2013 Next Wave Festival OCT 2013

George Segal, Torso: Hand on Thigh, 1978

Published by: BAM 2013 Next Wave Festival sponsor BAM 2013 Next Wave Festival #EnAtendant #Cesena

Brooklyn Academy of Music

Alan H. Fishman, Karen Brooks Hopkins, Chairman of the Board President

William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer

Adam E. Max, Vice Chairman of the Board

En Atendant Cesena Choreography by Choreography by Anne Teresa De Keersmaeker Anne Teresa De Keersmaeker Rosas Musical direction by Björn Schmelzer Rosas and graindelavoix BAM Howard Gilman Opera House Oct 19 & 20 at 2pm BAM Howard Gilman Opera House Approximate running time: one hour and 35 minutes; Oct 19 & 20 at 7:30pm no intermission Approximate running time: one hour and 50 minutes; Concept by Anne Teresa De Keersmaeker no intermission Created with and performed by Rosas Set design by Michel François Concept by Anne Teresa De Keersmaeker & Costume design by Anne-Catherine Kunz Björn Schmelzer Created with and performed by Rosas and graindelavoix Set design by Ann Veronica Janssens Costume design by Anne-Catherine Kunz

BAM 2013 Next Wave Festival sponsor

Major support for dance at BAM provided by: The Harkness Foundation for Dance The SHS Foundation En Atendant | Cesena

En Atendant, at Cloître des Célestins, Avignon. Photo: Anne Van Aerschot

En Atendant and cesena

In En Atendant and Cesena Anne Teresa De Keersmaeker takes a new step in her exploration of the relationship between music and dance. The choice of Ars Subtilior is linked with an invitation by the Avignon theater festival to make a piece for la Cour d’Honneur, the main courtyard of the Palais des Papes. The music of Ars Subtilior evokes the history of the city of Avignon and the Papal Schism. While listening to various recordings, De Keersmaeker rediscovered a fascination for refined contra- puntal textures, the aim of which is to unfold natural breathing and emotional flow, as well as for the vocal expression she has been developing since Keeping Still, her first collaboration with Ann Veronica Janssens and in 3Abschied, with Jérôme Bel.

Ars Subtilior was an unusually sophisticated and complex art form for a period scarred by death: in a few years a large portion of the population died from the plague. Economic, social, political, and religious structures tottered and sometimes collapsed. En Atendant evokes the contradiction of a society that excels in intellectual games, art, and extremely refined music, while society crumbles into chaos and people die in droves. In Cesena, De Keersmaeker collaborated with Björn Schmelzer, musicologist and leader of the ensemble graindelavoix, who investigates these historical circumstances by choosing music mainly from the Chantilly Codex, one of the manuscripts of Ars Subtilior, which traces the return to Rome of the last French pope, Gregory XI, that ended the Avignon Papacy. The title given to this performance goes back to the Italian commune known for the War of the Eight Saints, during which Robert, Cardinal of Geneva, directed the savage massacre of citizens revolting against the church.

Cesena takes the entwinement of music and dance one step beyond En Atendant: dancers and musicians make up a large collective where singing and dancing merges into the same body. De Keers- maeker associates the voice with movement by performing a cappella compositions not only with the voice, but also with movement. This results in sculptural compositions, scenes that move while their internal configuration changes, a mobile structure that morphs as it moves in space.

The performances were originally conceived to be performed with only natural light in the open-air settings of Avignon—respectively dusk for En Atendant and dawn for Cesena, with performances starting at 4:30 in the morning or late at night. Cesena might almost be called the counterpart to its predecessor. In the first, the twilight faded almost imperceptibly into night, whereas the latter heralds the start of the day, sounding the transition from the Middle Ages to Renaissance, or the dawn of a new era. En Atendant

En Atendant—English translation

While waiting, I must suffer grievous pain I cannot drink a single draught and languishing live; such is my fate, if compassionate Pity be not mindful of me for I cannot reach the fountain, through its dignity and most noble powers. so many are the rivers that surround it. Therefore I pray God may put it right God has given it such strength and purify it that it be not profaned, that it can quench the thirst of all for truly it is certain through its dignity and most noble powers. I cannot come near it by night nor by day. The great rivers that have taken possession of it And if it were for me to ordain, have so obstructed the path of the spring I should live in the hope of a goodly life that the true way cannot be found, through its dignity and most noble powers. so troubled and sullied is the water.

Created with and danced by Boštjan Antoncˇicˇ Chrysa Parkinson Carlos Garbin Sandy Williams Cynthia Loemij Sue-Yeon Youn Mark Lorimer Mikael Marklund Music ...L(ÉLEK)ZEM..’ István Matuz En Atendant, souffrir m’estuet (ballade) Filippo da Caserta Estampie En Atendant 2 (2010) Bart Coen Sus un’ Fontayne (virelai) Johannes Ciconia Je prens d’amour noriture (virelai) anonymous Esperance, ki en mon coeur anonymous

Flute Michael Schmid

Ensemble Cour et Coeur Music director and recorders Bart Coen Fiddle Thomas Baeté Voice Annelies Van Gramberen

ADDITIONAL PRODUCTION CREDITS Rehearsal director Femke Gyselinck Assistant to the artistic direction Anne Van Aerschot Musicological advice Felicia Bockstael Technical management Joris Erven Technicians Wannes De Rydt, Michael Smets Wardrobe Valérie Dewaele Production Rosas

Coproduction De Munt / La Monnaie (Brussels), Festival Grec (Barcelona), Les Théâtres de la Ville de Luxembourg, Théâtre de la Ville (Paris), Festival d’Avignon, Concertgebouw Brugge (Bruges)

World Premiere July 9, 2010, Festival d’Avignon, Cloître des Célestins Cesena

Cesena, at Palais des Papes, Avignon. Photo: Anne Van Aerschot Cesena

Created with and performed by Olalla Alemán Tomàs Maxé Haider Al Timimi Julien Monty Boštjan Antoncˇicˇ Chrysa Parkinson Aron Blom Marius Peterson Joachim Brackx Michael Pomero Carlos Garbin Albert Riera Marie Goudot Gabriel Schenker David Hernandez Yves Van Handenhove Matej Kejzˇar Sandy Williams Mikael Marklund

Music Ars Subtilior Pictagore per dogmata / O Terra supplica anonymous (Codex Chantilly) / Rosa vernans Espoir dont tu m’as fayt partir Philippot de Caserta (Codex Chantilly) Corps femenin Solage (Codex Chantilly) Fumeux fume Solage (Codex Chantilly) Par les bons Gedeon et Sanson Philippot de Caserta (Codex Chantilly) Kyrie anonymous (Ms Toulouse) Inter densas / Imbribuis irriguis anonymous (Codex Chantilly) En attendant d’amer Galiot / Giangaleazzo Visconti (?) (Codex Chantilly) Le ray au soleyl Johannes Ciconia (Codex Mancini) Hodie puer nascitur/Homo mortalis firmiter Jean Hanelle (Codex Torino J.II .9)

ADDITIONAL PRODUCTION CREDITS Rehearsal director Femke Gyselinck Assistant to artistic director Anne Van Aerschot Technical management Joris Erven Sound Alexandre Fostier Technicians Wannes De Rydt, Michael Smets Wardrobe Valérie Dewaele

Coproduction Rosas, La Monnaie/De Munt (Brussels), Festival d’Avignon, Théâtre de la Ville (Paris), Les Théâtres de la Ville de Luxembourg, Festival Oude Muziek Utrecht, Guimarães 2012, Steirischer Herbst (Graz), deSingel (Antwerp), Concertgebouw Brugge (Bruges)

World Premiere July 16, 2011, Festival d’Avignon, Cours d’honneur du Palais des Papes

Iconic Artist Talk: Anne Teresa De Keersmaeker, with Anna Kisselgoff Oct 19, 4:30pm, BAM Fisher. $20; $10 for Friends of BAM Cesena

Music — SONG DESCRIPTIONS Inter densas / Imbribuis irriguis anonymous (Codex Chantilly) Ars Subtilior —Cantus I “In the thick of woods of a wilderness, not long Pictagore per dogmata / O Terra supplica / ago, a spell of sleep overcame me: behold, a Rosa vernans renowned prince appears, his head bedecked by anonymous (Codex Chantilly) golden hair a band of soldiers surrounds him and Motet combining three Latin texts sung together, no less a number of recruits... legitimating the move of Pope Gregory XI from Then, delighting in such marvellous things, and Avignon to Rome who, as a second Eneas, would asking the name of this magnificent and illustri- recapture the Italian territories. ous person I learned forthwith that he was the mighty one, Phebus!” Espoir dont tu m’as fayt partir Philippot de Caserta (Codex Chantilly) —Cantus II Rondeau by Philippot de Caserta, an Italian “...Whoever you are who enviously wish to rob composer and music theorist who was in the this garden of its fruits service of the Avignon popes, expressing the Beware lest you be caught by its farmer.” desire to return. —Latin motet with two neo-Latin texts in the Corps femenin style of Virgil, evoking the rise of Gaston Fébus, Solage (Codex Chantilly) lord of Foix and Béarn, and his rich territory full Ballade praising the body of the eight-year-old of fauna and flora. queen of France Cathelline, bride of the duke of Berry, composed by the mysterious Solage. First En attendant d’amer letters form the achrosticon: Cathelline La royne Galiot/Giangaleazzo Visconti (?) (Codex Chantilly) d’amours...she died at the age of 10... Chanson maybe written by duke Giangaleazzo Visconti himself, linked to the network of en- Fumeux fume atendant-songs. Solage (Codex Chantilly) Enigmatic rondeau by Solage, probably for the Le ray au soleyl artistic confraternity of the Fumeurs: their activi- Johannes Ciconia (Codex Mancini) ties are unknown. Chanson by Johannes Ciconia of Liège, featuring the emblem of Giangaleazzo Visconti, created by Par les bons Gedeon et Sanson Petrarca: a dove in a ray of sun, renewing herself Philippot de Caserta (Codex Chantilly) all the time. Ballade by Philippot de Caserta in praise of Avignon Pope Clement VII, responsible for the Hodie puer nascitur/Homo mortalis firmiter Jean massacre of Cesena in 1377. Hanelle (Codex Torino J.II .9) —Fragment of Serbian epic poetry sung by Matej Kyrie Kejzˇar anonymous (Ms Toulouse) “Lord have mercy upon us!” Part of the daily —Motet, probably written by Jean Hanelle of chant sung by the papal choir of Avignon, found Cambrai for the Cypriotic court chapel of Janus in a manuscript at Toulouse. of Lusignan, combining two Latin texts inspired by light mystics. Who’s Who

Anne Teresa De Keersmaeker rected by Thierry De Mey, Peter Greenaway, and (concept and choreography) De Keersmaeker herself, among others. In recent After studying dance at Maurice Béjart’s Mudra years, she has strongly rethought and refined school in Brussels and at the dance department the core parameters of her work as a choreogra- of New York University’s School of the Arts, pher. Her close collaboration with artists such as choreographer Anne Teresa De Keersmaeker Alain Franco (in Zeitung, 2008), Ann Veronica started her career with Fase, four movements to Janssens (Keeping Still Part 1, 2008; The Song, the music of Steve Reich (1982). She founded 2009; and Cesena, 2011), Michel François the Rosas company in 1983, on the occasion (The Song and En Atendant, 2010), Jérôme Bel of the creation of Rosas danst Rosas (at BAM in (3Abschied, 2010), and Björn Schmelzer (Ce- 1986). Both works provided a quick interna- sena, 2011) prompted her to reconsider the bare tional breakthrough and have been restaged at essentials of dance: time and space, the body different occasions, most recently in the project and its voice, its potential to move, and its rela- Early works (2010). From 1992 until 2007 De tion to the world. Her recent productions include Keersmaeker was resident choreographer at La collaborating with visual artists Ann Veronica Monnaie, the Brussels opera house, creating a Janssens and Michel François. Her most recent wide range of works that have been presented all works are Partita 2 (2013), a duet with dancer over the world. In 1995 Rosas and La Mon- and choreographer Boris Charmatz set to Bach’s naie jointly set up the international educational partita No. 2, and Vortex Temporum (2013), to project PARTS, the Performing Arts Research and the music of Gérard Grisey. In A Choreographer’s Training Studios. Former students of the four- Score, a two-volume monograph, she offers year curriculum have taken up strong positions wide-ranging insights into the making of her four as dancers and choreographers in Europe and early works as well as En Atendant and Cesena beyond. From the beginning De Keersmaeker’s in conversations with the performance theorist choreographic works have focused on the rela- and musicologist Bojana Cvejic. tion between music and dance. She has worked with compositions ranging from the late Middle Björn Schmelzer (concept, musical direc- Ages to the 20th century, premiering creations tion), born in Antwerp in 1975, is an anthropolo- of George Benjamin, Toshio Hosokawa, and gist and ethnomusicologist. He brings together Thierry De Mey and collaborating with various these two interests in his scientific and artistic ensembles and musicians. She has also inves- work. During his travels to Naples and Palermo tigated different genres such as jazz, traditional he studied the musical traditions of Sicily, Sar- Indian music, and pop music. She has a great dinia, and southern Italy. He is particularly inter- affinity for Steve Reich’s compositions and has ested in the style and function of ornamentation worked with his music in Fase (1982), Drum- in classical Mediterranean and Western music. ming (1998; at BAM in 2001), and Rain (2001; In 1999 Schmelzer created the graindelavoix at BAM in 2003). Her choreography presents ensemble, which approaches early music from an ever-evolving marriage between a refined an anachronistic angle and with a geographi- sense of compositional architecture and a strong cal perspective, with an eye to reinventing the sensuality or theatricality. This unique signature musical past. In 2009, he was named Young has been recognized with many awards, most Musician of the Year by the Belgian music press recently the Samuel Scripps American Dance for his work with graindelavoix. His discography, Festival Award (2011). De Keersmaeker has also released on Glossa, consists of three albums of left the confines of pure dance and has ventured French-Flemish polyphonic compositions (Caput, into the realms of dance and text, creating 2006; Joye, 2007; and La Magdalene, 2009) performances that blend the different disciplines: and one album featuring 13th-century music Kassandra, speaking in twelve voices (2004), I from Brabant (Poissance d’amours, 2008). His said I (1999), and In Real Time (2000). She has fifth album, Cecus, is a selection of compositions also directed operas: Duke Bluebeard’s Castle by Alexander Agricola and focuses on the theme by Bela Bartók (1998) and Hanjo by Toshio Ho- of blindness. All of these recordings received sokawa (2004). Several of her works have also several international awards. Schmelzer also been turned into autonomous dance films, di- regularly publishes essays and is currently work- Who’s Who

ing on a piece focusing on the dynamics and Anne-Catherine Kunz (costume design) intensity of late gothic art. In 2011, the Centre is a costume designer who has also partici- for Humanities and Musicology at the University pated in video, documentary, and multimedia of Utrecht, the Netherlands, appointed him as productions. She has been the costume director the first CfH-Utrecht Early Music Festival Creative for Rosas since 2000 and created costumes Fellow in Musicology. for Small Hands (out of the lie of no) (2001), Zeitung (2008), The Song (2009), En Atendant Ann Veronica Janssens (set design, (2010), Cesena (2011), Partita 2 (2013), and Cesena), born in Folkestone, England, lives and Vortex Temporum (2013) as well as for various works in Brussels. She is a sculptor of light, productions by Josse De Pauw, Vincent Dunoyer, sound, and space. Her work is sometimes as- Deufert-Plischke, Mark Lorimer and Cynthia sociated with the minimalist movement because Loemij, and Nine Finger by Fumiyo Ikeda, Alain of its straightforward design and her choice of Platel, and Benjamin Verdonck. materials: transparent and shiny, or condensed, and seemingly inaccessible. These materials Michel François (set design, En Atendant) vary hugely—concrete block, glass, mirrors, and has never restricted himself to one discipline. bricks wrapped in aluminium foil. Light and He uses all sorts of materials and media and surroundings are often reflected, with surprising combines industrial and natural objects, photos, optical effects. She can also use sound to impose videos, sculptures, and installations. He is in- a viewpoint on a space and thus occupy it. Her terested in “the signs of life”—gestures, sounds, work always involves space: open or closed, full images, and everyday customs and habits. He or empty, small or expansive. In her transient also uses space as a visual resource. Spatial and often temporary works she appeals to the modifications are at the heart of his work and the viewer’s senses; what remains is an impression relationship between work, space, images, and formed by the subtle interplay of perception and architecture play an emphatic part. imagination. graindelavoix (grain of the voice), an art Bart Coen (music director, composer, En collective formed by Björn Schmelzer in 1999, Atendant) studied music at the Conservatory sought musicians eager to experiment between in Antwerp, the city of his birth, where he was performance and creation. graindelavoix is fasci- coached by Baldrick Deerenberg, Jos Van Im- nated by voices that are beyond communication, merseel, Dirk Verelst, and others. Since then that have no message but are rather the pure he has been much in demand as a recorder expression of their source: gritty, intense, and player, both as a soloist and as a member of instinctive. graindelavoix uses early music reper- such internationally renowned ensembles as the toire to find the undercurrent that illuminates our Huelgas Ensemble (Paul Van Nevel), Collegium own era, a timeless spirit that expands to em- Vocale (Philippe Herreweghe), Concerto Vocale brace an interval, a space. graindelavoix’s early (René Jacobs), and La Petite Bande (Sigiswald music focuses on the bond between notation and Kuijken). He has played in numerous concerts in what eludes it, and the higher consciousness Belgium and abroad with these ensembles and and savoir-faire that the performer brings to a has taken part in at least 70 CD recordings. In piece through ornamentation, improvisation, and 2010 a new recording of Bach’s Brandenburg, gesture. To graindelavoix, singers are “spiritual Concertos will appear (La Petite Bande, on Ac- automata.” The varied material the group works cent) in which he plays the recorder. In 2010 his with includes Franco-Flemish polyphony, the own ensemble, Per Flauto, recorded Manoscritto art of lamenting, machicotage (ornamentation di Napoli 1725 (Sony Music), which contains between tones), and other lost ornamentation recorder concertos by Scarlatti, Mancini, and styles, Mediterranean performance traditions, Sarri. For En Atendant he formed the ensemble late scholastic dynamics, and kinematics, Cour & Coeur with Annelies Van Gramberen among others. graindelavoix gives performances and Birgit Goris. Coen teaches recorder at the (concert/music theater) that are the accumulated Lemmens Institute in Leuven and the Brussels fragments of a wider work and research process. Conservatory. graindelavoix is special guest of De Bijloke Music Who’s Who

Centre in Ghent (Belgium) and has an artistic belly of the cow and Dig Deep), and he toured partnership with the cultural centre of Genk Europe with the international project Hotel Eu- (Belgium). Since 2010 graindelavoix has been ropa. In 2005, Antoncˇicˇ joined Rosas, where he supported by the Flemish government. CDs are has danced in D’un soir un jour (2006); Bartók, produced exclusively by glossamusic. Beethoven, Schönberg – Repertory Evening (2006); Steve Reich Evening (2007); Zeitung PERFORMERS (2008); The Song (2009); En Atendant (2010); Cesena (2011); the revival of Drumming Haider Al Timimi is a member of the artistic (2012); and Vortex Temporum (2013). team of Union Suspecte. He started his career as a breakdancer in the Ghent group L’école des Thomas Baeté studied violin at the conserva- Champions, won the Belgian breakdance cham- tory of Antwerp in the class of Vegard Nilsen. pionships twice, and has taught breakdance for In 1997 he went to the Brussels Conservatory, several years. Al Timimi has been involved in studying early music and the viola da gamba Union Suspecte’s productions from the begin- with Wieland Kuijken. He was coached by Peter ning (until 2004 the company was called Nit Van Heyghen, Jordi Savall, Paolo Pandolfo, Nithei Garabam). He appeared in their youth Sophie Watillon, and Pedro Memelsdorff. As a productions Inch Allah, Spoor 10, Bruine Suiker, player of the fiddle and the viol Baeté partici- and VIVeALDI!, and in the shows Onze Lieve pates in several ensembles: the Capilla Flamenca Vrouw van Vlaanderen and Singhet ende weset (direction of the viola da gamba), Memelsdorff’s vro (KVS in association with Union Suspecte). Mala Punica, graindelavoix, La Caccia, and He has also been involved in Some Like it Zot the Spirit of Gambo. He plays Sephardic music (the Kaaitheater’s comedy festival), Salome (in with LaRoza Enflorese. He is director of his own association with the Royal Ballet of Flanders), ensemble for medieval music, ClubMedieval. Stabat Mater (coproduced by the Royal Ballet of Flanders and the Groeninge Museum), Het Aron Blom was born 1986 in Stockholm, moment waarop we niets van elkaar wisten Sweden. He studied with the Royal Swedish (Kaaitheater), In welk fabriekske zijt gij gemaakt Ballet School in Stockholm from 2004 to 2006, (KVS), and Layla wa majnun (Tropentheater when he was accepted into P.A.R.T.S. and Amsterdam). In 2006 he choreographed and graduated in 2010. In 2009, during his studies, danced in Utopeace (in association with Union he created Aron & Mikko Thinking, a duet in Suspecte) and provided choreographic coach- collaboration with Mikko Hyvönen. He has also ing for the youth project Hotel Ah!Med (Union performed in Paper Plane by Veli Lehtovaara and Suspecte, Nieuwpoorttheater, and HETPALEIS). Trio Lio Lei by Mikko Hyvönen. After his gradua- In 2011 he joined Rosas for Cesena. tion he created SAM, a solo performance at MDT in Stockholm. Blom joined Rosas for Cesena Olalla Alemán, from Spain, regularly works (2011). with internationally renowned composers and ensembles, including Los Musicos de su Alteza, Joachim Brackx was born in Oostende, Bel- B’rock (Skip Sempé) and Capilla Flamenca. gium in 1975. After his studies of composition at Alemán studied traditional singing techniques the Conservatory of Ghent, he taught composi- with Lambert Climent at the Escola Superior de tion at that same institution, worked for national Música de Catalunya and with Richard Levitt. classical radio channel Klara, and traveled the world singing in internationally acclaimed BoŠtjan Antoncˇicˇ was born in Celje, Slove- ensembles like Collegium Vocale, Currende, nia in 1980. He was trained at the Salzburg Ex- and Amsterdam Baroque. As an established perimental Academy of Dance, has taken part in composer and singer, he developed a highly several international workshops, and has taught personal style of vocal music. Having written two at various schools such as the High School for chamber operas, Brackx became artistic director Contemporary Dance (Turkey). He has performed of Nabla, a new production company for opera, in several pieces by Susan Quin (rush.tide.in, music theater, and artistic research. He also Pigeon, and others) and Mia Lawrence (In the writes music for film, theater, and site-specific Who’s Who projects. He recently developed an interactive the Arts. In New York, he worked as an appren- digital children’s book for the iPad, a new way of tice with the Trisha Brown Company, after which creating narratives for digital media. he moved to Europe with Meg Stuart to help her start Damaged Goods in Belgium. He also Carlos Garbin, born in Brazil in 1980, developed his own education program (P.E.P) studied ballet and contemporary dance at the and developed the Crash Landing improvisation City Academy in his hometown of Caxias do Sul, performance series with Stuart and Christine while dancing with the academy’s company. At DeSmet. In 1998 Hernandez started his own the same time he worked as a choreographer company Edwardvzw. He teaches regularly in with local children for the social art project BPM Belgium at P.A.R.T.S., and internationally. He (Batidas Por Minuto). In 2004, Garbin moved has a special interest in improvisation perfor- to Brussels, where he graduated from P.A.R.T.S. mance, and developed what he calls elastic in 2008. During this period he performed as a choreography: combinations of choreography dancer in David Zambrano’s Soul Project and improvisation. In recent years, in addition to his Mia Lawrence’s When you look at me..., while work in dance, Hernandez has also been work- creating his own works Boarding (2006) and ing as a singer, composer, installation artist, and Raising the sparks (2006) with Liz Kinoshita. dramaturg and developed many multimedia/new He worked on the project Dream Season with technology projects and performance events. He choreographer Alexandra Bachzetsis. He joined has collaborated with international choreogra- Rosas in 2008 for the creation of The Song phers, such as Dutch choreographer Anouk van and performs in En Atendant (2010), Cesena Dijk and LaborGras of Berlin. He is a partner in (2011), the revival of Drumming (2012), and the werkplaats Dans Centrum Jette in collabora- Vortex Temporum (2013). tion with Roxanne Huilmand. With Rosas he has worked on D’un soir un jour, Penture, Keeping Marie Goudot was initiated into the perform- Still, and Zeitung. Cesena is his fifth collabora- ing arts at an early age at the École des Enfants tion with De Keersmaeker. du Spectacle in Paris, as well as several dance conservatories. She continued her training at the Matej Kejžar was born in Slovenia in 1974. Rudra school (kendo, theater, singing, ballet, He graduated from the SNDO (School for New Graham Technique) and joined Béjart Ballet in Dance Development) in Amsterdam in 1998. Lausanne for two years. From 2000 to 2002 she After completing his degree, he enrolled for The performed with Ballets de la parenthèse at Mar- X-Group post-graduate program at P.A.R.T.S. seille under choreographer Christophe Garcia. In in Brussels. During his studies, he created a 2002 Goudot joined Russell Maliphant in Lon- number of performances focusing on improvisa- don and performed in several productions and tion and composition. After returning to Slovenia, on international tours. On returning to France he continued to work as a choreographer and in 2005, she co-founded Collectif Loge 22 with created several performances, including the Michael Pomero and Julien Monty, an artistic solo piece Senser; the actor and dancer duet joint venture that yielded eight productions, two Simultaneous; Burlesque (a solo piece for two dance films, and a European artistic exchange dancers), a collaboration with A. Ivancic and the project called Spider. From 2006 to 2010 Stroj going by the name of Zac; and Little Red Goudot worked regularly with the Alias Company Riding Hood, a collaboration with painter Jaša in Geneva and the choreographer Guilherme Mravlje. As a performer, he has worked with Botelho on new work and revivals. In 2007 she various choreographers from Slovenia and across took part in creating François Laroche-Valière’s Et Europe, including Maja Delak, Mala Kline, Katie pour s’éloigner. She joined Rosas for the creation Duck, and Martin Sonderkamp. Kejžar teaches of Cesena (2011) and is also involved in the contemporary technique, improvisation, and newest piece, Vortex Temporum (2013). composition at different schools and universities, including P.A.R.T.S., SEAD, and SNDO, and David Hernandez, born in the US, studied tutors at dance companies such as Ultima Vez, studio music, jazz, and opera at the University Rosas, and En Knap. He has been invited to of Miami and dance at the New World School of present his work in countries across the globe. Who’s Who

Cynthia Loemij was born in Brielle in the Steve Reich Evening, Zeitung, The Song, and En Netherlands in 1969. She undertook teache Atendant. Teaching credits include ImpulsTanz training at the Rotterdam Dance Academy, where Vienna, P.A.R.T.S., Laban Centre in London, and she obtained her diploma in 1991. Since then Movement Research in New York. In 2011, with she has been a member of the full-time core Cynthia Loemij, Lorimer created a duet, To Inti- of Rosas. She was involved in the creation of mate, with live music from cellist Thomas Luks, ERTS, Mozart/Concert Arias, un moto di gioia, which continues to tour. In 2012 he collaborated Amor constante más allá de la muerte, Verklärte on another duet with Alix Eynaudi, Monique. Nacht, Woud, Just Before, Drumming, Quartett They will continue their work together next year (a duet with Frank Vercruyssen), In Real Time, for a “shared solo” in collaboration with graphic Rain, Small hands (a duet with De Keers- designer Clinton Stringer, provisionally entitled maeker), April me, Repertory Evening, Bitches Dancesmith. Lorimer is also involved in the new- Brew/Tacoma Narrows, Kassandra, the revival est Rosas creation, Vortex Temporum. of Mozart/Concert Arias, Raga for the Rainy season/A Love Supreme, D’un soir un jour, Mikael Marklund started breakdancing in Bartók/Beethoven/Schönberg Repertory Evening, his hometown of Skelleftea in Sweden. In 2002, Steve Reich Evening, Zeitung, and En Atendant. he moved to Stockholm, where he studied at the She danced in the revivals of Achterland, Rosas Swedish Ballet Academy for two years. In 2004, danst Rosas, Elena’s Aria, Mikrokosmos, and he went to Belgium to study at P.A.R.T.S. During Drumming, in the opera Bluebeard’s Castle, and his studies he created Untitled trio (2006), King in the film versions of Achterland and Rosas of my castle (2007), and Deep Artificial Non- danst Rosas. In 2006 she took part in Nusch, sense Concerning Everything (2008). At Vooruit a play by the theater company Stan. In 2009 Arts Centre’s 25th birthday bash he performed she danced the duet Prélude à la Mer with Mark in Heine R. Avdal’s Drop a line. Marklund Lorimer in the film of the same title by Thierry De joined Rosas for the creation of The Song and Mey. She appeared in Kris Verdonck’s End and participated in En Atendant (2010) and Cesena collaborated with Manon de Boer on the instal- (2011). lations Dissonant and Mirror Modulation. With David Zambrano, she created a duet as part of Tomàs Maxé was born in Barcelona and took the performance Holes. Loemij regularly teaches his first music classes at Escolania de Montser- at P.A.R.T.S. (Brussels), the Panetta Movement rat. He studied singing with Dalmau González Centre, Movement Research (New York), Dance and chamber music with Peter Phillips and Works (Rotterdam), and for the Opéra Gar- Bruno Turner. He won first prize in Concurso nier (reprisal of Rain). In 2011 she set up the Permanente de Juventudes, the 44th Edition of company OVAAL with Mark Lorimer to create the the Musicales de España, singing with Música performance To Intimate. She also performs in Reservata de Barcelona. He has sung under the newest Rosas creation, Vortex Temporum. the direction of Arthur Fagen, Peter Phillips, and Graeme Genkin, performing works such as Mark Lorimer, born in the UK in 1969, Carmina Burana (Orff); Messiah (Handel); Cof- trained at LCDS (London) and has since worked fee Cantata (Bach); Solemnis, Coronation Mass, with, among others, the Featherstonehaughs/ Thamos: König in Ägypten, Requiem (Mozart); Lea Anderson, Cie. Michèle Anne De Mey, Bock Markuspassion—Jesus (R. Keiser); Requiem für and Vincenzi, Mia Lawrence, Deborah Hay, and Mignon (Schumann); Der Ozeanflug (Kurt Weill); Jonathan Burrows. From 1997, as a founding Requiems (Fauré); and in the role of Sargente in member of ZOO/Thomas Hauert, he participated La Bohème (Puccini). He has appeared at Fes- in six group projects and choreographed Nylon tival GREC de Barcelona (2002), Kuhmo Music Solution as part of 5. With Rosas, Lorimer has Festival (2003), Tenerife Opera Festival (2004), worked as both dancer and rehearsal director Oslo Kammermusikk Festival (2007), Festival for several creations and reprisals, as well as Mozart a Coruña (2007), Musikfest Berlin freelancing in both roles. In 2006 he returned for (2010), and Granada Music and Dance Festival the creation of D’un soir un jour. He danced in (2007, 2011), among others. He has recorded Bartok/Beethoven/Schönberg Repertory Evening, for Enchiriadis, Cantus, La mà de Guido, Klara, Who’s Who

and RTVE Música, and has toured Germany, (DOCH). In 2008 she worked as a teacher Colombia, Israel, Poland, and Italy. researching performance practices in Montpel- lier with 6M1L, resulting in the illustrated DVD Julien Monty graduated from the Conserva- essay, Self-Interview on Practice. Parkinson was toire national supérieur de musique et de danse the cover artist for the fall 2010 issue of the in Paris in 1997 and joined the ballet company Movement Research Journal. Interviews with at the opera house in Nice. Eager for experience, her and articles written by her have also been he left the world of ballet to join a Norwegian published in Etcetera, Sarma, De Standaard, dance-theater group called B-Valiente Kompani. and in Everybody’s publications. He met several choreographers including Jo Strømgren and joined the Nye Carte Blanche Albert Riera was born in Barcelona in 1973 contemporary dance company, directed by and holds a philosophy and law degree. He be- Karen Foss. He returned to France and joined gan studying singing with Dolors Aldea. Special- Ballet Preljocaj for two seasons, then the ballet izing in early music, he collaborates in numerous company at the opera house in Lyon, where he national and international groups including encountered the work of such choreographers Collegium Vocale Gent, Cappella Amsterdam, as Mathilde Monnier, William Forsythe, and Al Ayre Español, graindelavoix, Canto Coronato, Philippe Decouflé. Since 2001 he has worked La folata, La Hispanoflamenca, La Capilla Real very closely with François Laroche-Valière, de Madrid, Musica Reservata de Barcelona, La participating in all of his projects: Sans jamais Capilla Peñaflorida, Harmonia del Parnàs, and qu’ici ne se perde (part one, 2002), Pour venir the Josquin Circle. He works with renowned jusque-là (part two, 2004), Présence/s (2005), specialists Peter Phillips, Philippe Herreweghe, IN/STELLATION (2006), and Signature (solo), Frans Brüggen, Daniel Reuss, Ivan Fischer, first performed in 2009. During that time, in Bruno Turner, and Eduardo López-Banzo. 2005, Monty cofounded the Collectif Loge 22 with Marie Goudot and Michael Pomero at Marius Peterson, born in 1973 in Tallinn, Lyon, for which he choreographs. He joined Estonia, graduated as an actor from the theater Rosas for the creation of Cesena (2011) and department of the Estonian Insitute of Humani- is also involved in the newest piece, Vortex ties, studying with Tõnis Rätsep, Juhan Viiding, Temporum (2013). and Lembit Peterson. He is a founding member of Tallinn-based studio company Theatrum and Chrysa Parkinson is a performer and has been an actor, director, translator, and sound teacher living in Brussels. She has performed designer of many theater productions. Major with Jonathan Burrows, Mette Ingvartsen, roles include Mozart (Pushkin’s Mozart and ZOO/Thomas Hauert (2001—2010), Philip Salieri, 1997), Pélleas (Maeterlinck’s Pélleas Gehmacher, Eszter Salomon, John Jasperse, and Mélisande, 1998), Juggler (Bernhard’s The Deborah Hay, Alix Euynadi, Meg Stuart, David Force of Habit, 1998), Hamlet (Shakespeare’s Zambrano, Joaquim Koesters, and Tere O’Connor Hamlet, 2003), Reilly (Eliot’s The Cocktail Party, (1987—2002). With Rosas she performs En 2006), Basin (Grishkovets’ The City, 2008; Esto- Atendant (2010) and Cesena (2011). Her focus nian Theater Award for best actor), and Philinte as a teacher is on performance as a practice. (Molière’s The Misantrophe, 2011). Directing Since 1993 she has been teaching in open credits include Ionesco’s The Bald Soprano studios, universities, and festivals in Europe and (2002) and Rhinoceros (2011), and Gombrow- the US, and for companies (Rosas, Sasha Waltz, icz’s Yvonne, Princess of Burgundy (2005), and Ultima Vez, among others). Parkinson received Anouilh‘s Restless Heart (2008). Since 1987 he a Bessie Award for sustained achievement as has been active in the liturgical and early music a performer in 1996. She has been teaching ensemble Linnamuusikud (dir. Taivo Niitvägi), regularly at P.A.R.T.S. since 2001, and was a performing hundreds of concerts in Europe and coordinator for the Research Cycle students from Russia. He has collaborated with musicians such 2008—2012, in collaboration with Steven De as Marcin Bornus-Szczycinski, Marcel Péres, Belder and Salva Sanchis. She is a professor Dominique Vellard, and Andrei Kotov. With of interpretation at the University of Stockholm Schola of the Wegajty Theatre (Poland), dedi- Who’s Who

cated to liturgical drama and music, he performs ence, touring Europe. Schenker also teaches and the role of Jesus in Ludus Passionis and the role performs. He performed while in school, includ- of Darius in Ludus Danielis. Since 2008 he has ing in William Forsythe’s Human Writes; and has sung with graindelavoix. For the last five years collaborated with the choreographers Alexandra has regularly contributed to Klassikaraadio, the Bachzetsis, Doris Stelzer, and Thomas Hauert/ radio station of Estonian Public Broadcasting. In Zoo. He is also a Pilates instructor. Schenker 2009 he received the President of the Republic joined Rosas for the creation of Cesena (2011). of Estonia’s Young Cultural Figure Award and the Knight’s Cross of the Order of Merit of the Re- Michael Schmid is a musician and flutist public of Poland. In 2005 he was awarded the specializing in contemporary classical music. Silver Cross of Merit of the Republic of Poland for He is a regular member of the Belgian Ictus facilitating cultural relations between Poland and Ensemble, and as a freelancer he has worked Estonia. with most of the major European new music ensembles as chamber musician and soloist, Michaël Pomero was born in Corsica in including Asko Ensemble, Ives Ensemble, Nieuw 1980. He started dancing at the Junior Ballet Ensemble, Schönberg Ensemble, VocaalLAB Company and continued his studies at the Rudra (the Netherlands); Musikfabrik, KNM Berlin Béjart Workshop School in Lausanne. He com- (Germany), and Klangforum Vienna (Austria), to menced his professional career in 1999 at the name a few. Besides his activity as a flutist he Béjart Ballet Lausanne. In 2001, he joined the appears as a performer of concrete poetry with Lyon Opera Ballet where he performed works the classical oeuvre, and has a profound interest by John Jasperse, Angelin Preljocaj, Dominique in exploring the possibilities of music in different Boivin, Russell Maliphant, and others. His settings and disciplines. Recent collaborations freelance career began in 2003 with a move to include projects with de Keersmaeker (Rosas), London, where he participated in two works by Jerôme Bel, Manon de Boer (documenta 13), Russell Maliphant and various projects in the and Georges Aperghis (Lunapark). UK and Switzerland. In 2005, he cofounded the Loge 22 collective in Lyon. He has danced Annelies Van Gramberen, soprano, in productions by De Keersmaeker (Bartók/ obtained a master’s degree (magna cum laude) Beethoven/Schoenberg—Repertory Evening), in music at the Lemmens Institute, where she Christiane Blaise, and Pierre Tallaron. For Loge is currently specializing under Gerda Lombaerts 22, he directed the dance video Flat, which and taking a supplementary master’s course in was presented at the Dance on Screen Festival chamber music. She has taken part in master 2006 in London and created the performance classes with Udo Reinemann, Lucienne Van Compresse et réduction for the Cannes Dance Deyck, Alexander Oliver, Jeanette Fischer, and Festival 2007 and Sur Faces in collaboration Tom Krause at the Mozarteum in Salzburg. The with Julien Monty in 2008. seeds of her musical development were sown at the Municipal Conservatory in Leuven, where Gabriel Schenker started his professional she currently teaches singing. She regularly career in 2000 when he joined Companhia de collaborates with Psallentes (Hendrik Vanden Dança Deborah Colker, where he worked until Abeele), the Pluto Ensemble (Marnix De Cat), 2003 touring widely across Brazil, the US, Currende (Erik Van Nevel), and the young Actus Europe, China, and New Zealand. In 2004 he Consort. In 2009 she sang the part of Cune- participated in many classes and workshops in gonde in Bernstein’s Candide at the Stadss- Brussels, and joined P.A.R.T.S. for a four-year chouwburg in Leuven and La voix humaine (a term. During his years at the school, a group monologue by Francis Poulenc), both conducted of students created a platform to share artistic by Edmond Saveniers. In 2010, she sang Mo- views, culminating in the formation of the Busy zart’s Requiem and Bach’s St. John Passion, St. Rocks collective in 2008. In Busy Rocks, Schen- Matthew Passion, and Magnificat. She will per- ker created and performed in Throwing Rocks, form several concert programs with the Brabelio Dominos and Butterflies, and Under the Influ- symphony orchestra (Wim Brabants). As a light Who’s Who

soprano, Van Gramberen performs a wide range (Blindspot, KnowH2ow), Lynda Gaudreau of genres and styles: lieder and oratorio as well (Document 4), Andros Zins-Brown (Day In/Day as opera, from medieval to contemporary. Out, Limewire), Michéle Anne De Mey (Sinfonia Eroica), and Deborah Hay (I’ll Crane For You). Yves Van Handenhove, as a young soprano, Williams joined Rosas in 2007 for the creation sang with the Petits Chanteurs in Dulci Jubilo of Zeitung (2008) and has taken part in The at Sint-Niklaas. He graduated as a commercial Song (2009), En Atendant (2010), and engineer from the Catholic University of Louvain. Cesena (2011). After working as an economist for a few years, he decided to pursue a musical career. He fol- Sue-Yeon Youn was born in 1981 in South lowed a two-year singing course taught by Guy Korea. In 1987 she started taking ballet and De Mey at the Antwerp Conservatory, followed by Korean traditional dance and in 1994 she at- private lessons from Anne Cambier and Lucienne tended the Arts High School in Seoul. In 2002 Van Deyck. From 2004 to 2008, he was a per- she graduated from the dance department at the manent member of the Vlaams Radio Koor. Later Korean National University of Arts. She studied on, he became a freelance singer with several at the Rotterdam Dance Academy and partici- professional ensembles such as graindelavoix pated in the Research Cycle at P.A.R.T.S., from (dir. Björn Schmelzer), Il Fondamento (dir. Paul which she graduated with Love. Death. My life Dombrecht), La Petite Bande (dir. Sigiswald with Ting-Yu. Oh wait, I am you. Youn joined Kuijken), Collegium Vocale (dir. Philippe Her- Rosas for the creation of Steve Reich Evening reweghe), and the Nederlandse Bachvereniging and took part in the creation of Zeitung and En (dir. Jos Van Veldhoven). Atendant, the revival of Rosas danst Rosas and Bartok/Mikrokosmos, Elena’s Aria, and Drum- Sandy Williams, from Canada, attended the ming (2012). University of Calgary and Concordia University before relocating to Brussels in 2002 to attend P.A.R.T.S. After completing the first cycle he went on to create his own works (The Kansas City Shuffle) and collaborations with Jan Ritsema BAM

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Contents

Water, Great Connector Beauty, Ever Ephemeral Britain’s Filter Theatre illuminates the fragility and necessity of that life-sustaining liquid by Rob Weinert-Kendt

Ballet Preljocaj—Unchaining the Devil

Peter James and Andrée Lachappelle. Photo: Yves Renaud

The classic tale of Beauty and the Beast is supercharged by Lemieux Pilon 4D Art in La Belle et la Bête by Brian Scott Lipton Photo: JC Carbonne

Angelin Preljocaj is sparked by the apocalypse in And then one thousand years of peace by Susan Yung

Cover Artist

George Segal (1924—2000), a native New Yorker who showed with the Pop artists in the 1960s, was one of the most recognized sculptors of the 20th century. He was represented by the Sidney Janis Gallery for over 30 years and his signature plaster figures are in museum collections throughout the world. His best known bronze public commissions include the FDR Memorial, 1991 (Washington, DC); The Commuters, 1980 (Port Authority Bus Terminal, New York); and the commemorative bronze, Gay Liberation, 1980, in Sheridan Square, New York. In 1999 Segal received the National Medal of Honor from President Clinton. The artist’s many museum exhibitions include retrospectives at the Whitney Museum and Jewish Museum in New York and the Hirshhorn Museum and Sculpture Garden, Smithsonian Institu- tion in Washington, DC. Segal has been praised for the delicacy and intimacy of his figures and for the range of themes he has undertaken. Casting directly from his models, as the artist stated, his sculptures retain an indelible element of the sitter’s spirit and uniqueness. The fragment shown here, Torso: Hand on Thigh, conveys the complex mood, gesture, and sensuality of a woman.

The proceeds from the sale of this work benefit BAM. To purchase, contact BAMart at 718.636.4101 or email us at George Segal, Torso: Hand on Thigh, 1978. Painted plaster, 22”x13”x7”. Art © The George & Helen Segal Foundation / Licensed by VAGA, NY. [email protected]. Water Photo: Simon Kane

Water, Great by Rob Weinert-Kendt Connector

Theater is found not only in words and action but comes to the BAM Harvey from November 13 to also in space—in the way humans move through 17. A transatlantic mystery with climate change it and occupy it, the way our physical environ- as a thematic backdrop, Water has characters ment brings us together and keeps us apart. staring into laptops, moving hurriedly through As our contemporary lives have become more desolate airports, speaking through disembodied isolated and modular—awash in cheap, dispos- microphones, or, if they’re feeling particularly able conveniences and screens everywhere, delivering bits of information, connecting us less to each other than to the means of communica- “There’s humor, mischief, and even a tion themselves—theater artists attuned to these little anarchy. And suspense. I love changes have plenty of fresh material. suspense.” — David Farr

Britain’s Filter Theatre seems particularly alert to the way we live now. In shows like Faster and forward, addressing us directly with a slide pre- Silence, as well as in freewheeling adaptations sentation on the molecular structure of H2O. The of classics, the company has employed a pared- world around may be warming, but the world of down, seam-showing aesthetic. As co-artistic Water feels distinctly chilly. director Ferdy Roberts describes it, “The idea is that the rehearsal room ends up onstage.” “This piece’s preoccupation is the fluidity and loneliness of our modern lives,” says director That’s certainly true of the look and feel of Filter’s David Farr, an associate director at the Royal intimate but wide-ranging work Water, which de- Shakespeare Company, who worked with Filter buted at London’s Lyric Hammersmith in 2007, to devise the piece. “And the show’s strangely was revived in 2011 at the Tricycle Theatre, and minimal, stripped quality accentuates this Water

melancholic solitude. We intended this. In other to preach. It was always our intention to make shows the same aesthetic can feel really rather the issues resonate deeply on a personal scale. gregarious, almost wild, but here it serves a The anxieties and dangers for the characters are different function. It’s a sad show, no question. far more dramatic than the raw science behind But we throw in other countervailing moods global warming. Even the impassioned scientific too. There’s humor, mischief, and even a little lecture delivered by Peter Johnson in the early anarchy. And suspense. I love suspense.” 80s of the play is loaded with profound personal resonance for him.” Though it addresses global concerns, Water—as with all the troupe’s work—was born from more For Farr, Water’s personal stories of isolation and personal sources. In a joint email, co-artistic disconnection led quite naturally to its being “a directors Roberts and Ollie Dimsdale trace the political narrative about connection, about the germ of the idea to “a simple exchange...about threat of climate change and the need to connect vivid personal childhood memories connected to to understand and address it. This needed to be the power of water,” among themselves and their delicate; we are not scientists, nor do we claim co-artistic director, Tim Phillips. It was Phillips, to be. But we went there and we are proud we in particular, whose recollections provided one of did.” the show’s key inspirations. Rob Weinert-Kendt is senior editor at American Theatre “Tim remembered being taken out by his dad on magazine, and writes regularly for The New York Times and Time Out New York. a boat when he was a boy, lying on the floor of the boat while his dad told him about the stars and constellations in the night sky,” said Dims- dale and Roberts.

This filial bonding over the natural world

bloomed into the show’s central fictional rela- Photo: Simon Kane tionship between a pioneering British marine biologist, Peter Johnson, and his estranged son Graham. Peter’s clarion warnings about the dangers of climate change reverberate through the play on many levels. One character, Claudia, is a well-meaning political aide for the British government who hopes to broker a deal on climate change at an international conference, while her sometime lover Phil is a deep-sea cave diver in- tent on breaking the world’s depth record. If the larger concept of legacy, of the sort of world we’ll leave to our children, ripples naturally out of the Peter and Graham story, it is in Phil’s daredevil stunts that Water “explores the human desire to push further and further, sometimes overreach- ing ourselves,” as Dimsdale and Roberts put it— another link to the global-warming theme.

Lest Water sound like a heavy environmentalist treatise, Roberts and Dimsdale were quick to note, “From very early on in the devising process, we were keen not to be overly didactic or polemical in the piece. We certainly didn’t want And then one thousand years of peace

Photo: JC Carbonne

Unchaining by Susan Yung the devil Ballet Preljocaj, the name of Angelin Preljocaj’s this laboratory experience and use it for some- company based in Aix-en-Provence, France, thing more narrative. I think it’s like in the field pinpoints his stylistic roots. Yet his movement, of science. You have the fundamental research while maintaining the elegant lines of ballet and on the one hand, and on the other hand, the an inherent structural grace, is hardly limited to fundamental research is completely abstract— the ancient dance form. Thematically, as well, numbers, mathematics. Then later come things the French choreographer ranges widely, from that can maybe help people, like technology classic story to pure form. From November 7 to and medicine.” The studio becomes a lab to 9, Preljocaj’s And then, one thousand years of make building blocks that fascinate on their peace will be performed at the BAM Howard own, or become the solid foundation on which Gilman Opera House. The work takes cues from to stack a story. the Book of Revelation (the Apocalypse of St. John) without becoming literal or linear. It shares DNA, but contrasts sharply with the company’s “Certain words or phrases come down last BAM presentation in 2010, Empty Moves I with this very soft radicality in our soul, & II, a pared-down evening of riveting movement like chains falling from the sky.” experimentation. — Angelin Preljocaj

Such variety can be an artistic catalyst. “I need to stimulate my creativity to go to the extreme The many sections comprising one thousand limit of my style,” said Preljocaj in a recent inter- years propel the dance surehandedly. Tender or view. “Let’s say that I have a kind of laboratory brazen duets to Beethoven’s Moonlight Sonata work on one hand, for example, in the work of are interleaved with bold ensemble sections (to Empty Moves, to the music of John Cage—I an evocative soundscape by Laurent Garnier) also sometimes like to use all that I learn from in which the company’s 21 dancers are often arrayed in orderly lines or grids. “The idea ity in our souls, like chains falling from the sky.” behind this order is that there is something to Flags of different nations feature prominently in hide,” said Preljocaj. “The meaning of apoca- the finale, as do a pair of wooly lambs. lypse comes from the Greek: ‘apos’ means to take off, and ‘calypse’ is the veil. The idea of Preljocaj’s work will also be seen this fall at apocalypse is to reveal something which is New York City Ballet in a shorter-length premiere. behind the illusion, behind something very He noted, “I like to work with different compa- organized, very structured.” The concept could nies; it’s a source of inspiration for me. All the apply to a number of large institutions, be they different companies are really like tribes, with religious, political, or social. their own traditions.”

While Preljocaj has shown his skill with purely His accomplished company/tribe to be sure has formal constructs, he duly embraces the highly its own legacy, growing richer and more diverse theatrical aspects of performance. Objects each year since its founding in 1984. Prior to become metaphors for larger concepts, in addi- Empty Moves, Ballet Preljocaj had performed tion to being neat visual and/or aural twists, at BAM several times, each visit memorable in such as lengths of chain that plummet to the its own way: Romeo & Juliet (1998), whose stage. “In the apocalypse, the Devil is suposed fascist-state setting underscored the desperate to be unchained, and there is a moment he situation of the young lovers; Helikopter and becomes free from his chains. I use the idea Rite of Spring (2002), a two-part evening show- of the chains as a kind of metaphor for that,” ing the choreographer’s sure hand with dance Preljocaj explained. “Also, sometimes I mix cer- both hypnotically abstract and searingly narra- tain ideas, like the chains... In the Book of the tive; and Near Life Experience (2004), which Apocalypse, they say that from the sky will come pushed him to the theatrical end of the spectrum the thunder and the deluge. For me, I imagine while touching on universal themes. And then, this falling of chains really like thunder coming one thousand years of peace is yet another into our world. Also, sometimes certain words or intriguing dance-theater chapter in Preljocaj’s phrases come down with this very soft radical- growing history at BAM.

Photo: JC Carbonne BAM

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BAM 2013 Next Wave Festival sponsor New and expanded programming and Next Wave Festival supporters: capital initiatives at BAM made possible by Rose M. Badgeley Residuary major operating, capital and endowment Charitable Trust support from The Irene Diamond Fund brigitte nyc Support for new presentations in the BAM Brooklyn Community Foundation Fisher provided by the Rockefeller Brothers Epstein Teicher Philanthropies Fund The Harkness Foundation for Dance Suzie & Bruce Kovner Programming in the BAM Howard Gilman Leadership support for Next Wave Art Leon Levy Foundation Opera House is supported and endowed provided by Agnes Gund and Toby Devan Frederick Loewe Foundation, Inc. by The Howard Gilman Foundation. Lewis McKinsey & Company, Inc. Programming in the BAM Harvey Theater The Ambrose Monell Foundation is endowed by the Doris Duke Charitable The Rolex Institute supports emerging Henry and Lucy Moses Fund, Inc. Foundation. Programming in the BAM artists at BAM Samuel I. Newhouse Foundation, Inc. Lepercq Space is supported by The The Reed Foundation Lepercq Charitable Foundation. Diverse Voices at BAM sponsored by: The Morris and Alma Schapiro Fund The SHS Foundation The Steinberg Screen at the BAM Harvey The Shubert Foundation, Inc. Theater is made possible by The Joseph S. The Skirball Foundation and Diane H. Steinberg Charitable Trust Zero Calorie Sweetener of the The Harold and Mimi Steinberg Next Wave Festival: Charitable Trust Leadership support for opera at The Winston Foundation, Inc. BAM provided by The Andrew W. Ann Ziff Mellon Foundation, The Peter Jay Sharp Foundation, and Proud supporter of BAM

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Major support for opera at BAM The BAM facilities are owned by the provided by Aashish & Dinyar Devitre. City of New York and benefit from public funds provided through the New York City Additional support provided by The BAMcafé Live sponsor: Francena T. Harrison Foundation Trust. Department of Cultural Affairs with support from Mayor Michael R. Bloomberg; Cultural Affairs Commissioner Kate D. Levin; the Leadership support for War Sum Up New York City Council including Council provided by The Barbro Osher Pro Speaker Christine C. Quinn, Finance Suecia Foundation Endowed funds supporting the Next Wave Committee Chair Domenic M. Recchia Jr., Festival: The Howard Gilman Foundation; Cultural Affairs Committee Chair Jimmy Global Connections at BAM sponsored by: Lila Wallace-Reader’s Digest Endowment Van Bramer, the Brooklyn Delegation of the Fund for Community, Educational, and Council, and Councilwoman Letitia James; and Brooklyn Borough President Marty Public Affairs Programs at BAM; The Markowitz. BAM 2013 Music Sponsor: SHS Foundation; The Andrew W. Mellon Foundation Fund for Opera and Music- Title sponsor for BAM Rose Cinemas and Theater; The Peter Jay Sharp Fund for BAMcinématek: Leadership support for music commissions Opera and Theater; The Ford Foundation at BAM provided by The Virginia B. Fund to Support Collaborative Creativity Toulmin Foundation Among U.S. Artists; Estate of Richard B. BAM Rose Cinemas are named in recognition of a major gift in honor of Leadership support for Sider provided by Fisher; BAM Fund to Support Emerging Jonathan F.P. and Diana Calthorpe Rose, The Jerome Robbins Foundation, Inc. and Local Musicians; The Starr Foundation; and have been generously supported by Next Wave Forward Fund: Altria Group, The Peter Jay Sharp Foundation and the The presentation of Come, and Back Again Inc./Founding Sponsor “Supporting the Estate of Richard B. Fisher and Play/Pause is made possible Spirit of Innovation”; and The Devitre Fund. by the New England Foundation for the Programming in the BAM Lepercq Space Arts’ National Dance Project is supported by The Lepercq Charitable BAM Marquee sponsor: Foundation Support for The Humans provided by Agnes Gund BAM would like to thank the Brooklyn Delegations of the New York State Support for new dance presentations in the Assembly, Joseph R. Lentol, Delegation BAM Fisher provided by the Mertz Gilmore Official hotel for BAM: Leader; and New York Senate, Senator Foundation Velmanette Montgomery, Delegation Leader.

Your tax dollars make BAM programs Official piano for BAM: possible through funding from: Beauty, ever ephemeral “Then we found out that it was based on a short wefoundoutthatitwasbased onashort “Then La BelleetlaBête 4D Art co-founders MichelLemieux co-founders andVictor 4D Art 21st-century technology.21st-century And there’s always a moral. They’re designed And there’s alwaysamoral. They’re a richbutuglyman. Allofthesebedtimestories adult novelbyMme. deVilleneuve,written15 our parentstellus, theybecameourmyths. of the classic 18th-century fairy talewith fairy of theclassic18th-century children byMme.DeBeaumontin the 1750s. ster whoisreallyaprince.Now, Lemieux Pilon It’s very popularinFrance,”It’s very saysLemieux. House November21to23,blendselements Pilon Belleet aredeliveringtheir owntake.La years earlier. Itwastopreparewomen marry Enchanted byJeanCocteau’sclassic 1946film, Beauty andtheBeastmaybeataleasold history. “We firstreadthe versionwrittenfor the pair decided to dig deeper into the story’s the pairdecidedtodigdeeperinto the story’s their own ways of telling the story oftheshy,their ownwaysoftellingthestory fromfinding time, butthathasn’t stoppedartists beautiful girlwhofallsinlovewiththeuglymon- la Bête,attheBAMHowardGilmanOpera “The beautyisawomanfromtoday;“The she’sa “Our beastisnotanuglyoldman, butaman another person?” ances inaworldwhere imagesaresoimportant? against allodds,andfallinlove.And thatleads ofdramainourlives.Sowe all havesomesort and Pilon, Tempête whoseproductionofLa was possible tofallinlovewithouttheidea ofcon- seen at BAM in 2006, crafted theirownstory.seen atBAMin2006,crafted who wasinloveandabandonedbythatlove. Is itpossibletogo deeperandseewhat’sinside dealing withthedeathofhermother. Likethe destiny ofourselves.” He’s kindofsexybutdisfigured,”says Lemieux. ventional beauty? Can welookbeyondappear whohasissues young, intelligent,visualartist, Using plotdetailsfrombothversions,Lemieux have thesetwocharacterswhoare broken, meet to thequestionswewantexplore: Isitstill tellusthetragic to tellushowliveandoften beast, she’s kind of hurt herself.beast, she’skindofhurt Thefact iswe by BrianScottLipton -

François Papineau and Bénédicte Décary. Photo: Yves Renaud Those issues also extend to the third major As Pilon admits, doing a show in this fashion character in the piece, called La Dame, a fairy can be a great challenge to the actors onstage. who fell in love with the Prince and then put “They don’t see the projections, so it takes a lot of the spell on him when he rejected her. However, time to integrate their work with the projections,” she has stuck around the castle to take care of he says. “But it’s worth it, because we know him—and is not happy when La Belle shows up. you don’t touch people with just technology. You “She wants to be the beauty in the house, even touch them with actors who believe in these though she’s 60,” says Lemieux. “She still loves projections.” the prince for who he is inside. So, it becomes a triangle, but not in a conventional sense.” “Many of the scenes are like being in a painting,” says Lemieux. “Victor takes photographs from What makes this version particularly unusual, around the world—especially a lot of Romantic however, is that only those three characters are architecture—and they work their way into the played by onstage actors, while everyone else projections. All of the technology is quite magical, in the tale—including Belle’s sister—is embodied to be sure. I say our show is like a jewel box, but by projections with whom the stars interact. it’s the actors who are the jewels.” Indeed, while projection technology plays a major role in all aspects of this production, it Since it premiered in Canada in 2010, the pro- is not the raison d’être. duction has toured internationally and in the US. “It’s always exciting to us to see how different “We do use technology, but we do it so we can audiences react from place to place,” says Pilon. more freely talk about human issues,” says Still, Lemieux notes that most audiences share Lemieux. “In watching theater, adults can be one common reaction. “A lot of people tell us very critical. But when you create something they become so absorbed in the story that they magical, adults open themselves to this world feel like they’re in a dream and that they only of wonder. Even it’s just for the first 30 seconds, wake up when they realize the show has ended.” this little door opens in the mind—the door that was opened when they were children. And they immediately become less critical. And then we Brian Scott Lipton was editor-in-chief of TheaterMania. can talk to them in ways other than through their com and currently covers theater for IN New York, Where, intellect. We can talk to their souls.” Edgeonthenet.com, TDF Stages, and Cititour.com. Peter James and Andrée Lachappelle. Photo: Yves Renaud Peter BAM

Zero Calorie Sweetener of the Next Wave Festival Salutes Upcoming Events

MASTER CLASSES BAMCINEMATÉK Ballet Preljocaj | in conjunction with And then, one REPERTORY, CLASSICS, FESTIVALS, PLUS SPECIAL GUESTS thousand years of peace | Nov 8 at 12pm Nordic Noir: Kjell Sundvall | Nov 1 & 2 Hofesh Shechter Company | with Hofesh Shechter Jan Nemec | Nov 8—14 in conjunction with Sun | Nov 15 at 11am Bruce Dern | Nov 16—27 | Dern in person! Susan Marshall & Company | with Kristen Hollinsworth in conjunction with Play/Pause | Nov 21 at 12pm Art Song Forward: For Singers and Composers BAMCAFÉ LIVE with Christopher Burchett and Julian Wachner FREE MUSIC FRI & SAT NIGHTS. BAR OPENS AT 6PM in conjunction with 21c Liederabend, op. 3 The Irrepressibles | Nov 1 & 2 at 9pm Nov 23 at 10:30am Jenny Owen Youngs | Nov 8 at 9pm The Mala Waldron Project | Nov 9 at 9pm War Sum Up. Photo: Gunars Janaitis Guitars N Bandanaz | Nov 15 at 9pm Tai Allen’s Tribute to Oscar Lee Brown | Nov 16 at 9pm Water Seed | Nov 22 at 9pm Earl McIntyre Birthday Celebration | Nov 23 at 9pm Akim Funk Buddha Hip Hop Holiday| Nov 29 & 30 at 9pm

THE MET: LIVE IN HD OPERA ON THE BIG SCREEN AT BAM ROSE CINEMAS

Puccini’s Tosca | Nov 9 at 1pm pre-screening discussion with Marc Scorca at 12pm

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Nov 21 at 9pm | BAMcafé Thanks to the many Ignite campaign donors for supporting innovative arts education at BAM.

Ignite campaign co-chairs are Richard Feldman of The SHS Foundation and actor-artist Lucy Liu.

$500,000 and above $25,000 and above The Irene Diamond Fund The Achelis Foundation The Leona M. & Harry B. Jody & John Arnhold Helmsley Charitable Trust BNY Mellon Stavros Niarchos Foundation The Barker Welfare Foundation The SHS Foundation John Blondel Simon & Eve Colin Foundation, Inc. The Jessica E. Smith and Kevin R. Brine Charitable Trust $100,000 and above Linda & Adam Chinn Altman Foundation The Corinthian Foundation Booth Ferris Foundation Constans Culver Foundation Brooklyn Community Foundation William A. Douglass Chase MaryAnne Gilmartin Della Rosa Family Foundation Charles Hayden Foundation Goldman Sachs Gives Grace Lyu-Volckhausen The Rita and Alex Hillman Foundation James I. McLaren & Lawton W. Fitt Stephanie & Timothy Ingrassia Anna Kuzmik Sampas The Emily Davie & Joseph S. Kornfeld Howard Silverman Foundation Jennifer Small & Adam Wolfensohn Pierre and Tana Matisse Foundation The Rockefeller Foundation New York City Cultural $10,000 and above Innovation Fund American Express Martha A. & Robert S. Rubin Bloomingdale’s Fund of the Macy’s Foundation The Peter Jay Sharp Foundation brigitte nyc Target Donald Capoccia in memory of Felicia Garcia Joseph LeRoy & Ann C. Warner Fund Mark Diker & Deborah Colson Anonymous Dow Jones & Company, Inc. Barry M. Fox $50,000 and above John N. & Gillett A. Gilbert Barclay’s Nets Community Alliance In Memory of Robert Sklar Con Edison Penn & Diane Holsenbeck Judith R. & Alan H. Fishman Merrill Lynch & Co. Foundation, Inc. MetLife Foundation Michael Palm Foundation National Grid Tracey & Phillip Riese The David Rockefeller Fund, Inc. Sills Family Foundation May & Samuel Rudin Family Foundation, Inc. Ted Snowdon Joseph and Sylvia Slifka Foundation Sam & Ellen Sporn Surdna Foundation, Inc. Joseph A. Stern Pedro Jose Torres & Cecilia Picon Time Warner Inc. Anonymous Michael Tuch Foundation, Inc.

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Photo: Nina Mouritzen Adi Shamir&RichardD.Baron Thomas Scott Brian &StephanieNigito Peter &JennaNashel &AndreaBozzo John Martinez Marks Paneth &ShronLLP Elizabeth &MatthewLuckett François &CalleenLetaconnoux Michele &DavidJoerg Hewitt School Regina M.Griffin David W. Fitts Jeanne DonovanFisher Tim &CeceliaCrowhurst Alida Brill Emma Bloomberg&ChristopherFrissora $2,500 andabove Victor R. Wright Foundation Jo Vanderbeek Steinway &Sons Rush Foundation PhilanthropicArts E. John&Patricia Rosenwald New York StateCouncilontheArts Robin &EdgarLampert Debbie Klein Katie Kleber John P. AndAnneWelsh McnultyFoundation Justin Haythe Agnes Gund Dennis &CarrieGross David Geiger Steven &SusanFelsher Samuel Feldman &MarilynMeyerhoff Robert andMercedesEichholzFoundation David Edelstein Rebekah Coleman &IanRusten Lawrence Chanen $5,000 andabove Anonymous Nora AnnWallace &JackNusbaum Viacom Jennie &Jake Blair Simon Black Antonella Bertello Dayle Berke &DavidShapiro Tony Bechara Beamon&Eddie Joyce Martine Felice Forer Axelrod Douglas &CarlaAlbrect $1,000 andabove Cynthia Young &GeorgeEberstadt Michael Whittingham Heather White&MarkProcopio Robert Watt &DawnBradford John Madsen&DeirdreVon Dornum Sashi &NicholasValtz Raul Suarez Stribling &Associates,LTD. Dr. AxelStawski Jeffrey Soref Nancy Smid&JohnKing Timothy &JulieSebunya Joseph &MarilynSchwartz William E.Sanford Thomas &GeorginaRusso L Rodriguez Villa Gabriel &LindsayPizzi ParkerGary Bianca Orlando&BillMcGinty NYC &Company Stephen &MaribelleLeavitt The KrumholzFoundation Jeff Kovach David Kaplan Barbara Julius&MarcSilberberg Mark H. Jackson The William Talbott HillmanFoundation Manuela Herzer Jillian &SamHerschkowitz John Hart Happy Family Elizabeth Haddad Willie Hacker Lorie &ErikGoshin Barnier James Goldfarb&Catheryn Jeff Gates&MichaelMoran Andrew &Blake Foote Katherine &Luke Fichthorn Teri Everett&MarkDavidson Jennie &RichardDescherer Francesca Defeo Catherine C.Cox Regina &Bill Bronson Bill Borrelle questions [email protected]. with correctionsor Please contacttheDevelopmentdepartment List asofJuly31,2013 ignite BAM

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STAY UPDATED BAM Harvey Theater box office BAMbus BAM.org opens 90 minutes prior to curtain 718.636.4100 on performance days. Make your reservation up to BAM.org/blog 24 hours prior to curtain time. Facebook.com/BAMstage Group Sales Lost & Found @BAM_Brooklyn For ticket orders of 10 or more 718.623.7885 | [email protected] 718.636.4150, Mon—Fri: 9am—5pm youtube.com/BAMorg BAM Rose Cinemas Restrooms LOCATIONS Advance Ticket Sales: BAM Howard Gilman Opera House: 877.789.MOVIE mezzanine and balcony level Peter Jay Sharp Building BAM.org or movietickets.com (handicapped accessible: 30 Lafayette Avenue Info: 718.636.4100 orchestra level and BAMcafé) BAM Howard Gilman Opera House Lepercq Space/BAMcafé Box office opens 30 minutes before BAM Harvey Theater: BAM Rose Cinemas the first screening of the day. lobby and gallery level Hillman Attic Studio BAM Rose Cinemas is wheelchair BAM Fisher: BAM Harvey Theater accessible. Infra-red headsets for lower lobby, 4th floor, and 7th floor 651 Fulton Street the hearing impaired are available; inquire at the box office. Headphones BAM Fisher BAM offers infra-red listening devices 321 Ashland Place Student / Senior Rush Info for the hearing impaired; please Fishman Space 718.636.4100 | BAM.org/rush inquire at the coat check. Hillman Studio Call to check ticket availability on Rooftop Terrace and Stutz Gardens the day of the performance. Leavitt Workshop OTHER

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

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

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

As of July 1, 2013

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

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

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

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

For more information on the BAM Endowment or on Planned Giving opportunities please contact Denis Azaro at 718.636.4193 or [email protected]. All inquiries will remain strictly confidential. BAM Supporters & Patrons

BAM wishes to thank our patrons for all the operating, capital, and endowment support you’ve given us over the past year. (List represents gifts between August 1, 2012—August 1, 2013)

$500,000 Charles J. & Irene F. Hamm The Ambrose Monell Paul T. & Joanne W. Schnell Hughes Hubbard & brigitte nyc Independent Film Channel Foundation The Evelyn Sharp Foundation Reed LLP Brooklyn Borough Stephanie & Timothy Henry and Lucy Moses Howard Silverman Sophie Hughes President’s Office— Ingrassia Fund, Inc. Skadden, Arps, Slate, Alan Jones & Ashley Garrett Marty Markowitz Frederick Iseman Donald R. Mullen Jr. Meagher & Flom LLP Hon. Letitia James, New Brooklyn Community Kia Motors America National Endowment for Joseph and Sylvia Slifka York City Council Foundation Robin & Edgar Lampert the Arts Foundation Barbara Haws & William The Irene Diamond Fund Stephen & Maribelle Leavitt Samuel I. Newhouse Brian Stafford Josephson Dormitory Authority of the Lemberg Foundation Foundation, Inc. Starry Night Fund Miriam Katowitz & Arthur State of New York The Lepercq Charitable The Reed Foundation The Harold and Mimi Radin The Howard Gilman Foundation The Jerome Robbins Steinberg Charitable Kaye Scholer LLP Foundation Toby Devan Lewis Foundation, Inc. Trust Kirkland & Ellis The Leona M. & Harry B. James I. McLaren & Lawton Rockefeller Brothers Fund The Geraldine Stutz Ethan Klingsberg Helmsley Charitable W. Fitt Jonathan F.P. & Diana Trust, Inc. Kevin Lauri Trust Mikhail Prokhorov Fund Calthorpe Rose Trust for Mutual François & Calleen Diane & Adam E. Max The Rita & Alex Hillman May & Samuel Rudin Family Understanding Letaconnoux McKinsey & Company, Inc. Foundation Foundation, Inc. Vital Projects The Levine Foundation New York City Department National Grid Anna Kuzmik Sampas Xerox Corporation Estate of Phyllis H. of Cultural Affairs Nora Ann Wallace & Jack The Morris and Alma Barbara & David Zalaznick Lichtenstein New York City Economic Nusbaum Schapiro Fund Estate of Martha Zalles John Lipsky & Zsuzsanna Development Corporation The New York Community Jennifer Small & Adam Ann Ziff Karasz New York City Council— Trust Wolfensohn Anonymous Carley Roney & David Liu Brooklyn Delegation New York State Council on The Jessica E. Smith and The Lupin Foundation New York City Council— the Arts Kevin R. Brine Charitable $10,000 Briehan Lynch & Alexander Christine C. Quinn, Pablo Salame Trust Absolut Vodka, Seagram Evis Speaker The Shubert Foundation, Inc. Sovereign Bank Americas M&T Bank Stavros Niarchos Foundation The Skirball Foundation Surdna Foundation, Inc. The Aeroflex Foundation Mattis Family Foundation Pepsi-Cola Bottling Company The Joseph S. and Diane Anonymous Roger Alcaly & Helen Mr. & Mrs. Hamish Maxwell of New York Inc. H. Steinberg Charitable Bodian Scott C. McDonald The Peter Jay Sharp Trust $25,000 Susan L. Baker & Michael Constance & H. Roemer Foundation Joseph A. Stern The Achelis Foundation R. Lynch McPhee Martha A. & Robert S. Rubin Target Jody & John Arnhold The Barker Welfare Medgar Evers College Gifts The SHS Foundation Time Warner Inc. BNY Mellon Foundation and Grants The Starr Foundation Pedro Jose Torres and Rose M. Badgeley The Howard Bayne Fund Joyce F. Menschel United States Department Cecilia Picon Residuary Charitable Tony Bechara Merrill Lynch & Co. of State, Bureau of The Virginia B. Toulmin Trust Roger & Brook Berlind Foundation, Inc. Educational and Cultural Foundation Mercedes T. Bass Best of Brooklyn, Inc Edward S. Moore Affairs Robert L. Turner Anne H. 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Campbell & Brendan & Barbara Dugan Foundation Mallory & Elizabeth Factor The Grodzins Fund Christine Wächter- Thérèse M. Esperdy & The William and Mary The French-American William D. & Susan Kahan Campbell Robert G. Neborak Greve Foundation Fund for Contemporary Rifkin Chase Essence Charles Hayden Foundation Theater, a program Max Rifkind-Barron Robert Sterling Clark Steven & Susan Felsher Penn & Diane Holsenbeck of FACE Quentin Roach Foundation Jacques and Natasha David L. Klein, Jr. Foundation Fribourg Family Foundation Mr. & Mrs. Theodore C. Simon & Eve Colin Gelman Foundation Dan & Abbe Klores Fried, Frank, Harris, Shriver Rogers Foundation, Inc. Mertz Gilmore Foundation Frederick Loewe Foundation & Jacobson LLP Ropes & Gray LLP Brooklyn Community GGMC Parking, LLC Gary Lynch & Kate Hall Ann and Gordon Getty Andrew & Barbra Rothschild Foundation Agnes Gund Laurie Mallet/Ozone Foundation Bette & Richard Saltzman Della Rosa Family Foundation H3 Hardy Collaboration Design, Inc. 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Jean Stein William Patrick McMullan & Daniel Baldini Winther Thomas Scott Rachel McPherson John & Samantha Hunt Tatiana Serafin Tony Randall Theatrical Mr. & Mrs. Richard L. David Bank & Jason R. Jan Inscho & Seymour Ted & Mary Jo Shen Fund Menschel Stone Miles Professor Stuart Sherman Michael Tuch Foundation, Martin F. & Selma E. Mertz Leah & Benjamin Barber Irwin Fritchie Urquhart & Gil Shiva Inc. Stephen Nelson Jayne H. Baum Moore, LLC Shook, Hardy & Bacon, LLP Wendy vanden Heuvel Consulate General of The Martin Baumrind Scott Irwin & Victoria Irwin Barbara Simmons Madeline Weinrib Netherlands in New York Jim & Lisa Bedell Douglas Jaffe & Kristin Patricia J. S. Simpson Williams & Connolly LLP New York City Dept. for Beldock Levine and Heavey Ellynne Skove Jennifer Carlson & Andrew the Aging Hoffman LLP Dwight James and June Congresswoman Louise Zolli New York State Education Leslie & Alan Beller Delano Slaughter Anonymous Department George E. 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Addison Francis Goelet Charitable Jane and Robert Toll David Fitts Marks Paneth & Shron LLP Affirmation Arts Fund Lead Trusts Pedro Torres Jr. Andrew & Blake Foote Jan Marks Cherylyn & Chris Ahrens Mr. & Mrs. Douglas Gray Travelers Foundation Robert L. Forbes John Martinez & Andrea Ronald & June Ahrens Regina M. Griffin Teresa Tsai Mr. & Mrs. Austin T. Bozzo Tahsin Alam and Naadia Dennis and Carrie Gross Jo Vanderbeek Fragomen, Jr. Richard J. Massey Quader Scott & Ellen Hand Victor R. Wright Foundation MaryAnne Gilmartin William McGinty & Bianca Douglas & Carla Albrect Cecilia & James Herbert Margo & Anthony Viscusi Francis Greenburger & Orlando Daniel Algrant DuBose and Dorothy Watkins & Eager PLLC Isabelle Autones Jack McGowan & Kathy Tim Allen Heyward Memorial Fund The Richard & Gertrude M. Derene & Julius Frazier Muscato Robert & Allison Blinken Dr. Natalie J. Hubbard Weininger Foundation Cultural Services of the Sharon & Curt Mechling Donald Allison & Sumiko Ito Richard Hulbert Jill Weinstein French Embassy in the Norma & Randy Moore Mark Almeida & Theresa John P. & Anne Welsh John R. Wellschlager & United States Peter & Jenna Nashel Galvin McNulty Foundation Elizabeth D. McDermott Paul A. Gangsei & Susan Michael Newhouse Kristina Anderson & Nathan Linda & Lawton Johnson Francis H. Williams Herman Linda Nochlin Pommer Ophardt Kabalab LLC Robert & Elisabeth Wilmers Garth Fagan Dance Christopher A. Noey & Margo Anderson Julia Kahr & Brian Colton John D. Winter Lynn Gilbert Ghiora Aharoni Virginia Anderson Mary Kantor Nina Winthrop Virginia Gliedman David & Janet Offensend Milton & Sally Avery Arts Will & Prattana Kennedy Carolyn & H.L. 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Martha Roberts Andy Basore Jr. York State Assembly Alvin J. Rockwell 1990 Justin Haythe Richard Rochford Martine Beamon & Eddie John Lichtenstein Charitable Trust James G. Croghan & Louis Mr. & Mrs. David Rockefeller Joyce The Liman Foundation Rina Anoussi & Takis R. Hedgecock Seth Rosenberg & Catherine Nathaniel Beck & Karen The Bertha and Isaac Anoussis Molly Heines & Thomas Lebow Hackett Liberman Foundation Stephanie Ansin Moloney Milton T. Schaeffer Kathleen Begala & Yves- in memory of Jeffrey Frank & Mary Ann Arisman Jennifer Herman Ira Schreger Andre Istel P. Klein Art Amalgamated LLC Hewitt School Nancy Schuh Anka & Louis Begley Donna Marshall Dwayne Ashley Dr. Arlene Heyman, MD Mr. & Mrs. Richard J. Richard & Elizabeth The McGraw-Hill Companies Felice Forer Axelrod Jane Holzka & Mark A. Schwartz Bellingham BAM Supporters & Patrons

Alan Berenbaum & Eileen Richard & Florence Kenneth Kail & Ivy Hwang Maria Montoya Simon Sinek Lach Fabricant Alex and Ada Katz Kathy Morton & David Michele Singer Judith Berg Thomas Faust Aaron & Jacquie Katzel Nadelman Loren & Marlene Skeist Thérèse D. Bernbach Andrew & Audrey Feiner Kevin Keating Nancy Abraham & Arnold skinnyskinny Raphael & Jane Bernstein/ Ronald E. Feiner Esq. Susan Kellman Moss Elaine Sloan Parnassus Foundation Judy Fell & Barry Okun Suzanne Greene & John Edward Nahem Nancy Smid & John King Susan V. Berresford Edith Ferber Kelly Marguerite Nougué-Sans Matthew Patrick Smyth Stefanie Birkmann & Sunil Richard Feuring & Charles Dennis Klejna Tiffany Nowell Susan Snodgrass Savkar Krewson Jayme Koszyn & Thomas James C. & Marie Nugent- Lavinia Branca Snyder Robert & Adrienne Katherine & Luke Fichthorn O’Handley Head Marlas Kenneth Soehner Birnbaum Joan Salwen Fields The Krumholz Foundation NYC & Company James Sollins Dr. David Biro Arthur & Susan Fleischer Drs. John & Judie LaRosa Roger W. Oliver Andrew P. Solomon & Simon Black Lydia Foo Tom Le & Joseph Canale Jane Ormerod & Peter Elizabeth Bartman Jeffrey Blair Katherine Franke Matthew & Sabrina Leblanc Darrell Richard & Mimi Somerby Jennie & Jake Blair Oliver L. Frankel Helena Lee & Richard Ilana Pachter & William Jeffrey Soref Sheldon & Jill Bonovitz Katherine Freygang Klapper Wynn Annaliese Soros Bill Bragin & Lisa Philp Friars Foundation Roseanne Legrand Meredith Palmer Jonathan & Jennifer Soros Dominique Bravo & Eric Effie & Robert Fribourg Bruce Leibstone Cheryl Paradis & Gene Dr. Rogelio Sosnik & Dr. Sloan Steven Friedlander Richard Levy & Lorraine McCullough Irene Cairo Brooklyn Gin Ms. Eleanor Friedman Gallard Gwenevere Parker Sovereign Bank Donnaldson Brown Todd & Treacy Gaffney Jeffrey Lewis & Karin Estelle Parsons Mark Spatola Jacqueline Bryant Duane McLaughlin & M. Miller-Lewis Kirk & Susan Patrick Andre Spears & Anne Rosen Norman & Terri Buchan Salomé Galib Kitty C. Linder Nancy Pedot Barbara Stanton James Burke Al Garner Seen Lippert & Frederick Judith Perez Gillian Steel Elizabeth Butson Lynda & Marvin Geller Landman Amy Perry Michael & Marjorie Stern Laura E. Butzel & David Dr. Peter L. Geller Keith Lloyd Antonia Pew Deborah Stewart & James Berg Patricia Gift Rachel Loeb & Zachary Marnie S. Pillsbury Mintz William & Regina Cahill Michael J. Gillespie Block Carl Podwoski & Virginia Gail Stone & Matt Fishbein Mr. Charles Cahn and Dr. Shellie Gillespie Kevin Longrie Lovejoy Harvey & Danna Stone Nancy Maruyama James Gill Susan Lorence Lisa Pollock John Strasswimmer Sol W. & Hermina Cantor Susan Goldberg & Simon Joseph Lovett & James Sandra Pierson Prior Leila & Mickey Straus Foundation Liu Cottrell Leslie & David Puth Kathryn Taras & Anthony Capezio/Ballet Makers Elaine Goldman Ann M. & Mitchell A. Jacob Remes Elitcher Dance Foundation, Inc. Amy Kern & John M. Lowenthal Richmond Hills High Julie Tarney Charles Carberry Goldsmith Jane MacAn School Josephine & Philip Teverow Marie Carney I. Michael Goodman & Ann MacDonald & Charles Rucola Theatrical Wardrobe Union, Carolina Carvalho-Cross Judith Uman Raubicheck Richard Lynn & Joseph Local 764 Herbert and Beverly Chase Sally Gordon John Macintosh Evall Charlotte L. Thorp Natalia Chefer Joan Gould Macro Sea Inc. Juergen Riehm & Jody Irena Tocino Lori Chemla & Shelley James & Nicola Grant John Madden & Elizabeth Oberfelder Coralie Toevs Sonnenberg Jane & Jean-Marie Grenier Cooke Katherine E. Ringer Michael Toledano Pedro Chomnalez Cynthia Griffin & Stephen Edward Mafoud Ann Rittenberg Valery & Chauncey Upson Neil & Kathleen Chrisman Haller Hon. Alan Maisel, New John Rockwell & Linda Sashi & Nicholas Valtz Constance M. Cincotta Terry Grossman & Kathy York State Assembly Mevorach Dino Veronese Joan Hardy Clark Speer Dr. Robert Maki Carole & Alex Rosenberg Diana Viñoly Interiors Imogen and William Cline David Gruber Ronald Daignault & Teresa James & Eliza Rossman Jonathan Wachsman Dr. Anders Cohen Gunilla Haac Maloney Jack & Rebecca Rucker David Wagner Frederick & Jan Cohen Patricia Hallstein & Axel John Manlutac & James Lisa & Jonathan Sack Cynthia Wainwright & Joel Cohen & Karyn Zieve Kramer Jaeger S. Saliman & Raymond Stephen Berger John Colborn Happy Family Maps.com Vallejo Marcus Wainwright & Michele & Terry Cone David Hariton & Thomas Andrea Marber Samuel Samore Glenna Neece Marina Couloucoundis Lippy Phillip Marriott & Susannah Mina Samuels & David Howard & Ruth Warshower Catherine C. Cox The Haupt Foundation, Taylor Foster Seth Washinsky Peter & Mary Coy Inc., in memory of Stuart Frank Martinez Nikki Sanditen Janet C. Waterhouse PhD Benjamin Crane Haupt Mia Mather Lori Saperstein Kathy and Bill Weigel Michele Cubic & Raymond Douglas & Jessica Healy Jerri & Tom Mayer Margaret Sarkela & John Sandra & George Weiksner Velazquez Joanna Hedge Liese & Peter Mayer Curtis Laurie & David I. Weiner Sebastian Cucullu John Heilemann Deborah McAlister & Douglas & Ans Schickler Earl & Gina Weiner Ellen & John Curtis Kris Heinzelman Christopher Jones Ellen Schleifer & Jordan Charlene Magen Weinstein David Darby Jillian & Sam Herschkowitz Joseph McDonagh Katz Elaine Weinstein Scott Delman Samuel & Hagit Hertz Dale McDonald Anthony Schlesinger & Jonathan & Jane Weld Linda Dennery Charlotte Herzele Kathryn A. McDonald Anne Forward Dr. Sylvia Welsh & Dr. Marie Derosa & Richard Manuela Herzer Ms. Sharon McGinnis & Mr. Elizabeth Schneider Howard Welsh McNeil Adam and Sita Hess Howard Mandel Roberta & Irwin David F. Wertheimer Rohit & Katherine Desai Adria & Donald Hillman Paul McIsaac & Ricki Roer Schneiderman Marcia Whitaker Edwin & Paula DeYoung The Hoffman Law Firm Larysa McKenna Laura Schwartz & Arthur Harry White & Esther Diana Diamond & John Lily & Joel Hoffman Gordon McLeod and Jussel Redmount Alschuler Frank Holozubiec Melanie Grisanti Richard Schwartz Heather White & Mark Hester Diamond Katherine Hosford & Elizabeth McMahon & Ralf Schwieger Procopio Trey Ditto Christopher Welch Patrick Burns Elisabeth Searles and Susan Whiting & Bruce Anne & John Dockery Karen Howitt Me & Ro Richard Friedberg Van Dusen John Doherty Michael Huber & Lauren Lalise & Jerry Melillo Lori Seegers Michael Whittingham Dr. Jack Downhill Jr. Seikaly Ashley & Brittany Melone Laura Sejen James Wilentz & Robin Pamela Drexel Betty Lou Hudson Claudine & Aeric Meredith- Ann Settel Maxwell James Duffy Dr. Lois Jackson Goujon Rena Shagan Nancy Workman & Violet & Christopher Eagan Steven & Susan Jacobson Pamela Michaelcheck Susan & Jeremy Shamos Jonathan Miller William S. Ehrlich & Ruth David & Amy Jaffe Franny Milberg Ms. Makeda Shaw Cynthia Young & George Lloyds T. Radey Johnson & Jane Hon. Joan Millman, New Michael Shea & Armen Eberstadt Suzan & Fred Ehrman Platt York State Assembly Marsoobian Jennifer Zaslow Erica’s Rugelach Christopher Johnson Donald & Gwen Moffat Vivien & Michael Shelanski Frank & Arrien Zinghini Gail Erickson & Christa Rice General Judd and Cristina Adrian Mojica Olatokumbo & Sheethal Anonymous Lorren Erstad & David Casanas-Judd Mary Moloney & Robert Shobowale Lerner Genevieve Kahr & Dan Barocci Melanie Shugart As of August 1, 2013 Freedberg Michael & Ginger Montel Larry & Ashley Silverman

BAM greatly appreciates all contributions in support of our work. We apologize for any inaccuracies. Please contact the Development Department at [email protected] with any corrections. BAM Board

Brooklyn Academy of Music Beth Rudin DeWoody Anna Kuzmik Sampas Honorary Trustees Mark Diker Alberto Sanchez Robert L. Forbes BAM Board Chair Andre Dua Timothy Sebunya Charles J. Hamm Alan H. Fishman Brendan J. Dugan Adi Shamir Barbara B. Haws, C.A. Thérèse Esperdy Danny Simmons William Josephson BAM Board Vice Chairs Teri Everett Jessica Smith John Lipsky William I. Campbell Mallory Factor Brian Stafford Laurie Mallet Adam E. Max Ronald E. Feiner, Esq. Joseph A. Stern Cathy-Ann Martine Richard E. Feldman, Esq. Pedro J. Torres Hon. Franklin R. Weissberg President Steven G. Felsher John L. Usdan Vaughn C. Williams, Esq. Karen Brooks Hopkins Jeanne Donovan Fisher Brigitte Vosse Barry M. Fox Nora Ann Wallace BAM Endowment Trust Chair Secretary MaryAnne Gilmartin Elaine Weinstein Timothy J. Ingrassia Joseph V. Melillo Robert M. Greenberg Adam Wolfensohn G. Penn Holsenbeck Claire Wood Vice Chair Treasurer Anne Hubbard Andrew Zolli Norman L. Peck James I. McLaren Mark H. Jackson Derek Jenkins Ex Officio Treasurer President Emeritus Mary Kantor Hon. Michael R. Bloomberg Keith Stubblefield Harvey Lichtenstein Daniel A. Klores Hon. Christine C. Quinn Edgar A. Lampert Hon. Marty Markowitz Members Members François Letaconnoux Hon. Kate D. Levin William A. Douglass III Jeffrey H. Barker Gary Lynch Felice Forer Axelrod Elizabeth Holtzman Tony Bechara Martin F. Mertz Lela Goren James I. McLaren René Böttcher Patricia E. Michels Jamie Snow Markowitz Gabriel Pizzi Gordon Bowen Ahrin Mishan Alberto Sanchez Linda Chinn Donald R. Mullen Jr. Chairmen Emeriti Timothy Sebunya Henry Christensen III William A. Perlmuth Neil D. Chrisman R. Edward Spilka Pamela A. Codispoti David L. Ramsay, M.D., M.Ed. Seth S. Faison Nora Ann Wallace David E.R. Dangoor Frances A. Resheske Bruce C. Ratner Henry Christensen III, Ex Officio Cheryl Della Rosa Jonathan F.P. Rose Thérèse Esperdy, Ex Officio Dinyar S. Devitre Alan H. Fishman, Ex Officio

BAM Staff

Karen Brooks Hopkins, President Darrell M. McNeill, Associate Ryan Gastelum, Danielle Colburn, Wilbur Alvanza, Building Manager Joseph V. Melillo, Executive Producer, Music Michele Byrd-McPhee, Production Darryl Halickman, Project Manager Producer R. Michael Blanco, DanceMotion Coordinators Markee Glover, Mailroom Clerk USASM, Project Director Yeji Cha, Administrative Coordinator Ron London, Assistant Mailroom Alice Bernstein, Executive Vice Tanya Calamoneri, DanceMotion Quentin Mariano, Liz McGlone, Clerk President USASM, Project Manager Interns Jean Smith, Steve McDowell, Matthew Bregman, Vice President Sophia Shackleton, DanceMotion Building Services Associates for Development USASM, Project Coordinator Stage Crew Alysha Wright, Building Operations Stephanie S. Hughley, Vice Leigh Beaulieu, DanceMotion Thomas Paulucci, Crew Chief Coordinator President of Education & USASM Intern Cyrus Similly, Head Carpenter, OH Humanities Danny Kapilian, Producer, R&B Timothy Fuller, Flyman, OH Building Maintenance Soo Pak, Vice President of Festival, MetroTech James D’Adamo, Head Electrician,OH Anthony Shields, Maintenance Marketing & Communications Steven Serafin, Special Consultant Amy Domjan, Assistant Electrician, Supervisor Keith Stubblefield, Chief Financial & Editor, BAM: The Complete OH Carl Blango, Calvin Brackett, Officer and Vice President of Works Bill Horton Jr., Master of Properties, Ronald Hunter, Maintainers Finance & Administration OH Archives Marc Putz, Sound Engineer, OH Security President’s Office Sharon Lehner, Director of Archives James Kehoe, Head Carpenter, HT Melvin Patterson, Manuel Taveras, Alexandra Siladi, Project Coordinator Sarah Gentile, Digital Project John Manderbach, Head Supervising Attendant Guards Grace Eubank, Administrative Archivist Electrician, HT Kenneth Aguillera, Collie Dean, Assistant Louie Fleck, Archives Coordinator Edward Donohue, Master of Senior Attendant Guards Ryan Evans, Joseph Bradshaw, Properties, HT Marlon Desouza, Felix Jusino, BAM Rose Cinemas Karyn Anonia, Processing Archivists Alison Dabdoub, Sound Engineer, HT Kevin Lemon, Teonia Smith, Andel Efi Shahar, Cinema Executive Anita Goss, Volunteer Librarian Joe Werner, Assistant Carpenter, HT Thomas, Michael Whyte, Attendant Manager Arielle Cohen, Bree Midavaine, Oscar Gruchalski, Utility Man Guards Michael Katz, Projectionist Interns Richard Wurzbach, Utility Man Adam Goldberg, Assistant Manager Larysa McKenna, Jonna Pressman, Mary Lou Houston, Wardrobe Custodial Services Andreea Drogeanu, Davina Roberts, Volunteers Supervisor Ramon Cabassa, Custodial Anthony Shields Jr., Head Floor Staff Supervisor General Management Artist Services Allan Boyce, Ludlow Chamberlain, BAMcinématek Patrick J. Scully, General Manager Mary Reilly, Director of Artist Services Isaias Flores, Mayra Guillen, Gabriele Caroti, Director Sarah Bierenbaum, Assistant Rachel Katwan, Artist Services Brezhnev Mesa, Ron Rathan, Akeon Nellie Killian, David Reilly, General Manager Manager Thomas, Custodians Programmers Kevin Condardo, GM Budget Stacey Dinner, Artist Services Lisa Thomas, Publicist Manager Coordinator Development Andrew Chan, Marketing Coordinator Molly Rodino, GM Coordinator, Jeannine Baca, Artist Services Individual Giving Jesse Trussell, Programming Budgets & Contracts Representatives William Lynch, Director of Assistant Jaclyn Bouton, Sara Danielsen, Britany Polites, Fisher Representative Leadership Gifts Hannah Thomas, Publicity & Project Managers Barbara Cummings, Director of Marketing Assistant Liana Agredo, Project Coordinator Theater Management Development Michael Hurst, Assistant Morgan Green, Administrative Christine M. Gruder, Theater Manager Glenn Alan Stiskal, Director of Assistant John L. Jones, Associate Theater Major Gifts Artistic Programming Dakota Scott, Intern Manager Gwendolyn Dunaif, Associate Stonie Darling, Department Sonia Clayton, Jacqueline David, Director, Major Gifts & Patron Manager Production Leroy Houston, Theater Staff Programs Ross Marshall, Manager of Artistic Neil Kutner, Director of Production Supervisors Richard Serrano, Research Manager Planning Don Coleman, Production Manager Spider Duncan Christopher, Holly Shen Chaves, BAMart Manager Hannah Rubashkin, Intern Josh Escajeda, Associate BAMbus Manager Ben Lasser, Major Gifts Coordinator Production Manager Elizabeth Sarkady, Administrative Programs & Curatorial Paul Bartlett, Jennifer Grutza, Building Operations Coordinator Nick Schwartz-Hall, Line Producer Audrey Hoo, Dylan Nachand, Cameron Christensen, Director of Travis Calvert, Major Gifts Assistant Amy Cassello, Associate Producer, Elizabeth Moreau, Production Building Operations Catherine Charnov, Major Gifts Next Wave Festival Supervisors Samuel Velez, Security Manager Intern BAM Staff

Membership Education Digital Media Fiscal Katherine King, Director of John P. Tighe, Assistant Director Stephen Litner, Director of Digital Kozue Oshiro, Fiscal & Operations Membership Programs John S. Foster, Education Manager Media Director Sarah Mischner, Membership Eveline Chang, Verushka Wray, Jacob Strauss, Digital Marketing Adam Sachs, Fiscal Manager Manager Program Managers Manager Douglas Fischer, Fiscal Coordinator Bruce Smolanoff, Telefund Victoria Collado, Education Intern Aaron Weibel, Digital Product Manager Coordinator Government & Community Cheryl-Lyn Miller, Membership Humanities Nicholas Breul, Digital Production Affairs Assistant Violaine Huisman, Director of Assistant Tamara McCaw, Director of Jessica Benton, Allison Bodwell, Humanities Benjamin Cohen, Manager of Government & Community Danielle Davenport, Jennifer Molly Silberberg, Humanities Video & Media Production Affairs Douglas, Jahna Ferron-Smith, Coordinator Alexander Guns, Catherine Lee, Dewonnie Frederick, Community Benjamin Gansky, David Alix Rosenfeld, Humanities Intern Video Production Assistants Affairs & Bazaar Coordinator Goldstein, Justin Gray, Kelley Victor Rodriguez, Government & Green, Allie Harris, Kimberly LEAD INSTRUCTORS Marketing Community Affairs Assistant Howard, Samantha Inniss, Joshua Cabat, Young Film Critics Gillian Fallon, Director of Melissa Krzywicki, Stephanie Michael LoMonico, Shakespeare Marketing Human Resources Lane, Jacklyn Lawrence, Anthony Teaches Teachers Raphaele de Boisblanc, Claire Seth Azizollahoff, Director of Marino, Emilie McDonald, Gwendolyn Kelso, Young Frisbie, Marketing Managers Human Resources Rhonda Merrill, Christie Neptune, Shakespeare Robert Wood, Copywriter Jenny Rodriguez, Human Adrienne Reynolds, Matthew Jenny Rocha, Dancing into the Jenny Choi, Copy Editor Resources Manager Savarese, Naomi Schegloff, Future Lily Friedman, Operations Cynthia Smith, Payroll Manager Joshua Smilovitz, Amanda Wilder, Pat Hall, BAM/Restoration Manager Teisha Stallings, Benefits Specialist Stephen Williams, Saarah Zebede, DanceAfrica Coordinator Britt Aronovich, Marketing Analyst Sajal Javid, Recruiting Coordinator Membership Representatives Mo Beasley, Arts & Justice Allison Kadin, Marketing Program Coordinator Information Technology INSTITUTIONAL GIVING Jamie Kraus, Marketing Projects William Allen Lee III, Director of Clemente Luna, Director of TEACHING ARTISTS Coordinator Information Technology Institutional Giving Sarah Abrams, Harold Rhea Daniels, Intern Thomas Brown, Tessitura Bethany Basile, Institutional Akyeampong, Sékou Alájé, Business Manager Giving Manager Jennifer Armas, Melissa Brown, Strategic Marketing Ira Sibulkin, Senior IT Manager Kailin Husayko, Grants Writer Mahogany Browne, Chia-Ti Chiu, Molly Meloy, Director of Strategic Chris Tusciuk, Web Development Kaitlyn McKeon, Institutional Darian Dauchan, Emily Davis, Marketing Manager Giving Coordinator Harris Eisenstadt, Imani Faye, Melanie Cherry, Justin Monsen, Timothy Assam, Systems Anthony Mercado, Intern Kimani Fowlin, Samara Gaev, Marketing Managers Administrator Ingrid Gordon, Lauren Keating, Jessica Goldschmidt, Copywriter Svetlana Mikhalevskaya, Database Corporate Relations Nicole Kempskie, Farai Malianga, Developer Chantal Bernard, Director of Geneva Manley, Hector Morales, Ticket & Customer Services Jason Q. Minnis, IT Project Corporate Relations Kwesi Nkroma, Lauretta Noble, G. Scott Kubovsak, Director of Manager Gwendolyn Pointer, Director, LeeAnet Noble, Gene Osborne, Ticket Services Matthew Taylor, Web Developer Corporate Sponsorships/New Pamela Patrick, Baba Wali Royda C. Venture, Ticket Services John Roshen, Jersy Rodriguez, Business Development Rahman, Mike Ramsey, Gwenyth Manager Network Analysts Mimi Meserve, Manager, Corporate Reitz, Najee Ritter, Victor Sanchez, Giovanny Lopez, Ticket Services Susan Bishop, Administrative Relations Robby Stamper, Rohiatou Siby, Coordinator Coordinator Mariam Rahmani, New Business Elizabeth Simmons, Karen Latasha McNeil, Assistant Manager Lucas Austin, Assistant Desktop Development Coordinator Thornton-Daniels, Leese Walker, Ryan Mauldin, Senior Ticket Analyst Rebecca Carew, Sponsorship Adia Whitaker Services Representative Assistant Brandii Banks, Anaïs Blin, Marketing & Monique Davis, Robert Ebanks, Audience Research & Analysis Patron Services Communications Miranda Gauvin, Joya Harris, George A. Wachtel Ramzi Awn, Director of Patron Box Office Sindy Jean, Katora Matthews, Services Fred Dorso, Treasurer Edgar Mendoza, Warren Ng, Elsie Bookseller Michael Kendrick, Manager of Marsha Rosenberg, First Assistant Pacella, Shanice Tulley, Noel Vega, Greenlight Bookstore Patron Services & Donor Relations Treasurer Althea Wilkinson, Ticket Services Jessica Hindle, Patron Services Kevin McLoughlin, Charlie Dolce, Representatives European Production Coordinator Russell Grier, Victor Jouvert, Representative Samantha Duffy, Patron Services Assistant Treasurers Finance & Administration On Tour Ltd., Roger Chapman Assistant Finance & Administration Rachel Cordeiro-Perez, Intern Publicity Ellen Leszynski, Administrative Film Buyer Sandy Sawotka, Director of Coordinator Adam Birnbaum Special Events Publicity Margaret Breed, Director of Joe Guttridge, Associate Director Finance Immigration Counsel Special Events of Publicity Brian Herrin, Controller Jonathan Ginsburg, Fettman, Marissa Neiman, Special Events Susan Yung, Publications Manager Tameka White, Accounting Tolchin and Majors, PC Manager Adriana Leshko, Sarah Garvey, Manager James Vause, Special Events Publicity Managers Claudia Bailey, Budget Manager Insurance Broker Coordinator David Hsieh, Monica Ortiz Rossi, Samuel Grello, Accounts Dewitt Stern Jessica Hackett, Paloma Wake, Publicists Receivable Coordinator Special Events Assistants Lauren Morrow, Publicity Assistant Brian Gee, Accounting Associate Legal Counsel James Sutton, Publications David McCullough, Accounts Ronald E. Feiner PC Endowment & Planned Assistant Payable Administrator Giving Medical Consultants Denis Azaro, Endowment & Design Special Projects Ahmar Butt, MD; Anders Cohen, Planned Giving Director Clara Cornelius, Director of Design Jeremy Dewey, Director, Project MD Alexandra Biss, Board Relations Adam Hitt, Patrick Morin, Senior Management Coordinator Designers Katie Dixon, Director, Special Restaurateur Ryan Rowlett, Senior Interactive Projects Great Performances Education & Humanities Designer Shana Parker, Director of Katie Positerry, Interactive Capital Projects 9.15.13 Operations for E&H Designer Jonathan Jones, Director, Capital Jennifer Leeson, Operations Casey Cleverly, Design Studio Projects Manager for E&H Coordinator Matthew Baclini, Capital Projects Nathan Gelgud, Box Office Michelle Angelosanto, Designer Analyst Manager Gen O’Keefe, Mariela Morel, Carl Gillen, Capital Projects Cathleen Plazas, Internship Interns Manager Coordinator Laura Grady, Capital Projects Tamar MacKay, Rebekah Gordon, Coordinator Administrative Assistants