5:15 Performing Arts at the University of North Carolina, in the Walter Reade Theater Chapel Hill, as part of its “Rite of Spring at 100” White Light Conversation: The Evolution celebration in 2013. of Morality John Schaefer , Moderator With John Luther Adams, Randy Cohen, Alice W. Flaherty, and Elaine Pagels

Thursday–Saturday, October 30–November 1, at 7:30 in Synod House, the Cathedral of St. John the Divine Curlew River (U.S. premiere production) Ian Bostridge , Madwoman Netia Jones , Director and Designer BRITTEN : Curlew River A co-production between the Barbican Centre, London, Lincoln Center for the Performing Arts, Carolina Performing Arts, and Cal Performances Berkeley

For tickets, call (212) 721-6500 or visit WhiteLightFestival.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about pro - gram cancellations or to request a White Light Festival brochure.

Visit WhiteLightFestival.org for more information relating to the Festival’s programs.

Join the conversation: #LCWhiteLight

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 10-15 Rite_GP 10/3/14 9:04 AM Page 3

The Rite of Spring (New York premiere)

Basil Twist , Director and Designer Orchestra of St. Luke’s Jayce Ogren , Conductor Ayumu Poe Saegusa , Lighting Design Greg Meeh , Special Effects Design Daniel Brodie , Projection Design Lynne Buckson , Costume and Textile Design

ALL-STRAVINSKY PROGRAM

Fireworks (1908/1909)

Pulcinella Suite (1922/1949) Serenata Scherzino: Allegro— Tarantella Toccata Gavotta con due variazioni Vivo Minuetto e Finale

The Rite of Spring (1911–13) (orch. McPhee) The Adoration of the Earth Introduction The Augurs of Spring Ritual Abduction Spring Round Games of the Rival Tribes Procession of the Wise Elder Adoration of the Earth of the Earth The Sacrifice Introduction Mystic Circles of the Young Girls Glorification of the Chosen One Summoning of the Ancestors Sacrificial Dance (The Chosen Victim)

Basil Twist’s Tandem Otter Productions Barbara Busackino, Producer Puppeteers Eric F. Avery, Kate Brehm, Lute Ramblin Breuer, Dede Corvinus, Chris de Ville, Ben Elling, Lily Escobar, Rob Hamilton, Sarah Howe, Matthew Leabo, Jonothon Lyons, Brendan McMahon, Katie Melby, David Ojala, Marc Petrosino, Tori Ralston, Jessica Scott, Rachael Shane, Lake Simons, Julia M. Smith, Amanda Villalobos, Ashley Winkfield, Christopher Williams (dancer)

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Note from the Director by Basil Twist

In 1917 Diaghilev’s presented Stravinsky’s Fireworks as conceived by the Italian futurist Giacomo Balla as a “ballet without dancers,” where the scenic elements consisted purely of geometric shapes with modern lighting effects on them to incarnate the music visually and in three dimensions onstage. The legend of this piece and other genre-defying experiments in music in movement like it—such as ’s staging of Satie’s Socrate or ’s billowing silks—inspired me when, in 1998, I created my version of Symphonie Fantastique , where shapes and tinsel and bubbles and light danced underwater in a 500-gallon aquarium. After seeing that show, Jane Moss and Jon Nakagawa of Lincoln Center invited me uptown and to the world of amazing and accomplished classical musicians, and I have not turned back since.

With all the wonderful adventures, musical collaborations, and opportunities I’ve had since, I have always dreamed of taking my abstract puppetry to a much bigger scale. It took 15 years and the centenary of an audacious piece of music and an equally audacious presenter (the courageous Emil Kang of Carolina Performing Arts) to finally commit to making this kind of work a reality. Getting to stage my interpretation with the amazing Orchestra of St. Luke’s at Lincoln Center is really and truly a dream come true. An army of brilliant and skilled artists and allies have joined me, led by the spectacular Barbara Busackino and our Tandem Otter Productions team, to rise to the level of this thrilling invi - tation and to make this experience as magnificent as the music.

Our experience of The Rite of Spring is visceral, human, drenched, explosive, and sub - terranean. I want to feel this music elevated from any representative visual association and to make quite purely the music visual itself and the stage we gather around alive. I have always felt that I am more of an experience maker than a storyteller, and that my art as I see it is most importantly a phenomenon to be present to. With this incredible and meaningful music and in such auspicious company, I hope for these performances to be a true rite for us gathered in the Rose Theater, a rite befitting the far-reaching, expansive, and beautiful White Light Festival.

—Copyright © 2014 by Basil Twist

Please see page 56 for an in-depth interview with Basil Twist. 10-15 Rite_GP 10/2/14 2:42 PM Page 5

Summary of the Music by Harlow Robinson

“What are the connections that unite and separate music and dance?” Stravinsky once asked, responding to a question about his work with choreographer . “In my opinion one does not serve the other. There must be a harmonious accord, a synthesis of ideas. Let us speak, on the contrary, of the struggle between music and choreography.”

This wrestling match between the two elements of dance fascinated Stravinsky from his earliest years growing up in tsarist St. Petersburg and throughout his long life as a Russian expatriate in Europe and Los Angeles: “I love ballet and am more interested in it than in anything else.” The son of an operatic at the imperial Mariinsky Theater, Stravinsky was surrounded as a child by dance and dancers (prima ballerina lived upstairs) and even caught a glimpse of Tchaikovsky not long before his death in 1893. The critical and popular success of Tchaikovsky’s Swan Lake, Sleeping Beauty , and at the end of the 19th century paved the way for Stravinsky in the 20th. Stravinsky’s early ballets, especially , are deeply indebted to Tchaikovsky in subject matter and form. As time went on, however, Stravinsky’s bold experiments in , rhythm, instrumentation, and formal structure (especially in and The Rite of Spring ) went far beyond anything Tchaikovsky could have imagined.

After World War I, Stravinsky began to wander farther afield from the “traditional” story ballet as practiced by Tchaikovsky, Glazunov, and Prokofiev. Increasingly, he would mix within a single work various genres (song, dance, , oratorio, drama), as he does in . His legendary collaboration with Balanchine—one of the closest and most pro - ductive composer-choreographer partnerships in the history of dance—lasted for more than 40 years, beginning with the 1928 Apollon musagète ( ). It produced not only numerous important scores, but also a ground-breaking modernist style of neo-classical “plotless” abstraction in choreography and performance.

Stravinsky composed nearly 20 scores intended for dance performance. Dozens of his works not originally written for the stage (such as Fireworks ) have also been set by a daz - zling array of choreographers in a wide variety of styles, including , Eliot Feld, Paul Taylor, Alvin Ailey, Lar Lubovitch, and , to name just a few. His evergreen music continues to exercise an irresistible appeal, as we can see in these provocative new stagings of three Stravinsky scores by Basil Twist.

—Copyright © 2014 by Lincoln Center for the Performing Arts, Inc.

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Notes on the Music Fireworks also shows a strong influence of Glinka and of Paul Dukas ( The Sorcerer’s by Harlow Robinson Apprentice ). The score calls for a huge orchestra including three , two Feu d’artifice (Fireworks), Op. 4 , three clarinets, two , six (1908/1909) horns, three , three , , , triangle, , Born June 17, 1882, in Oranienbaum, Russia (for the booming fireworks effect), celesta, Died April 6, 1971, in New York chimes, two harps, and 60 string players. In Approximate length: 4 minutes his review of the first public performance on January 9, 1910, Diaghilev’s associate This early orchestral composition was not Alfred Nurok wrote that Fireworks “cap - written as a ballet score, but played a major tures truly startlingly in its musical essence role in launching Stravinsky’s career as a that peculiar psychic elation aroused by the ballet composer. When the impresario spectacle of fiery entertainments.” heard a performance of the dazzling short piece in early 1909, he Pulcinella Suite (1922/1949) was so impressed that he commissioned IGOR STRAVINSKY Stravinsky to create several arrangements of Chopin’s music for the first season of his Approximate length: 21 minutes Ballets Russes in Paris that summer. This initial collaboration led Diaghilev to com - “I looked, and I fell in love.” Such was mission The Firebird, Petrushka , and The Stravinsky’s recorded reaction when he Rite of Spring in the following seasons . saw the music by Italian composer Giambattista Pergolesi that became the Exactly when and where Diaghilev heard basis for the charming neo-classical con - Fireworks is still a matter of debate. fection Pulcinella. It was Diaghilev who had Stravinsky claimed that the impresario unearthed the Pergolesi scores and other heard him play it in a piano version at a con - music of the same era while rummaging cert at the St. Petersburg Conservatory. through various collections in Naples and But other accounts (including one provided London. In Paris in September 1919, he by Diaghilev’s manager Sergei Grigoriev) indi - showed the materials to Stravinsky hoping cate that Diaghilev heard an orchestral per - that he would use them for a new ballet. formance, and that he found the piece “new and original, with a tonal quality that should Stravinsky, according to , ini - surprise the public.” Diaghilev correctly dis - tially greeted Diaghilev’s proposal with cerned in Stravinsky an ideal creative soul skepticism. Within a week, however, he mate, and their remarkable collaboration had already arranged the piquant Tarantella , lasted until Diaghilev’s death in 1929. with its insistent string pizzicato and dis - tinctly modern feeling of perpetual motion. Stravinsky began composing Fireworks As he had done in his preceding mixed- when he was studying privately with media theater pieces , , Nikolai Rimsky-Korsakov, who became a and L’Histoire du soldat, Stravinsky also beloved personal and musical mentor. He incorporated vocal soloists. wrote in his autobiography that he originally intended to present the score to Rimsky as With Diaghilev and dancer-choreographer a gift for his daughter’s wedding, but that Léonide Massine, Stravinsky worked out a Rimsky died (in 1908) before he could do scenario based on the characters and plots so. The devilish, swirling, flashy music of of the Neapolitan commedia dell’arte , still 10-15 Rite_GP 10/2/14 2:42 PM Page 7

famil iar from Neapolitan puppet theaters. The premiere at the Paris Opera was a typ - Massine had recently spent time in Naples ically lavish affair. Picasso’s moonlit cubist studying this tradition and its various stock Naples and inventive harlequin costumes characters, including the happy-sad character suited the music well, and the production of Pulcinella. The fashionable cubist artist was acclaimed as one of the most beauti - had agreed to design the sets ful ever mounted by the Ballets Russes. and costumes, for what would be his third The ballet also launched a new phase in collaboration with the Ballets Russes. Stravinsky’s career, moving him further Stravinsky and Picasso had met a few years away from his Russian roots into a cos - earlier and became friends; Picasso’s mod - mopolitan internationalism. ernist distortion of classical ideals likely influ - enced Stravinsky as he worked on the score. In 1922 Stravinsky completed a suite for chamber orchestra (33 musicians) in eight The ballet’s flimsy plot was based on an parts from the ballet score, using about two- episode from a traditional Neapolitan com - thirds of the original music. The voice parts edy, “Four Identical Pulcinellas.” All the are eliminated, and the ballet’s complex neighborhood girls love Pulcinella, driving metrical schemes are in some spots (most their boyfriends to jealous distraction. The notably, in the Finale ) simplified. Pierre men decide to murder him, disguising Monteux conducted the Boston Symphony themselves as Pulcinellas. But the real Orchestra in the premiere of the Pulcinella Pulcinella, aware of their malice, has clev - Suite on December 22, 1922. Stravinsky fur - erly changed places with a double who ther revised the suite in 1949. In this more pretends to die from the attacks of his ene - accessible form, Pulcinella became one of mies. Now disguised as a magician, Stravinsky’s most popular compositions. Pulcinella brings his double back to life, amazing the townspeople. Finally, reap - The Rite of Spring (1911–13) pearing as himself, Pulcinella blesses the IGOR STRAVINSKY marriages of the young men and women and weds his sweetheart, Pimpinella. Approximate length: 34 minutes

Listening to Pulcinella, it is often difficult to Like the publication of ’s tell where Pergolesi ends and where or the unveiling of Kazimir Stravinsky begins. Stravinsky’s most radical Malevich’s painting “Black Suprematist idea is to superimpose upon Pergolesi’s Square,” the first performance in Paris of music another layer of modern tricks—orna - The Rite of Spring on May 29, 1913, on the ments, orchestral effects, unusual disso - eve of World War I, was one of the defin - nances, strange combinations of instru - ing events of 20th-century cultural history. ments, and extended ostinato lines. Those With this savage and pitiless portrayal of buzzing ostinatos are especially obvious in pre-historic pagan ritual ending in human the Scherzino (weirdly colored with har - sacrifice, the 19th-century sensibility was monics in the parts) or the Serenata shattered into tiny cubist pieces. An icon of (with obsessive trills). Musicologists still , The Rite of Spring also forced debate whether Pulcinella is a highly sophis - a radical rethinking of the traditionally gen - ticated arrangement or a new composition. teel and confined potential of ballet as an There are moments, however, when art form. (Vaclav Nijinsky’s athletic chore - Stravinsky’s own voice emerges loud and ography only intensified the music’s shock clear, such as the closing measures of the value.) The famous riot that occurred at the Finale , with their shifting accents and mani - premiere further fueled the aura of scandal cally repeated ascending phrase. surrounding the work.

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What was startling about Rite was not so assistance from his friend Nikolai Roerich, much its harmonic dissonance, which had a stage designer and Russia’s leading already been extensively employed by expert in folk art and ancient ritual, who Debussy, Schoenberg, and others, but its helped Stravinsky realize a scenario the fragmentary, dynamic, montage-like struc - composer claimed to have seen in a ture, built from small units that collided with dream. Roerich helped him find folk songs each other like atoms in a smasher. The and provided ethnographic advice. technique Stravinsky used has often been Stravinsky then suggested the ballet to described as cinematic, because it pro - Diaghilev, who agreed to stage it, with gresses through abrupt juxtapositions of Roerich’s designs and Nijinsky’s choreogra - blocks of material, like the cuts in a film. phy. But the music Stravinsky created Layers of conflicting meters, harmonies, exceeded all expectations—including and melodies clash violently with each those of the composer. Even he professed other, without a clear sense of progression surprise at what he had produced: “I heard, or logical movement. The score repre - and I wrote what I heard. I am the vessel sented a giant leap forward for Stravinsky through which the Rite passed.” from the much more traditional ballets he had previously written for the Ballets Harlow Robinson is an author, lecturer, and Russes— The Firebird and Petrushka —and Matthews Distinguished University Pro fes- also went on to have a robust life as a con - sor of History at Northeastern Uni ver sity. cert work apart from the theatrical stage. His books include : A Biog - raphy and Russians in Hollywood, Holly - In later years, Stravinsky intentionally wood’s Russians. obscured the exact details of the ballet’s origin to minimize the contributions of oth - —Copyright © 2014 by Lincoln Center for the ers. The truth is that he received essential Performing Arts, Inc. 10-15 Rite_GP 10/2/14 2:42 PM Page 9

Illumination

Wild Geese by Mary Oliver

You do not have to be good. You do not have to walk on your knees for a hundred miles through the desert, repenting. You only have to let the soft animal of your body love what it loves. Tell me about despair, yours, and I will tell you mine. Meanwhile the world goes on. Meanwhile the sun and the clear pebbles of the rain are moving across the landscapes, over the prairies and the deep trees, the mountains and the rivers. Meanwhile the wild geese, high in the clean blue air, are heading home again. Whoever you are, no matter how lonely, the world offers itself to your imagination, calls to you like the wild geese, harsh and exciting— over and over announcing your place in the family of things.

—“Wild Geese” from Dream Works, copyright © 1986 by Mary Oliver. Used by permission of Grove/Atlantic, Inc. Any third-party use of this material, outside of this publication, is prohibited.

For poetry comments and suggestions, please write to [email protected].

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Meet the Artists play The Long Christmas Ride Home , Red Beads , and Peter and Wendy , plus pup - petry for the Oskar Eustis–directed Hamlet for New York’s Shakespeare in the Park. T S I T

R Mr. Twist has received Obie, Drama Desk, A

E H T

New York Innovative Theatre, and Henry F O

Y

S Hewes Design awards, as well as five E T R

U UNIMA and two Bessie Awards. He has O C Basil Twist also been awarded Guggenheim and USA A native of San Francisco, Basil Twist is a Artists Fellowships, and was most recently third-generation puppeteer now living in awarded a Doris Duke Performing Artist New York. He is the sole American to grad - Award. Mr. Twist currently serves as artistic uate from the École Supérieure Nationale director of HERE Art Center’s Dream Music des Arts de la Marionnette in Charleville- Puppetry program. He collaborated with Mézières, France. Mr. Twist’s work was Kate Bush to realize her concert “Before first spotlighted in New York by the Henson the Dawn,” which premiered in August. International Festival of Puppet Theater with his award-winning The Araneidae Show . Coupled with the critically praised I

and award-winning Symphonie Fantas - N N A I

tique , he was revealed as a singular artist O R T S of unlimited imagination. Highlights of his A M

R E

subsequent work include Petrushka (com - G O

R Jayce Ogren missioned by Lincoln Center), Dogugaeshi (Japan Society), Behind the Lid (Silver During the 2014–15 season, Jayce Ogren Whale Gallery) with the legendary Lee leads West Side Story with film at Nagrin, and Arias with a Twist (HERE), co- London’s and the Festival created with nightlife icon Joey Arias. His of the Arts BOCA. He also leads the productions have toured throughout the National Arts Centre Orchestra with world. On Broadway he created and staged Emanuel Ax, the Toledo Symphony, and the puppetry in The Addams Family , for will be in residence to conduct and teach at which he won a Drama Desk Award, and St. Olaf College. Recent highlights include staged the puppetry for The Pee- a concert featuring works by Rufus wee Herman Show . In film he collaborated Wainwright and others with the Toronto most notably on Harry Potter: The Prisoner Symphony Orchestra; a month-long run of of Azkaban . My Fair Lady at the Théâtre du Châtelet in Paris; and appearances with New York Phil - Mr. Twist’s work is deeply musical in harmonic and the RTÉ National Symphony nature. He has conceived and directed two Orchestra of Ireland. He also led the successful , Respighi’s La bella dor - KwaZulu-Natal Philharmonic in South Africa mente nel bosco with the Gotham and a semi-staged production of Britten’s Chamber Opera and Humperdinck’s Hansel The Turn of the Screw with the Saint Paul and Gretel for the Houston Grand and Chamber Orchestra. Atlanta Operas. Other collaborations include, in dance, The Winter’s Tale and A native of Washington state, Mr. Ogren Cinderella with Christopher Wheeldon, received his bachelor’s degree in composi - Darkness and Light with Pilobolus, and tion from St. Olaf College and his master’s Wonderboy with the Joe Goode Perform - degree in conducting from the New England ance Group, and, in drama, Paula Vogel’s Conservatory. With a Fulbright grant he 10-15 Rite_GP 10/2/14 2:42 PM Page 11

completed a postgraduate diploma in Lake Simons (2013), and The Eye Which orchestral conducting at the Royal College We Do Not Have by Kate Brehm (2013). of Music in Stockholm with the legendary He also works as a technical coordinator Jorma Panula, and spent two summers at between Japan and the U.S. for the Japan the American Academy of Conducting at Society, as well as in many other interna - Aspen. He was appointed by Franz Welser- tional projects. Möst as assistant conductor of the and music director of Greg Meeh the Cleveland Youth Orchestra. In 2009 he Greg Meeh (special effects design) led the Cleveland Orchestra in regular sea - designs special effects for theater, opera, son subscription concerts and at the dance, events, television, film, and print. Blossom Festival. Mr. Ogren stepped in for Credits include KÀ for Cirque du Soleil and to conduct the Boston the Broadway productions The Last Ship , Symphony Orchestra in a program that Women on the Verge of a Nervous Break - included the world premiere of Peter down , The Addams Family , Spamalot , Lieberson’s song cycle Songs of Love and Nine , Into the Woods , Aida , Twelfth Night Sorrow . As music director of the New York at Lincoln Center (Eddy Award), Ragtime , City Opera, he led new productions of The An Inspector Calls (Drama Desk Award), Turn of the Screw and Rossini’s Mosè in Damn Yankees , Angels in America , Egitto , as well as the American premiere of Tommy , Phantom of the Opera , and Les Wainwright’s opera Prima Donna , Mozart’s Misérables ; Lord of the Rings in Toronto The Magic , and Bernstein’s A Quiet and London; and the television productions Place . European guest engagements have of Fool’s Fire for American Playhouse , The included the Deutsches Symphonie- Late Show , SNL , and One Life to Live . Orchester Berlin, the Copenhagen Philhar- monic, the RTÉ Symphony, and repeat Daniel Brodie appearances with the Asturias Symphony. Daniel Brodie (projection design) was born in Las Vegas and now lives in Brooklyn. He Ayumu Poe Saegusa graduated with a degree in theater and Ayumu Poe Saegusa (lighting design) media design from the Herberger Institute began his career in 1996 at the Inter - for Design and the Arts at Arizona State national Christian University in Tokyo. From University. He designed the projections for 2002, he worked at Shin Inokuchi’s lighting Christopher Wheeldon’s The Winter’s Tale design company. He came to New York (Royal Ballet) and Cinderella (Dutch City in 2005 and became the resident light - National Ballet and San Francisco Ballet), ing designer of HERE Arts Center. He and has worked regularly with puppeteer designed the CULTUREMART festival by Basil Twist on The Winter’s Tale Cinderella , the resident artists of HERE from 2006–12 Behind the Lid , Arias with a Twist , and The and again in 2014. He met Basil Twist at Rite of Spring . Mr. Brodie’s Broadway cred - HERE and started working for him during its include Motown the Musical , Jekyll & the Japan tour of Dogugaeshi in 2007, Hyde , and Disney’s Aladdin . He has also after which he toured with the show to created large-scale video designs for many cities both in the U.S. and in Europe. Kanye West and for the Bonnaroo Music In collaboration with Twist, he also and Arts Festival. Mr. Brodie’s awards designed Arias with a Twist , which toured include the Institute of in the U.S. and Europe. His other puppet- Theatre Technology’s Rising Star Award show credits include Hobo Grunt Cycle by (2011). He has also worked as a guest lec - Kevin Augustine (2009), Wind Set-up by turer at Yale University.

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Lynne Buckson and immersive events for adults in New Lynne Buckson (costume and textile York City. Awards include a HERE artist res - design) is a Boston-based artist who has idency in 2004, OneArmRed residencies in worked in costuming and related fields for 2006 and 2009, chashama performance res - many years. Her first foray into the world of idency in 2009, and NYSCA and Puffin puppetry was as the builder of the official Awards. She has attended several festivals Little Shop of Horrors puppet sets for worldwide, including Bangkok Hoontown worldwide rental. Eight years ago, she Puppetry Festival, the London Performance became tangled up in Basil Twist’s world, Studies International Con ference, the beginning with his production Behind the Puppet Rampage Festival, and the Puppetry Lid . Since then, she has worked on many and Material Performance Conference. Ms. of Twist’s shows, including The Addams Brehm started performing and devising with Family , Arias with a Twist , and Petrushka , Basil Twist in 2005 and has since toured the and also contributed to his work for Kate U.S., Europe, and Japan with his award-win - Bush. Ms. Buckson studied art and educ - ning puppetry. She has ten years of training tion at Wheelock College in Boston, and in the Margolis Method of physical acting, holds a master of education degree in deaf and recently completed Clown Conserv- education from Smith College. When not atory at Circus Center in San Francisco. Ms. working with Twist, she is the art teacher Brehm teaches moving objects and per - for the Horace Mann School for the Deaf forming design, practical and theoretical and Hard of Hearing in Boston. classes in performative visual thinking.

Lute Ramblin Breuer is one of the original PUPPETEERS puppeteers from Mabou Mine’s Peter and Wendy , which has been performed at the Eric F. Avery is a Minneapolis-based artist New Victory Theater, Arena Stage, Berkeley who specializes in the creation of new Rep, Yale Rep, and La Jolla Playhouse, as works. Recent works in New York include well as the Dublin Theatre and Edinburgh his presentation of it’s very difficult to keep International Festivals. Mr. Breuer has also at FiveMyles this past August, and his per - performed in Warhorse at Lincoln Center formance as a puppeteer in Lee Breuer’s Theater and in the Broadway version of The La Divina Caricatura at La MaMa in Pee-wee Herman Show . He was the pup - December 2013. This year Mr. Avery was petry director for a ballet opera with the commissioned by Northern Lights.mn to Beijing Ballet Academy and is currently a create his eight-hour performance piece, puppeteer for Heart and Lights at Radio City Minne apolis 3; he was granted a Cultural Music Hall. Mr. Breuer is chronicling his Community Partnership Grant from experiences as a new father in an indepen - Minnesota State Arts Board to create a dently produced zine titled I Am Tattooed new performance installation with Zainab and I Am Tired. Musa; and he received a Naked Stages Fellowship at Pillsbury House + Theatre to Dede Corvinus made her puppeteer debut create an installation that en-compasses an with Basil Twist and company for the pre - entire building this December. Next in New miere of The Rite of Spring at the University York, he’ll be performing in The Scarlet Ibis of North Carolina (UNC) at Chapel Hill in as part of the Prototype Festival at the 2013. She is a member of Actor’s Equity HERE Arts Center in January 2015. Association and performs regularly with PlayMakers Repertory Company in Chapel Kate Brehm has been a working puppeteer Hill, North Carolina. This has included the since 1998. In 2003 her company, imnot - roles of Mary in On the Verge , Anna in Old lost, began producing devised puppetry Times , Mrs. Tarleton in Misalliance , Mama 10-15 Rite_GP 10/2/14 2:42 PM Page 13

in A Shayna Maidel , Birdie in The Little as well as curated several ethnographic Foxes , Harriet Stanley in The Man Who performances. Ms. Escobar works as a Came to Dinner , Widow Douglas and Aunt multimedia technician in the communica - Sally in Big River , and Miss La Creevy, Mrs. tion studies department, where she Squeers, and Mrs. Crummles in The Life & assists peers in various communication Adventures of Nicholas Nickleby Parts I and specializations with audiovisual equipment II . Other regional performances include Lilla and assistance. She is also an entertain - Barton in The Moving of Lilla Barton at the ment writer for the Daily Tar Heel , a local Temple Theatre, and Lady Bracknell in The North Carolina newspaper, conducting Importance of Being Ernest as Equity interviews with local and global musicians Guest Artist at the University of Vermont. and writing album reviews. Ms. Corvinus has taught acting at UNC–Chapel Hill and just retired as the Rob Hamilton is a designer and technical director of the Office of Research for the director for performance studies in the School of Medicine. She has a Ph.D in geol - department of com munication studies at ogy from the University of South Carolina the University of North Carolina (UNC) at and a master of fine arts degree in acting Chapel Hill, and teaches in the areas of per - from the University of Washington formance production and object theater. Professional Actor Training Program. His Mis dir ection of Henry Walker —adapted for puppetry from Daniel Wallace’s Mr. Chris de Ville has been working on puppet Sebastian and the Negro Magician —is shows with Basil Twist for more than 15 scheduled to open this November at UNC. years. Recent highlights include Symphonie He last appeared onstage as a puppeteer in Fantastique and Arias with a Twist in New York was while on the running crew Washington, D.C., and Yoshimi Battles the for the original Little Shop of Horrors at the Pink Robots in La Jolla, Cali fornia. When not Orpheum Theater. puppeteering, Mr. de Ville plays music and spends time with his cats in rural upstate Sarah Howe appears every August and New York, and produces hopelessly profit - September with Paperhand Puppet less theatrical events, his most recent being Intervention in Chapel Hill, North Carolina, Chester Arthur and Friends , a paean to igno - most recently as the Mole, a Mouth, and a minious presidencies. Sad Rabbit in The Painted Bird. Past roles include the opening White Banner in Ben Elling is a recent graduate of the Invisible Earth (2013), the Head of the Man University of North Carolina at Chapel Hill. of Beasts in The City of Frogs (2012), the He has been involved in several student Left Arm of the Earth Goddess and a Baby productions as an actor and set designer. in The Serpent’s Egg (2011), and the Bear in Mr. Elling currently lives in Charlotte, North Islands Unknown (2010). Previous perfor - Carolina, where he works for Playing for mances with Basil Twist include the world Others, an organization that provides teens premiere of The Rite of Spring (2013) at the with the opportunity to give back to the University of North Carolina at Chapel Hill, community through the arts. and Exit the King (2009) directed by Ellen Hemphill at Duke University. She appears Lily Escobar is a senior at the University of as herself in Mark Barroso’s documentary A North Carolina at Chapel Hill, majoring in Puppet Inter vention and in Quest TV’s Bike communication with a concentration in media to the Future . When not animating card - production. She has w ritten and directed board, fabric, and papier-maché, Ms. Howe over ten short films and docu mentaries, is a potter.

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Matthew Leabo is a visual artist living and School of Performing Arts in 2005. Her working in . Mr. Leabo stud - work has been presented at Dixon Place, ied illustration at the School of Visual Arts, OneArmRed, Governors Island Art Fair, and where he received his bachelor of fine arts in conjunction with Columbia Stages. In degree. He is a sculptor, builder, painter, Minneapolis she worked with Theatre de la tinkerer, and lover of the arts. He has Jeune Lune, Live Action Set, Sandbox worked in shops all over as a Theatre, Savage Umbrella, Four Humors, freelance artist; he has done everything National Theatre for Children, and Tiger from sculpting dragons for HBO’s premiere Lion Arts. This past year, she performed in of the Game of Thrones series to building the Fire Island Opera Festival, Mabou puppets for Broadway shows like The Mines’s La Divina Caricatura , and The Cat Addams Family , Big Fish , and The Pee-wee Who Went to Heaven at BAM. Ms. Melby Herman Show . is a graduate of the American Musical and Dramatic Academy and works as a profes - Jonothon Lyons is an actor and puppeteer sional living statue, having performed her currently performing as a principal cast mem - original characters across the U.S. and ber in the immersive hit Sleep No More at Canada. A year and a half ago she helped the McKittrick Hotel. Other Off-Broadway build Cloud City, an arts space in Brooklyn, credits include Blue Man Group at the Astor where she continues to curate interdiscipli - Place Theater and Moisés Kaufman’s El gato nary work as well as produce her own. con botas at the New Victory Theater, for which he will be reprising his role when the David Ojala (puppeteer, technical director) production returns this December. He was is a theatrical artist based in New York City also a cover puppeteer in Anthony and sometimes Berlin, where he works as a Minghella’s production of Madama Butterfly performer, lighting designer, scenic at the Metropolitan Opera. This is his third designer, and carpenter. Mr. Ojala works production with Basil Twist after appearing in with Tandem Otter Productions and Basil Petrushka and Dogugaeshi. Mr. Lyons was Twist, and has thrived on the inventive the recipient of a 2014 Jim Henson nature of this work. Most recently they Foundation Seed Grant for a new work of worked together on Dogugaeshi at Théâtre puppet theater entitled Ens o¯. Vidy-Lausanne in Switzerland, as well as at its preceding national tour in the U.S. Other Brendan McMahon has worked in several previous collaborations include Arias with a productions throughout the U.S., including Twist Deluxe , Symphony Fantastique , and Petrushka (Basil Twist, Shakespeare The Rite of Spring . Currently Mr. Ojala is also Theater), La Divina Caricatura (Mabou the technical director and production man - Mines, Public Theater), Firebird (Lincoln ager for the performance space Manhattan Center), The Cat Who Went to Heaven Movement & Arts Center in New York, and (Kennedy Center), Don Cristóbal (Abrons Art a founding member of the Off-Broadway Center), and Portrait of Me as Others (Lake theater company the Active Theater. Simons, Boston College). Mr. McMahon is a Occasionally he moonlights on stage as an graduate of École LASSAAD in Brussels. actor as well.

Katie Melby is co-artistic director of 3 Marc Petrosino has previously worked Sticks, a theater company dedicated to with Basil Twist on Petrushka (Lincoln making new work. She has been devising Center), Master Peter’s Puppet Show (New new music theater for the past nine years York, Chicago, Los Angeles), and Paula with her partner and composer/collabora - Vogel’s The Long Christmas Ride Home tor, Andrew Lynch, since graduating from (Vineyard Theatre, Off-Broadway). Mr. the Lecoq-based London International Petrosino’s hand has appeared on tele vision 10-15 Rite_GP 10/2/14 2:42 PM Page 15

in The Muppets , and on Late Night with and Porco Morto , Julian Crouch’s The Devil Jimmy Fallon , Sesame Street , Blue’s and Mister Punch , and Moisés Kaufman’s Room , Crank Yankers , and Elmo’s El gato con botas . In 2010 she made her Christmas Countdown . For several years, Broadway debut puppeteering in The Pee- Mr. Petrosino was Audrey II in Little Shop wee Herman Show at the Stephen of Horrors (Broadway and First National Sondheim Theatre, and returned again to Tour). Other stage credits include three Broadway in 2012 as the puppetry associ - concerts at Carnegie Hall, Anthony ate for Big Fish . In 2013 she was the lead Minghella’s Madama Butterfly (Metro - puppeteer and puppetry director of the politan Opera), and Chris Green’s Firebird Mabou Mines epic La Divina Caricatura . (Lincoln Center). Mr. Petrosino is a co- Recently, Ms. Scott collaborated with founder of Monkey Boys Productions. painter Bjarne Melgaard to create over 40 custom dolls for the exhibit “A New Novel” Tori Ralston grew up near the Narra - at the Luxembourg & Dayan Gallery, the gansett Bay in Rhode Island and moved to Park Avenue Armory Art Show, and the North Carolina to attend University of Lyon Biennale. Ms. Scott also recently North Carolina (UNC) at Chapel Hill, where designed her first live-action puppetry film, she received her bachelor’s degree in psy - The Never Bell , which premieres at BAM’s chology. She studied art at UNC as well, Puppets on Film Festival October 26. Other focusing on painting, ceramics, and instal - television puppetry credits include Flight of lation art. She attended graduate school at the Conchords ’s “Demon Woman” and the University of Minnesota, receiving her Björk’s “Wander lust.” Ms. Scott is cur - master of fine arts degree in sculpture. rently a HARP and Dream Music Puppetry She practiced as an art therapist at the resident artist at HERE, where she is devel - North Carolina state psychiatric hospital oping her piece Ship of Fools . and later began teaching art in a number of different settings. She currently teaches Rachael Shane is an aerial dancer, pup - sculpture and puppetry at North Carolina peteer, and photographer. She has been State University. Ms. Ralston founded involved in productions with Chris Green Theater of Per forming Objects and (Firebird , 2013), Basil Twist ( The Rite of received a Jim Henson Foundation grant to Spring , 2013), Lake Simons ( The Jewel create Harv esting Pomegranate Dreams . Casket , 2014), Julian Crouch and Brian Her puppetry includes traditional mari - Mertes ( The Seagull , 2012), and Puppet onettes, shadows, and Bunraku-style pup - Kitchen ( The Breakup commercial for pets, as well as moving object abstrac - H&M, 2014). She trains on the silks and tions. Her performances consist of images other apparatuses at Circus Warehouse of gesturing objects and puppets, layered and recently performed an act as part of with projected film images, lit scrims, the new musical The Disappearing Man at shadows, and puppeteers. Additionally, Cloud City. She has a bachelor of fine arts Ms. Ralston works as a puppetry designer, degree in drama from the University of the scenic and costume designer, and proper - North Carolina School of the Arts. ties artisan in North Carolina. Lake Simons ’s theater career encom - Jessica Scott is a self-taught visual artist, passes a variety of disciplines including director, performer, and teacher living in directing, puppetry, movement, scenic New York City. Ms. Scott has designed design, puppet and mask design, and per - and performed for most of Basil Twist’s forming. She builds theater productions productio ns since 2003. Other credits from the ground up, frequently collaborat - include Mabou Mines’s Peter and Wendy ing with other artists to create visual the -

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ater. These productions include Rose Nose Credits include the Broadway production Rhapsody , Wind Set-up , Moby Dick , and Emmy-nominated HBO special of The Electric Bathing , Etiquette Unraveled , Pee-wee Herman Show (Stephen Sond - White Elephant , Alice in Wonderland , How heim Theatre), The Cat Who Went to I Fixed My Engine with Rose Water , Heaven (BAM), Mabou Mines’s Peter and What’s Inside the Egg?, and Paper Plane . Wendy (The New Victory Theater), La As a performer, Ms. Simons has been Divina Caricatura (La MaMa), The seen in productions by Johnny Simons, Adventures of Charcoal Boy (HERE), Arias Basil Twist, Christopher Williams, Dan with a Twist (Woolly Mammoth), The Hurlin, Matt Acheson, Chris Green, Erin K Secret Death of Puppets (Dixon Place), and Orr, and Patti Bradshaw. Ms. Simons is an Basil Twist’s The Rite of Spring (University artistic associate with the Hip Pocket of North Carolina at Chapel Hill). A graduate Theatre in Fort Worth, Texas, where she is of Sarah Lawrence College, Ms. Villalobos a guest director and performer. She served studied puppetry and performance with as a puppetry associate for the Broadway Dan Hurlin. Her own work has been pre - production of War Horse as well as pup - sented at BAX (Brooklyn Arts Exchange), petry and movement associate for the Dixon Place, SoHo Playhouse, and at the national tour. She teaches set design at Great Small Works International Toy Sarah Lawrence College. She holds the - Theater Festival. Her current project, Light ater degrees from University of North Keepers , has received support from the Carolina School of the Arts and École Jim Henson Foundation and BAX, and has Internationale de Théâtre Jacques Lecoq. been awarded residencies at the Henson Carriage House and the MacDowell Colony. Julia M. Smith is a collaborative theater Light Keepers will premiere at FiveMyles in artist and educator who graduated from January 2015. Towson University’s master of fine arts program in theater arts and also holds a Christopher Williams (puppeteer, dancer) bachelor of fine arts degree from New York is a puppeteer, dancer, and choreographer Uni versity’s Experimental Theatre Wing. devoted to crafting and performing in Her performance and design work has movement-based works in New York City been seen throughout the Baltimore- and abroad since 1999. His own works Washington area, Chicago, New York, New have been presented in venues including Orleans, Texas, and Eastern Europe, and City Center, Dance Theater Workshop, has been recognized by the Austin Critics’ Danspace Project, and Dance New Amster - Table Awards and B. Iden Payne Awards, dam, as well as in Colombia, Holland, and by the press. Recently Ms. Smith per - Spain, Italy, France, England, and Russia. formed in the world premiere of Basil He has received fellowships from New Twist’s The Rite of Spring at University of York Foundation for the Arts, Foundation North Carolina at Chapel Hill, and her pup - for Contemporary Arts, and the Bogliasco petry can be seen nightly on the shows Foundation, and has also held creative resi - Noodle and Doodle and The Good Night dencies at the Center, Move- Show for PBS Kids Sprout Network. ment Research, Joyce SoHo, Dance New Amsterdam, Djerassi Resident Artists Amanda Villalobos is a performer, Program, White Oak Plantation, Yaddo, and designer, and puppeteer based in New York the Yard. In 2005 he received a New York City. She has worked with theater artists Dance and Performance Bessie Award for Lee Breuer, Theodora Skipitares, Basil his work Ursula and the 11,000 Virgins . He Twist, Alex Timbers, and Sibyl Kempson. holds degrees from Sarah Lawrence 10-15 Rite_GP 10/2/14 2:42 PM Page 17

College and the École Internationale de Manhattan. Since opening in 2011, the Théâtre Jacques Lecoq, and has since per - DiMenna Center has welcomed more than formed for Basil Twist, Dan Hurlin, Tere 50,000 visitors, including more than 300 O’Connor Dance, Douglas Dunn & Dancers, ensembles and artists for rehearsal and Yoshiko Chuma and the School of Hard recording, among them Renée Fleming, Knocks, and John Kelly, among others. Susan Graham, Emanuel Ax, Itzhak Perlman, Joshua Bell, , Ashley Winkfield is a senior at the James Levine, James Taylor, and Sting. University of North Carolina (UNC) at OSL hosts hundreds of neighbors, families, Chapel Hill, majoring in communication and school children at its home each year with a concentration in media studies. As a for free community events. musician and vocalist, she has spent much of her life on stage in various music ensem - Through its Community & Education pro - bles, such as UNC’s Harmonyx A Capella grams, OSL has introduced audiences Group. In 2011 she participated in the across New York City to live classical music. world premiere of Mau A Malawi: Stories OSL brings free chamber concerts to the of AIDS at Memorial Hall in Chapel Hill. Ms. five boroughs; offers free, interactive Winkfield also writes, produces, and per - events at the DiMenna Center; provides forms under the pseudonym Ashley K. chamber music coaching for adult ama - teurs; and engages 10,000 public school Orchestra of St. Luke’s students each year through its Free School Or chestra of St. Luke’s (OSL) is one of Concerts. In 2013 OSL launched Youth America’s most versatile and distinguished Orchestra of St. Luke’s (YOSL), an intensive . The ensemble regularly collabo - instrumental coaching program emphasiz - rates with the world’s greatest artists and ing musical excellence and social develop - performs approximately 70 concerts each ment. year, including its Carnegie Hall Orchestra Series, Chamber Music Series at the White Light Festival Morgan Library & Museum and Brooklyn I could compare my music to white light, Museum, and summer residency at which contains all colors. Only a prism can Caramoor Music Festival. OSL has commis - divide the colors and make them appear; sioned more than 50 new works, including this prism could be the spirit of the listener. four this season; has given more than 170 —Arvo Pärt. Celebrating its fifth anniver - world, U.S., and New York City premieres; sary, the White Light Festival is Lincoln and appears on more than 100 recordings, Center’s annual exploration of music and including four Grammy Award–winning art’s power to reveal the many dimensions albums and seven releases on its own of our interior lives. International in scope, label, St. Luke’s Collection. Pablo Heras- the multidisciplinary festival offers a broad Casado, named 2014 Conductor of the spectrum of the world’s leading instrumen - Year by Musical America , is OSL’s principal talists, vocalists, ensembles, choreogra - conductor. Celebrating its 40th anniversary phers, dance companies, and directors this season, OSL began as a chamber complemented by conversations with ensemble based at the Church of St. Luke artists and scholars and post-performance in the Fields in Greenwich Village. Today, White Light Lounges. St. Luke’s Chamber Ensemble consists of 21 virtuoso artists who perform a diverse Lincoln Center for the Performing repertoire and make up OSL’s artistic core. Arts, Inc. OSL owns and operates the DiMenna Lincoln Center for the Performing Arts Center for Classical Music in midtown (LCPA) serves three primary roles: presenter

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of artistic programming, national leader in Night Swing, the Mostly Mozart Festival, arts and education and community rela - and the White Light Festival, as well as the tions, and manager of the Lincoln Center Emmy Award–winning Live From Lincoln campus. A presenter of more than 3,000 Center , which airs nationally on PBS. As free and ticketed events, performances, manager of the Lincoln Center campus, tours, and educational activities annually, LCPA provides support and services for LCPA offers 15 programs, series, and fes - the Lincoln Center complex and the 11 res - tivals including American Songbook, Great ident organizations. In addition, LCPA led a Performers, Lincoln Center Festival, $1.2 billion campus renovation, completed Lincoln Center Out of Doors, Midsummer in October 2012. 10-15 Rite_GP 10/2/14 2:42 PM Page 19 O T I

I K U Y O R I H

Orchestra of St. Luke’s Pablo Heras-Casado, Principal Conductor

Violin Krista Bennion Feeney, David Cerutti Stephen Taylor Thomas Hutchinson Concertmaster Louise Schulman Richard Dallessio Kenneth Finn Eriko Sato Meena Bhasin Kristin Kall Nick Schwartz Naoko Tanaka Lois Martin Mitsuru Tsubota Ann Roggen Clarinet Tuba Robin Bushman Liuh-Wen Ting Jon Manasse Kyle Turner Christoph Franzgrote Meryl Abt Conrad Harris David Gould Timpani Karl Kawahara Daire FitzGerald Maya Gunji Anca Nicolau Myron Lutzke Ellen Payne Rosalyn Clarke Cynde Iverson Percussion Mineko Yajima Arthur Fiacco Thomas Sef cˇovi cˇ Barry Centanni Alexander Fortes Maxine Neuman Jeff Robinson Joseph Tompkins Gregor Kitzis Alberto Parrini John Ostrowski Fritz Krakowski Horn Elizabeth Miller Bass Patrick Pridemore Harp Andrea Schultz John Feeney Nancy Billmann Grace Paradise Laura Seaton Anthony Falanga Kyle Hoyt Robin Zeh Lewis Paer R.J. Kelley Keyboard Pawel Knapik Margaret Kampmeier Trumpet Flute Dominic Derasse Elizabeth Mann Michael Blutman Sheryl Henze Paul Murphy Susan Rotholz

Orchestra of St. Luke’s Executive Administration Katy Clark, President & Executive Director Charles Hamlen, Vice President for Artists & Programs Valerie Broderick, Vice President & General Manager 10-15 Rite_GP 10/2/14 2:42 PM Page 20

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Acting Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Mauricio Lomelin, Associate Producer, Contemporary Programming Julia Lin, Associate Producer Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Nasrene Haj, House Seat Coordinator Utsuki Otsuka, Production Assistant Reshena Liao, House Program Intern

For The Rite of Spring David Ojala, Technical Director Butch Garris, Technical Supervisor Kate Brehm, Associate Technical Director Kimberley Prescott, Production Stage Manager Neelam Vaswani, Deck Stage Manager Carmen Torres, Assistant Stage Manager Brandon Hardy, Assistant to the Director Haejin Han, Assistant Lighting Designer Hannah Wasileski, Assistant Projection Design Andrew Hill, Production Electrician Jessica Barrios, Wardrobe

Tandem Otter Productions Barbara Busackino, Producer Neelam Vaswani & Corinne Hastings, Company management Christopher Minnes, Development Consultant Carla Grande/Spirit Design, Webmaster Sam Rudy Media Relations, Press Representative Rachel Schapira, Office/Studio Manager John Compton, Studio Assistant

Mr. Twist and his Tandem Otter Productions extend deep thanks to the following major sup - porters: Jane Henson & The University of Maryland, The Doris Duke Performing Artist Awards Program, Sarah Drew, Margot Knight, Carolyn Langelier, Susan Diekman, Kent D. Swisher, Mary Stroupe, Carole Angermeir, Carolyn Luce, Shelly Lefkoe, Terry Thomas, Margaret Graham, Sarah Vetter, Dianne Cox, Anna Rheim, Charles and Sandra Hobson, Patricia Gibbs, Christopher Minnes, Michael Olmstead, Sarah Cavanaugh, John and Elizabeth van Merkensteijn, Johnnie and Ashton Hawkins Moore, Marcialyn Robinowitz, Adriana and Thoman Riles, Joan Holmes, Paula Lawrence, Priscilla and Dan Wieden, David Marshall, Becky Robbins, Suzanne Tick, Lauren Embrey, Bill and Lynne Twist, Stephen B. Hard Foundation, Dave and Sherry Pettus, Nina Rothschild Utne, Holly and John Madigan, Christopher Minnes, Gabriel's Restaurant, Katharine DeShaw, Brian Selzinck, Johnnie Moore, Catherine Cantrell, Erin Orr, Chris Green, and Sally Fisher.

Mr. Twist and his Tandem Otter Productions are deeply grateful to David Barhydt Marshall (September 1949–June 2014), who joyfully supported our work and particularly the creation of this evening. He is remembered lovingly.

Pulcinella Suite and The Rite of Spring are performed by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.