2015 Next Wave Festival SEP 2015

Shinique Smith, Abiding Light, 2015

Published by: Season Sponsor: #BAMNextWave #Antigone

Brooklyn Academy of Music

Alan H. Fishman, Chairman of the Board

William I. Campbell, Vice Chairman of the Board

Adam E. Max, Vice Chairman of the Board

Katy Clark, President

Joseph V. Melillo, Executive Producer Antigone

BAM Harvey Theater Sep 24—26, 29, 30, Oct 1 & 2 at 7:30pm Sep 26 & Oct 3 at 2pm; Sep 27 at 3pm

Running time: one hour and 40 minutes, no intermission

By Sophokles In a new translation by Anne Carson Barbican and Les Théâtres de la Ville de Luxembourg Directed by Ivo van Hove

Set design and lighting by Jan Versweyveld Costume design by An d’Huys Video design by Tal Yarden Dramaturgy by Peter van Kraaij Composition and sound design by Daniel Freitag

Season Sponsor:

Produced in association with Toneelgroep Amsterdam BAM proudly dedicates this engagement to the memory of the late Rina Anoussi—the Travel Agent to the Stars. Rina was a beloved friend and Co-produced by Edinburgh International Festival, loyal supporter of BAM for over three decades. Théâtre de la Ville—Paris and Ruhrfestspiele Recklinghausen Major support for theater at BAM provided by: The Francena T. Harrison Foundation Trust Donald R. Mullen Jr. World premiere—Luxembourg, Feb 25, 2015 The Morris and Alma Schapiro Fund The SHS Foundation The Shubert Foundation, Inc. Antigone

CAST Antigone Juliette Binoche Guard/Chorus Obi Abili Ismene/Chorus Kirsty Bushell Haimon/Chorus Samuel Edward-Cook Teiresias/Chorus Finbar Lynch Kreon Patrick O’Kane Eurydike/Chorus Kathryn Pogson Body of Polyneikes/Boy Nathaniel Jackson

CREATIVE TEAM Director Ivo van Hove Set and lighting Jan Versweyveld Dramaturg Peter van Kraaij Video Tal Yarden Composition and sound Daniel Freitag Costumes An d’Huys Assistant director Jeff James Second assistant director Thierry Mousset Assistant set designers Ramon Huijbrechts, James Turner Assistant lighting designer Richard Beaton Casting director Joyce Nettles Voice Patsy Rodenburg Photography assistant Sjoerd Knibbelaar

The actors are appearing with the permission of Actors’ Equity Association. The American Stage Manager is a member of Actors’ Equity Association. Photo: Jan Versweyveld Antigone—Director’s Note

The unanswered question The dead were left in an open field, rotting in the —how to get to the dark burning sun for over a week. The whole world saw this as an act of barbarity. Once the bodies soul of Antigone were recovered and brought to the Netherlands for identification, the Dutch government arranged by Ivo van Hove a convoy of hearses in a 100km burial proces- sion. This was a civilized and humane response, Antigone, by Sophokles, tells the ancient story of a mark of respect to the victims. one of Oidipous’ daughters, who refuses to follow the orders of her uncle Kreon, the new Head of Antigone goes on a long, solitary road towards State. death. Scene by scene she cuts herself loose: from her sister, who won’t help with their Kreon has ordained that Antigone’s brother Poly- brother’s burial; from Polyneikes; from the love neikes, who, along with their brother Eteokles of her fiancé Haimon; from Kreon’s policy; and, has just died in a cruel civil war, should not be as an inevitable consequence, from society. “I’m allowed a burial because he is a traitor. a strange new kind of ‘inbetween thing’ aren’t I/ not at home with the dead nor with the living,” A war of words begins with short but razor sharp she concludes. scenes between Antigone and Kreon: an exhaus- tive, long, bitter but also passionate discourse In a horrifying, magical scene she sees herself in of opposing views on how to treat the dead, her brother’s tomb, which in her mind becomes especially when they are deemed an enemy of a bridal chamber. She imagines an emotional the state. reunion with her father, mother, and brother. Kreon imprisons her in a cave, buried alive “with Antigone states: “I am someone born to share in a bit of food... no doubt if she prays hard the love not hatred.” Kreon counters: “If a man puts gods of death will save her life.” But Antigone family or friend ahead of fatherland I count him has nothing and nobody to live for. She can’t absolutely good for nothing.” Antigone is driven transform her grief into something positive. Her by an emotional urge to bury her brother. Kreon journey leads to self-destruction. There is nothing places good citizenship above all else. left other than to stage her own death, execute the ultimate control. Her life becomes meaning- To understand Antigone’s deeds, we need to re- ful by ending it. turn to Sophokles’ Oidipous at Kolonos, in which Antigone and her sister Ismene take care of their And what about Kreon? The play starts the day aging father, who has been exiled from Thebes. after a cruel civil war with many casualties, pro- His sons are to alternately rule Thebes every voked by Polyneikes and Eteokles. Also, Kreon’s other year but after his inaugural year Eteokles eldest son has just died. It is clear that the old refuses to relinquish the throne to Polyneikes. city of Thebes, a society based on blood ties, has been disastrous and destabilizing. But instead A brutal war between the brothers ensues. For of mourning, Kreon does something positive to the sisters the situation is desperate: their mother stop the atrocities; he tries to create structure, a killed herself, their father is dying and their broth- society based on clear laws, on citizenship. He ers kill each other. Antigone is in deep mourning. wants the citizens of Thebes to live in safety. Caught in this cruel tragedy, she can’t see or enjoy beauty and has no sense of a future. She follows her impulse to take care of her brother’s Before becoming king, Kreon was involved in the body. For her, all human beings are equal and, military operations of Thebes. Now he wants to even if Polyneikes was wrong, the dead should run the city as if it is an army. His strategic plan be respected. is based on the rule, “you are with us or against us.” Those who disobey should be punished. He The dilemma of dealing with Polyneikes’ body thinks purely in logical and hierarchical terms. As became a terrifying reality recently when Ma- a politician he has a new vision but old methods, laysia Airlines Flight 17 was shot down over a successful in an army but which fall short in Ukrainian war zone. governing a society. Antigone

Kreon is his own worst enemy. He sees the value Thebes. She is “too extreme.” They turn their of citizenship but not of individual citizens. He back on her. But, as they are only human, unrest wants to be the enlightened king of Thebes but lingers. They remind Kreon that he too is only ends a broken man, alone in the world with no human and the gods could turn against him. public position and no family. When Teiresias, the prophet of Thebes, enters, Both Antigone and Kreon are unable to develop they stay silent. They know he only comes meaningful leadership. A leader must value when there is a real problem and that he always the wellbeing of his city or country as well as speaks the truth. And, what the Chorus daren’t religious laws. A real democracy should allow its say or even think, he says to Kreon: “The cause citizens to fulfill religious duties towards family is you.” After the imprisonment of Antigone, without colliding with the laws of society. and Teiresias’s warning, they come to a new conclusion: “take advice... set the girl free bury What makes Antigone a drama of epic scale the boy.” is the Chorus, who comprise senior advisers to the king, while also representing the people But the catastrophes are unstoppable and of Thebes. They cover the whole intellectual Kreon’s efforts to turn around his punishments and emotional scope of the main characters come too late. By the end of the play his wife, in the play. The Chorus listens to what Kreon, Eurydike, and two sons are dead. Like Antigone, Antigone, and others tell them and adapt their Kreon is “alone on his insides.” He has been point of view accordingly. They are empathic, driven by a sincere ambition to turn Thebes, his they don’t hide when they are moved or horrified. beloved city, into a better place and has failed. They are the way people should be. They can In every scene he is given the chance to adjust be critical, neutral, mad, or sad. But one thing his law but he can’t. His inflexibility leads to his they are not: hypocrites. Their journey starts with downfall. complete support for the new political views of Kreon. When Antigone enters, they immediately Antigone develops from a play about a brutal empathize, “o you poor awful child of poor war into a play about politics and public policies awful Oidipous.” After the intense discourse and ends as a play about the helplessness of between Antigone and Kreon, and later Ismene, humans, lost in the cosmos. It is a play about the Chorus starts to broaden their picture and survival: not the survival of an individual or a awareness. family, but of a whole society, perhaps even the world. The play is ambivalent and dark, modern They tell Kreon the gods are responsible for this and mythical, leaving one with more questions carnage. They judge Antigone harshly, claim- than answers. ing she disrespected the gods and the laws of

MUSIC

“Durations II” by Morton Feldman used by permission of C.F. Peters Corporation.

“My Heart’s in the Highlands” by Arvo Pärt, used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner.

“Quasi una Fantasia, Quartet No. 2, Op. 64 (1990-1): I. Largo” by Henryk Gorecki, by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.

“String Quartet 15 II. Elegie” by Dmitri Shostakovich, by arrangement with G. Schirmer, INC. publisher and copyright owner.

“Trois Danses: Deuils” by Jehan Alain, by arrangement with G. Schirmer, INC. publisher and copyright owner.

Music clearance: BZ/Rights and Permissions, Inc. Antigone

ANTIGONE PRODUCTION TEAM EXECUTIVE PRODUCERS

FOR THE BARBICAN FOR THE BARBICAN Technical Director Simon Bourne Producers Toni Racklin, Jill Shelley Tour Production Manager Will Knapp Tour Producers Trevor Carlson, Marie Curtin Production Administrator Anna Paschali Theatre Administrator Alex Jamieson Costume Supervisor Jane Dickerson Media Relations Manager Angela Dias Lighting Programmer Marcus Krömer Media Relations Consultant Bridget Thornborrow Company Manager Tim Speechley Media Relations OfficerFreddie Todd Fordham Deputy Stage Manager Emily Porter Senior Marketing Manager Ben Jefferies Assistant Stage Manager Alexandra Isaacs Marketing Executive Izzy Madgwick Lighting Operator Stevie Porter Marketing Assistant Martha Quigley Sound Operator Neil Sowerby Video Operator Gilbert Roper FOR LES THÉÂTRES DE LA VILLE DE Audio/Video Technician Angela Di Tomaso LUXEMBOURG Stage Technicians Tony Crawford, Producers Frank Feitler, Tom Leick-Burns Jamie Massey, Martin Morgan Administrator Daphne Seale Wardrobe Supervisor Rebecca Rees Hair and Make-up Artist Martina Luisetti CO-PRODUCERS

FOR TONEELGROEP AMSTERDAM FOR THÉÂTRE DE LA VILLE–PARIS Technical Director Götz Schwörer Director Emmanuel Demarcy-Mota Production Manager Edith den Hamer Administrator Michael Chase First Technician Daan van Oene Sound Technician Timo Merkies FOR RUHRFESTSPIELE, RECKLINGHAUSEN Video Technician Karl Klomp Artistic Director Dr. Frank Hoffman

FOR LES THÉÂTRES DE LA VILLE DE FOR EDINBURGH INTERNATIONAL FESTIVAL LUXEMBOURG Festival Director Fergus Linehan Technical Director Max Kohl Planning Director Roy Luxford Wardrobe, Make-up & Props Coordinator Michelle Bevilacqua IN ASSOCIATION WITH TONEELGROEP Props Fred D’Angelo AMSTERDAM General Director Ivo van Hove American Stage Manager R. Michael Blanco Associate Artistic Director Wouter van Ransbeek

WITH THANKS TO Susan Hegarty for speech and dialect coach, Wende Snijders, Ayumi Paul for viola playing, Stephen Claypole, MAC Cosmetics, and BBC Arts

MAKE-UPPROVIDED B

Workshop for scenography by Kloosterboer-decor, Timmerwerkplaats, Eddy van Gelder, and Levtec 7 Who’s Who

JULIETTE BINOCHE (Antigone) David Cronenberg’s Cosmopolis; a painter in French actress Juliette Binoche was born in Words and Pictures, in which she co-starred Paris. The daughter of a sculptor/theater director with Clive Owen; a war photographer in A and an actress/director, she studied acting at the Thousand Times Goodnight; and most recently, National School of Dramatic Art of Paris. an actress in Clouds of Sils Maria, directed by Binoche first earned recognition in 1984 for Olivier Assayas, with whom she also worked on her performance in Jean-Luc Godard’s Je Vous Summer Hours in 2008. Her two most recent Salue, Marie. Her reputation was consolidated films, Isabel Coixet’s Nobody Wants the Night, with an acclaimed appearance in André which opened the 2015 Berlin Film Festival, Téchiné’s Rendez-Vous and she went on to and Piero Messina’s The Wait, are about to be gain international recognition when she played released. Binoche’s first theater appearance Tereza in Philip Kaufman’s The Unbearable was in 1984 when she played Nina in The Lightness of Being in 1988. She was cast in Seagull, directed by Andrei Konchalowski at the a lead role in Leos Carax’s Mauvais Sang and Odéon in Paris. She made her London theater subsequently appeared in his Les Amants du debut in Pirandello’s Naked, at the Almeida Pont-Neuf. In 1992 Binoche played opposite Theatre in 1997, directed by Jonathan Kent. In Jeremy Irons in Louis Malle’s Damage and the 2000 she made her Broadway debut in Pinter’s following year appeared in Krzysztof Kieslowski’s Betrayal, directed by David Leveaux. In 2008 Three Colours: Blue, for which she won Best she collaborated with choreographer Akram Actress at the Venice Film Festival. In 1996 she Khan on in-i at the National Theatre and BAM earned further international recognition for her (2009) and in 2012 appeared in Strindberg’s role in Anthony Minghella’s The English Patient, Mademoiselle Julie, directed by Frédéric Fisbach, winning the Oscar for Best Supporting Actress. at the Barbican. This was followed by a second collaboration with Téchiné on the romantic drama Alice et OBI ABILI (Guard/Chorus) Martin; an appearance opposite Daniel Auteuil Obi Abili graduated from RADA. His theater in Patrice Leconte’s The Widow of Saint-Pierre credits include leading roles in Taking Part and a collaboration with filmmaker Michael (Criterion Theatre); Play House (The Orange Haneke, Code Unknown. In 2000 Binoche gave Tree); Sixty-Six Books (Bush Theatre); Six a captivating performance in the art-house film Degrees of Separation (Old Vic); Dido, Queen Chocolat, which was an international runaway of Carthage (NT); The Brothers Size (Young Vic/ hit, and for which she was nominated for best ATC); Angels in America (Lyric Hammersmith/ actress awards around the globe. Following a Headlong Theatre); Fabulation and Darfur: How lighthearted performance opposite French icon Long is Never (Tricycle); and Titus Andronicus Jean Reno in the romantic comedy Jet Lag she (Shakespeare’s Globe). Abilii’s film credits appeared with American star Samuel L. Jackson include Matthew Cullen’s London Fields; Ed in John Boorman’s political drama In My McGown’s The Rules of the Game; Jeroen Country. This was followed by Bee Season with Leinders’ Tula, The Revolt; Marc Forster’s World Richard Gere, Anthony Minghella’s Breaking and War Z; and Michael Hoffman’s Gambit. His Entering opposite Jude Law, Michael Haneke’s television credits include Quirke, Strikeback II, Cache, Abel Ferrara’s Mary opposite Matthew Injustice, Nativity, Foyle’s War, The Take, Moses Modine and Forest Whitaker, and A Few Days Jones, Kingdom, Ten Days to War, Life is Wild, in September opposite John Turturro. She has and Afterlife. recently worked with many talented directors from around the world including Hou Hsiao- KIRSTY BUSHELL (Ismene/Chorus) Hsien, Le Voyage du Ballon Rouge in 2007; Kirsty Bushell’s theater credits include The White Amos Gitaï, Désengagement, also in 2007; Devil, The Comedy of Errors, Twelfth Night and Abbas Kiarostami, Certified Copy in 2010; The Tempest (Royal Shakespeare Company); and Malgoska Szumowska, Elles in 2011. Edward II, 13, Edgar and Annabel, There is a Binoche continued her French film career with War, Danton’s Death, Voysey Inheritance, and Cédric Klapish’s Paris; Sylvie Testud’s acclaimed Two Gentleman of Verona (NT); The Big Meal comedy, La Vie d’une Autre; Marion Laine’s (High Tide, Bath), Disgraced, and Two Thousand romantic drama Á Coeur Ouvert, and the much Feet Away (Bush Theatre); I Know How I applauded Camille Claudel 1915, directed by Feel About Eve and Belongings (Hampstead Bruno Dumont. She played an art dealer in Theatre); A Thousand Stars Explode in the Sky Who’s Who

and Don Juan (Lyric Hammersmith); Angels appeared in television shows including Foyle’s in America (Headlong); Twelfth Night (Filter); War, The Musketeers, Silk, Breathless, Game Plenty, A Comedy of Errors, Girl in a Goldfish of Thrones, D.C.I. Banks, and Waking the Bowl, Fen, and Far Away (Sheffield Theatres); Dead. Lynch’s film credits include Suffragette, Serious Money (Birmingham Rep); Pornography Departure, Child 44, Richard the Second, The (Tricycle); Testing the Echo, Blue Heart (Out Numbers Station, Matilde, To Kill a King, The of Joint); The Seagull (Northampton, Royal & Lost Battalion, King Lear, and A Midsummer Derngate); The Importance of Being Earnest Night’s Dream. (Watermill); The Suppliants (The Gate); and An Inspector Calls in the West End. On television, PATRICK O’KANE (Kreon) she has appeared in Silk, Frankie, True Love, O’Kane’s theater work includes: War Horse, Silent Witness, Injustice, FM, Law and Order, Scenes from the Big Picture, Closing Time, EastEnders, Pornography, Pulling, Talk to Me, The Playboy of the Western World, Peer Gynt, Midsomer Murders, Family Man, Life Isn’t All Ha Romeo and Juliet (NT); Macbeth (RSC), 16 Ha Hee Hee, and Roger Roger. She has been Possible Glimpses, Medea, The House; Observe in the films Women and Children and Really. the Sons of Ulster Marching Towards the Bushell trained at LAMDA. Somme, The Plough and the Stars, Hamlet, As the Beast Sleeps (Irish Times Award, Best SAMUEL EDWARD-COOK (Haimon/Chorus) Supporting Actor), and Quietly (UK Theatre Samuel Edward-Cook trained at RADA. His Award, Best Actor; Off West End Award, Best theater credits include Pitcairn (Chichester Actor; Stage Award, Best Actor—Edinburgh Festival Theatre/Shakespeare’s Globe/Out of Festival/ Abbey Theatre); The Strip, Trust (Royal Joint), Titus Andronicus (Shakespeare’s Globe), Court); Dr. Faustus, A Whistle in the Dark, Shoot Our Big Land (Romany Theatre Company/UK the Crow, Unidentified Human Remains, The Tour), King Lear (Theatre Royal Bath), Glory True Nature of Love, Julius Caesar, Miss Julie, Dazed (Edinburgh Festival/Adelaide Festival/Soho Donny Boy (Royal Exchange Theatre); Sweet Theatre), and Boys (Headlong/HighTide/Nuffield). Bird of Youth, Edward II, Lulu, 1953 (Citizens He has appeared in the television shows Beowulf, Theatre, Glasgow); Popcorn (Nottingham Peaky Blinders, Land Girls, and Doctors and in Playhouse, West Yorkshire Playhouse, West films including Passenger and Magwitch. End); The Grapes of Wrath, The Three Musketeers, Insignificance (CrucibleTheatre, FINBAR LYNCH (Teiresias/Chorus) Sheffield); The Postman Always Rings Twice Finbar Lynch’s theater credits include The (West Yorkshire Playhouse); The Crucible, Cat Silence of the Sea (Trafalgar Studios); Desire on a Hot Tin Roof (Lyric Theatre, Belfast); Ashes Under the Elms, The Big Fellah (Lyric to Ashes, Cold Comfort (Prime Cut Productions); Hammersmith); The Fairy Queen (Opéra Titanic (MAC, Belfast); The Crucible (Regent’s Comique Paris, BAM, Glyndebourne); The Park Open Air Theatre); and Volunteers (Gate Duchess of Malfi, Dancing at Lughnasa (The Theatre). Films: Prometheus, Perkins 14, Old Vic); The Fastest Clock in the Universe, Exorcist–The Beginnings, Charlotte’s Red, Three Sisters on Hope Street (Hampstead Stealing Rembrandt, Octane, and Brilliance. Theatre); A Doll’s House, Love’s Labour’s Lost, Television: Jamaica Inn, Strike Back, Game Portrait of a Lady (The Peter Hall Company); of Thrones, The Borgias, The Fall, Vera, New The Hothouse, Antony and Cleopatra, King Lear Tricks, Holby Blue, Five Days, Waking the Dead, (NT); Not About Nightingales (NT/Broadway); Holby City, Holy Cross, A Rap at the Door, As The Tempest, Measure for Measure, Coriolanus, the Beast Sleeps, Any Time Now, Gunpowder The Alchemist, The Virtuoso, Amphibians, Treason, Plot, and Wire in the Blood. O’Kane A Woman Killed with Kindness, The Two is a NESTA Fellow and his book Actors’ Voices Gentlemen of Verona, and two productions of is published by Oberon Books. He has been an Julius Caesar (RSC); A Midsummer Night’s associate artist with Nottingham Playhouse and Dream (RSC/Broadway); As You Desire Me Prime Cut Productions, for whom he directed The (Playhouse, London); The Birthday Party Trestle at Pope Lick Creek. (Duchess, London); Hecuba, To the Green Fields Beyond, Translations, Fool For Love (Donmar KATHRYN POGSON (Eurydike/Chorus) Warehouse) and A Moon for the Misbegotten Kathryn Pogson has played leading roles at the (Royal Exchange); among many others. He has Royal Court, in the West End, and at many of Who’s Who

London and the country’s major theaters. Pogson and the US. Carson has recently translated The was the first British actress to win an OBIE Bakkhai, which will be produced in London in (Public Theatre, New York) for her creation of the summer of 2015. Classic Stage Company the character Lemon in Aunt Dan and Lemon, has produced three of Carson’s translations— and the original performer in many classic pieces Aeschylus’s Agamemnon, Sophocles’ Electra, of English theater including Masterpieces, The and An Oresteia (from Euripides’ Orestes)—in Lucky Chance (Aphra Behn revival) and the repertory. Carson’s works include Autobiography groundbreaking Arbor, all at the Royal Court. She of Red; Red Doc>; Antigonick; If Not, Winter: played Ophelia for Jonathan Miller and leading Fragments of Sappho (translation); The Beauty roles for the RSC. On television she has appeared of the Husband; Men in the Off Hours; Economy in Midsomer Murders, Foyle’s War, The Last of the Unlost; Plainwater: Essays and Poetry; of the Blonde Bombshells, The Bill, Eskimo Glass, Irony and God; Eros the Bittersweet: Day, Family Money, Reckless, and Heartbeat. an Essay; Decreation: Poetry, Essays Opera; Pogson has appeared in the films The Company and Grief Lessons: Four Plays by Euripides of Wolves, The Arbor, The Life Class, The Last (translation). She is a MacArthur Fellow; she has Hangman, Breakfast on Pluto, A Hartley Story, received the Lannan Prize, the T.S. Eliot Prize, Millions, Pure, and Brazil. Pogson trained at the Pushcart Prize, the Griffin Poetry Prize (twice- Drama Centre and is the director of the London awarded), and was an Anna-Maria Kellen Fellow Dramatic Academy of Fordham University. at the American Academy in Berlin, Germany.

NATHANIEL JACKSON (Body of Polyneikes/Boy) IVO VAN HOVE (Director) Nathaniel Jackson is a New York City based Ivo van Hove has been general director of the actor originally from Port Huron, MI. He earned Toneelgroep Amsterdam since 2001. His credits his BFA from Western Michigan University, for Toneelgroep Amsterdam include Kings of studied Lecoq technique at Arts University War, The Fountainhead, Long Day’s Journey Bournemouth, and has studied improv at the into Night, Scenes from a Marriage, The Miser, Uprights Citizens Brigade Theatre. Previous Children of the Sun, Othello, Teorama, Summer credits include Whatever Happened to Gloomy Trilogy, Antonioni Project, Cries and Whispers Gus (Meyer) at the Victory Gardens Theatre, (2011 Next Wave), The Human Voice, Rocco Small Wars (Aiden) in the Communal Spaces and His Brothers, Angels in America (2014 Next Festival, and Spats (Smith/Zealot) in the Samuel Wave), and Roman Tragedies (2012 Next Wave). French Off-Off Broadway Festival. You can also Other theater credits include Strange Interlude see him in such indie films as Young, Landing and Ludwig II (Münchner Kammerspiele); Up, and The Day Job. He would like to thank his Edward II and The Misanthrope (Schaubühne, lovely family for all of their support. Berlin); The Little Foxes, Hedda Gabler, and A Streetcar Named Desire (New York Theatre CREATIVE TEAM Workshop); The Lady of Camellias and The Miser (Schauspielhaus, Hamburg); and the Young Vic, ANNE CARSON (Translation) West End, and Broadway production of A View Anne Carson is a poet, essayist, translator, from the Bridge, for which he was awarded the playwright, and classicist. With her background 2015 Olivier Award for Best Director. Among in classical languages, comparative literature, the operas he has directed are Brokeback anthropology, history, and commercial art, Mountain (Teatro Real, Madrid); The Clemency Carson blends ideas and themes from many of Titus and Idomeneo (La Monnaie Opera, fields. She frequently references, modernizes, Brussels); Mazeppa (Komische Oper, Berlin); and translates Greek mythology, and has Verdi’s Macbeth (L’Opera de Lyon); Iolanta and published more than a dozen books, all of The Makropulos Case (De Nederlandse Opera); which blend the forms of poetry, essay, prose, and Lulu and Wagner’s The Ring Cycle (Flemish criticism, translation, dramatic dialogue, Opera). In film and television, Van Hove has fiction, and non-fiction. Carson’s translation of worked on Amsterdam and Home Front, among Sophokles’ Antigone received its world premiere others. From 1998–2004, Van Hove was artistic at Les Théâtres de la Ville de Luxembourg, in director of the Holland Festival. He was made collaboration with the Barbican in London, Chevalier dans l’Ordre des Arts et des Lettres in starring Juliette Binoche and directed by Ivo van France in 2004. Hove; this production tours throughout Europe Who’s Who

JAN VERSWEYVELD (Set and Lighting) TAL YARDEN (Video) Jan Versweyveld has been head of scenography Tal Yarden is currently designing video for and regular designer for Toneelgroep Amsterdam Indecent (Yale; La Jolla) and Lazarus (New York since 2001. Credits for Toneelgroep Amsterdam Theater Workshop). Recent designs include include Kings of War, The Fountainhead, Kings of War, The Fountainhead (Toneelgroep Long Day’s Journey into Night, Scenes from Amsterdam); Between Worlds (ENO); La a Marriage, Husbands, Children of the Sun, Clemenza de Tito (La Monnaie); and Brokeback Theorem, Summer Trilogy, Antonioni Project, Mountain (Teatro Real). Previous projects Cries and Whispers, The Human Voice, include Der Schatzgräber (De Nederlandse Rocco and His Brothers, Angels in America, Opera); Mazeppa (Komische Oper, Berlin); and Roman Tragedies. Other theater includes Macbeth (Opéra de Lyon); Ludwig II (Münchner Strange Interlude and Ludwig II (Münchner Kammerspiele); Edward II, The Misanthrope Kammerspiele); Edward II and The Misanthrope (Schaubühne, Berlin); Idomeneo (La Monnaie); (Schaubühne, Berlin); The Little Foxes, Hedda POP! (Yale); Husbands, The Russians, Children Gabler, and A Streetcar Named Desire (New of the Sun, Cries and Whispers, Antonioni York Theater Workshop); The Lady of Camellias Project, Angels in America, Mourning Becomes and The Miser (Schauspielhaus, Hamburg); Electra, Roman Tragedies (Toneelgroep and for the Young Vic, West End, and Broadway, Amsterdam); and Wagner’s Ring Cycle (Vlaamse A View from the Bridge. Versweyveld has worked Opera). He has also worked in theaters in on operas including Brokeback Mountain America, and created many projects for corporate and Boris Godunov (Teatro Real, Madrid); La clients and famous pop music stars. Yarden is Clemenza di Tito and Idomeneo (La Monnaie also directing Kaycee Project, a documentary Opera, Brussels); Mazeppa (Komische Oper, about sheep ranchers in Wyoming, and is a Berlin); Verdi’s Macbeth (Opéra de Lyon); Iolanta technical consultant for the new Performing Arts and The Makropulos Case (De Nederlandse Center at the World Trade Center. Opera); and Lulu and Wagner’s The Ring Cycle (Flemish Opera). Dance credits include Rain, DANIEL FREITAG (Composition and Sound) Love Supreme, Small Hands, Just Before, and Musician and composer Daniel Freitag started Drumming (Rosas, Brussels). writing and playing music at a young age, and studied musicology, media studies, and PETER VAN KRAAIJ (Dramaturg) the history of art in Marburg and Berlin. His Peter van Kraaij joined Ivo van Hove’s first theater credits include Miss Julie for Thomas theater company Akt while still in drama school Ostermeier (Theatre of Nations, Moscow), where in Brussels during the early 1980s. He has he produced the music with Nils Ostendorf, and worked as a director at Kaaitheater in Brussels, then An Enemy of the People (Schaubühne, where he staged 20th-century plays by James Berlin), producing with Malte Beckenbach. Joyce, T.S. Eliot, Heiner Müller, and Bernard- In France, Freitag created the music and Marie Koltès, and made Vinaya, his first feature multichannel sound design for the award- film collaborating with Josse De Pauw. He has winning production Little Eyolf, directed by also worked as a screenwriter for Dorothée Jonathan Châtel, and Trafic (Theatre d’Amiens, Van den Berghe (Girl and My Queen Karo) Theatre La Colline Paris, directed by Daniel and written and directed his own plays The Jeanneteau and Marie-Christine Soma). He also Blacksmith’s Son, Sittings, and Trinity Trip. In collaborates regularly with the directors Christoph 2007 he joined Toneelgroep Amsterdam as the Mehler and Juliane Kann. Freitag first worked company’s dramaturge working on several of Van with Ivo van Hove in 2010 on The Misanthrope Hove’s most acclaimed productions, including at the Schaubühne, Berlin, followed by Never Angels in America, Cries and Whispers, and Apart, Husbands, and Strange Interlude, in After the Rehearsal/Persona, Children of the which he also appeared on stage. In 2014 he Sun, and recently Ayn Rand’s The Fountainhead. created the soundtrack for Van Hove’s Maria Apart from his work with Van Hove, he also Stuart at the Toneelgroep Amsterdam, arranging collaborated with directors such as Luk Perceval music written by Susato, Bach, and Schubert for and Simon Stone. In 2013 Van Kraaij published analogue synthesizers. He is currently working his first novel Wat Rest (What Remains). on a solo album, which will be released in 2015. AN D’HUYS (Costumes) His credits include Opening Night, Angels in An D’Huys has worked as a costume America, Roman Tragedies, Cries and Whispers, designer since 1988 and is part of the Ann Antigone, After the Rehearsals, Persona, The Demeulemeester design team. Her theater credits Fountainhead, and many others. Huijbrechts include Three Sisters, Poquelin, Summerfolk, also guest lectures on set design at the Art Nora, and The Marx Sisters (TG Stan, Antwerp); Academy in Amsterdam. Othello, Opening Night, Children of the Sun, The Fountainhead, and Medea (Toneelgroep JAMES TURNER (Assistant Set Designer) Amsterdam); The Misanthrope (Schaubühne, James Turner trained on the Motley Theatre Berlin); Die Walküre, Siegfried, and Design Course. He won the 2013 Off-West- Götterdämmerung (Flanders Opera, Antwerp); End Award for best set designer for Mercury and for the Young Vic and West End, A View Fur. His credits include Cuddles (59E59, New from the Bridge. Dance credits include Quartet, York/Ovalhouse/UK Tour); The Father (Trafalgar Bitches Brew, and Kassandra (Rosas, Brussels). Studios 2); Donkey Heart (Trafalgar Studios 2/ D’Huys has worked on films including Toto the Old Red Lion); State Red (Hampstead Theatre); Hero directed by Jaco van Dormael and Rosie The Cherry Orchard Parallel Production (Young directed by Patrice Toye. Vic); Honest (Salisbury Playhouse/UK Tour); Toast (Park Theatre); John Ferguson, A Life, The JEFF JAMES (Assistant Director) Sluts of Sutton Drive (Finborough); Mercury Fur Jeff James’ credits as director include Stink (Trafalgar Studios 2/Old Red Lion); The Armour, Foot (The Yard), One for the Road, and Victoria The Hotel Plays (Langham Hotel); Our Ajax, I Station (Young Vic and Print Room). His credits Am a Camera, Execution of Justice (Southwark as associate director include A View from the Playhouse); MilkMilkLemonade (Oval House); Bridge (Young Vic and West End) and The Goodnight Children Everywhere (Drama Centre Changeling (Young Vic). As assistant/staff London); Cause Célèbre (Central School of director, James has worked on productions Speech and Drama); Strong Arm, That Moment including Blurred Lines, Edward II (NT), (Underbelly, Edinburgh); Thrill Me (Tristan Bates/ Stiller (Residenztheater Munich), Uncle Vanya Charing Cross Theatre/C Venues, Edinburgh); (Chichester Festival Theatre), Fabrication (Print Plain Jane (Royal Exchange Studio); No Wonder Room), and Macbeth (Globe). (Library Theatre); and A Man of No Importance (Union Theatre/Arts Theatre). Recent work as THIERRY MOUSSET (Second Assistant Director) associate designer includes: A View from the While studying at the University of Cambridge Bridge (West End/Young Vic), An Intervention and Sciences Po Paris, Thierry Mousset worked (Watford Palace/Paines Plough), and Jumpers for for several years as assistant director at Les Goalposts (Bush Theatre/Paines Plough). Théâtres de la Ville de Luxembourg. He directed Frank Wedekind’s Spring Awakening in 2013 R. MICHAEL BLANCO (American Stage and Così fan tutte in San Marino in the same Manager) has been the stage manager at BAM year. He was a trainee director working under for Karole Armitage’s The Predator’s Ball; Dmitri Tcherniakov at the Festival d’Aix-en- Jonathan Miller’s St. Matthew Passion and Così Provence, and an intern for the world premiere fan tutte; Playing Shakespeare USA with John of Toshio Hosokawa’s The Raven. In 2014, Barton; Sydney Theater Company’s White Devil Mousset worked as an assistant dramaturg at and Hedda Gabler; Donmar Warehouse’s Uncle La Monnaie opera house in Brussels. His most Vanya/Twelfth Night; the RSC’s Don Carlos, recent project is Another Winter, a new opera A Midsummer Night’s Dream, and Hecuba; directed by Denis Marleau for LOD muziektheater Watermill/Propeller’s Merchant of Venice; in Ghent, which opened in May 2015. Vesturport Theatre’s Metamorphosis and Faust: A Love Story; the Young Vic’s A Doll’s House; RAMON HUIJBRECHTS (Assistant Set Designer) Chichester Festival Theatre’s King Lear; Pan Ramon Huijbrechts studied sculpture and then Pan Theatre’s Embers; Théâtre de la Ville’s Six theater design at the Maastricht Academy of Fine Characters in Search of an Author; Royal Arts and Wimbledon School of Arts. He joined Court Theatre’s Not I/Footfalls/Rockaby; Almeida Toneelgroep Amsterdam in 2005 as an assistant Theatre’s Ghosts; and Fugard Theatre/Eric designer, working mainly for Jan Versweyveld Abraham’s A Human Being Died That Night. At and also Katrin Brack and Jan Pappelbaum. the Metropolitan Opera: Kirov Ballet, Bolshoi Who’s Who

Ballet, and Robert Wilson’s Le Martyre de Saint the Théâtres de la Ville have emerged as one of Sebastian. the major European co-producers forging close relationships with renowned companies such ANTIGONE PRODUCERS & CO-PRODUCERS as the English National Opera, the Barbican, Cheek by Jowl, Vlaamse Opera, Deutsches BARBICAN, LONDON Theater Berlin, Münchner Kammerspiele, Wiener A world-class arts and learning organization, Festwochen, and Aix-en-Provence Festival. the Barbican pushes the boundaries of all major Numerous world-class productions such as art forms including dance, film, music, theater, Dido and Aeneas by Sasha Waltz, Two Lips and visual arts. Its creative learning program and Dancers and Space by Robert Wilson, and further underpins everything it does. Over 1.5 Wagner Dream by Jonathan Harvey have had million people pass through the Barbican’s doors their world premiere at the Grand Théâtre. The annually, hundreds of artists and performers are Théâtre des Capucins, a 260-seat proscenium- featured, and more than 300 staff work onsite. arch theater in the city center was placed under The architecturally renowned center opened the same management in 2001 and has since in 1982 and comprises the Barbican Hall; the developed its audience and program. With a Barbican Theatre; The Pit; Cinemas One, Two, powerful infrastructure and warm welcome, the and Three; Barbican Art Gallery; a second gallery Théâtres de la Ville de Luxembourg are doing The Curve; foyers and public spaces; a library; justice to a European capital at the true height of Lakeside Terrace; a glasshouse conservatory its cultural development. conference facilities; and three restaurants. The City of London Corporation is the founder and TONEELGROEP AMSTERDAM principal funder of the Barbican Centre. Toneelgroep Amsterdam (TA) is one of the The Barbican is home to Resident Orchestra, leading ambassadors of Dutch performing art London Symphony Orchestra; Associate in the Netherlands and abroad. With a core Orchestra, BBC Symphony Orchestra; Associate composed of a broad and highly versatile Ensembles the Academy of Ancient Music ensemble of world-famous actors and a team of and Britten Sinfonia; and Associate Producer leading directors, TA is the in-house company of Serious. Artistic Associates include Boy Blue the Amsterdam Stadsschouwburg and performs Entertainment, Cheek by Jowl, Michael Clark on stages worldwide. TA is lead by Ivo van Company, and Deborah Warner. International Hove, who has been instrumental in attracting Associates are Royal Concertgebouw Orchestra sensational international directors to the group of Amsterdam, New York Philharmonic, Los such as Thomas Ostermeier, Johan Simons, Angeles Philharmonic, Gewandhaus Orchestra Krzysztof Warlikowski, Grzegorz Jarzyna, Luk Leipzig, and Jazz at Lincoln Center. Perceval, and Guy Cassiers, as well as members of a new generation such as Eric de Vroedt LES THÉÂTRES DE LA VILLE DE and Susanne Kennedy. TA sets itself apart by LUXEMBOURG staging innovative and contemporary productions The Grand Théâtre and the Théâtre des from the classic and modern repertoire for a Capucins, two separate venues operating under wide audience in the Netherlands and abroad. the same header—Les Théâtres de la Ville The group performs for around 110,000 de Luxembourg—are a major national and people a year, helping ensure that repertory international player when it comes to producing theater remains an indispensable component and presenting theater, dance, and opera in of contemporary culture. TA has an extensive Luxembourg. Built in the 1960s to mark the talent development program in areas such as millennium anniversary of Luxembourg City, acting, directing, and stage design, as well as the Grand Théâtre has two performance spaces theater technology and arts administration. In with state of the art facilities. With a seating addition, TA has an extensive education program, capacity of up to 1,000, the main auditorium including an annual junior production, and there can easily host the most elaborate international is a program of other events occurring almost productions. The Studio is an alternative space every day under the title of TA-extra. TA works with a more intimate capacity of up to 300 seats, together with alliance partner Adelheid | Female black box set up, modular concept, and refined Economy and De Warme Winkel. technology. Over the course of the past decade, Who’s Who

THÉÂTRE DE LA VILLE–PARIS one of the oldest and biggest theater festivals Théâtre de la Ville (literally, ‘the city’s theatre’) in Europe, attracting more than 80,000 visitors is a Parisian theater that is open to the world. every year. The festival presents productions by Since it was founded in 1968, it has presented well-known directors as well as young talents theater, dance, and music from all over the from the theater scene and performances world and it aims to bring new artists and with prize-winning international actors. These artforms to Paris, without following fads and do not only take place in the main theater, the fashions. The primary theater is located in the Ruhrfestspielhaus, but also in other venues such heart of Paris and seats 1,000 spectators. It also as tents, industrial halls, pubs, and bars in the city incorporates a smaller, more intimate space, the center, opening up new spaces to new audiences. Théâtre des Abbesses, at the foot of the famous Butte Montmartre. Emmanuel Demarcy-Mota EDINBURGH INTERNATIONAL FESTIVAL has been director of Théâtre de la Ville since Every August, some of the world’s greatest 2008. This space is home to up-and-coming artists gather for the International Festival in the and famous artists, and gives exposure to new stunning city of Edinburgh. For three exhilarating work, attracting an audience that is varied in weeks the city becomes an international cultural age, background, and tastes. Nearly 60 years epicentre with the finest creators and performers after the renowned director Jean Vilar sought to from the worlds of classical music, theater, make theater accessible to the greatest number opera, and dance from around the globe offering of people possible, Théâtre de la Ville embodies intense, personal, and exciting experiences to his idea of a great, popular theater for today and those who come from Scotland, the UK, and tomorrow, presenting the performing arts in all overseas. As a vibrant, innovative, and energetic their forms. With its international dimension, it organization, involved in commissioning and has a special place on the Paris theater scene, producing new work from the very best artists attracting great companies from all over the world working internationally, while also nurturing to perform there. grass roots arts engagement on its doorstep, the Festival contributes to many areas—culture, RUHRFESTSPIELE RECKLINGHAUSEN economy, education, and society—and enhances From May 1 until mid-June, Recklinghausen the lives of people not just in Edinburgh and annually turns into an international cultural Scotland, but around the world. metropolis. Ruhrfestspiele Recklinghausen is Barbican Patrons

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Contents

Refuse the Hour Umusuna

Dada Masilo and William Kentridge. Photo: John Hodgkiss The opera Refuse the Hour plays with large and small ideas about time and space. by Susan Yung

Sankai Juku. Photo courtesy the company Helen Lawrence Sankai Juku performs Ushio Amagatsu’s mesmerizing Canadian Stage, under the direction of artist Stan Umusuna—with a dash of high style. Douglas, mixes live action and film in the moment. by Tanya Calamoneri by Rob Weinert-Kendt

BAMbill Cover

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

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

Time, by Susan Yung indulgent muse Refuse the Hour, like artist William Kentridge’s clocks, gauges, or the tick-tock stop-and-start of production of The Magic Flute (2007 Winter/ Masilo’s dancing, they are omnipresent—in the Spring), can be referred to as opera, but it sits cranking of the turntable; the advancing of the restlessly within one genre. This multilayered music with its rhythms elucidated in companion performance by Kentridge is a collaboration with movement; the accretion of a collage, or its composer Philip Miller, choreographer Dada dissolution. Even the humans are “breathing Masilo, video artist Catherine Meyburgh, and clocks,” with each heart beating a unique tempo. dramaturg Peter Galison. Unpacking the layered, engaging work (Oct 22—25, Harvey Theater)— The artists cite the idea of the time zone in which a running monologue by Kentridge structure imposed by the British as a means of alternates with sections of music, song, dance, global colonialism. In an interview in The New and film—is a rewarding experience. York Review of Books, science historian Galison said: “‘Greenwich Mean Time’ rolls off the A distinctly mechanical feel, edging toward tongue. It seems natural: of course Greenwich is steampunk, suffuses all the elements—from the center. But the French understood perfectly the hand-cranked turntables for the performers, well, for example, that who controls the zero to the optical telegraph (the T-shaped wooden of longitude, the zero point of time, controls structure invented in the late 18th century something about the mapping of the world and to communicate long-distance). The band its symbolic ownership, as well as the practical sits at stage left, while Kentridge—when not aspects of using admiralty maps to run the performing—observes the flow of action from world’s shipping. They wanted it somewhere a podium. Even Meyburgh’s projections, a else, and there were big battles.” These fights combination of film and stop-action video were referenced in the films comprising a related drawings and collage, bear the strong imprint of Kentridge exhibition, The Refusal of Time, at the a human hand. Met Museum last year. A handsome companion book was published, which includes sketches, Themes of time and measurement run photos, and text. throughout. It may be via images of metronomes, #WilliamKentridge Oct 22—25

Kentridge noted in the NYRB interview: “A day-to-day urgency. Books allude to knowledge German scientist, Felix Eberty, had come to and humankind’s analytical potential. Numbers understand that the speed of light had a fixed quantify and structure our lives, and symbolize speed and wasn’t instantaneous, and he worked powers of all sorts. Reading itself is a time-based out that everything that had been seen on earth activity, like music and dance. Masilo wears was moving out from earth at the speed of a skirt that appears to be made of a political light, so instead of having space as a vacuum, call-to-action banner. Apart from the hunger he described it as suffused with images of for information, printed matter alludes to our everything that had happened on earth. You propensity to build on what came before—in would just have to be at the right distance from short, to learn, and pass on that knowledge. earth to be at the right moment to see what had happened in the archive—to see anything that In a late scene in Refuse the Hour, Plato’s cave had happened—so if you had to start 2000 is referenced in a parade of silhouettes which light years away, in his terms you could see the catalyze a moment of epiphany. But as Galison crucifixion. If you were 500 light years away, you notes in The Refusal of Time, “mere projections could see Dürer making his Melancholia print, are deceptive, two-dimensional shadows”— which is 500 years old now. I was intrigued theater, in effect. with the idea of space full of this archive of images that was spreading out.” An ephemeral We can try to parse the theories of quantum performance like Refuse the Hour, in a way, mechanics and relativity, but ultimately, we are unspools many complex and simple ideas over beholden to physics’ rules, to the passing of the course of 80 minutes; these concepts can time. In the show’s finale, everything collapses accrue in a sort of mental archive. into a black hole, a literal compression of matter, space, and time, and we are drawn inexorably Evoking the Dada and Fluxus movements, along with it. Kentridge frequently incorporates the printed page in scenography. Newspapers connote Susan Yung is Senior Editorial Manager at BAM. Dada Masilo. Photo: John Hodgkiss TAKING OFF 5,000 TIMES A DAY. TAKING ON EVERYTHING ELSE. Delta is proud to be the offical airline of BAM. #BAMNextWave #HelenLawrence Photo: David Cooper Hrothgar Mathews and Lisa Ryder. Hrothgar Mathews and Lisa Ryder. Dreaming in Art

by Rob Weinert-Kendt

From its contrived sets to its stark lighting, from The bifurcated worlds of Circa 1948—the posh its stylized costumes to its still more stylized hallways of Hotel Vancouver and the seedy dialogue, vintage film noir has a vivid unreality backstreets of Hogan’s Alley—come to life that’s positively dreamlike, though it’s hard now onstage in Helen Lawrence, a film/theater hybrid to untangle whether our films resemble our in which actors are filmed live on a blue chroma dreams or vice versa. After all, what did human key stage while their images, married with dreams look like before movies? Like paintings or computer-generated backdrops, are projected plays? Or is this the wrong way to peer through on a scrim in front of them. The result is the lens—should we instead rightly think of our something like a film shoot as a piece of theater, time’s visual arts as renderings of our dream with cameras roving the stage and actors using lives? functional props, combined with a projected film that looks uncannily like its vintage forebears. Canadian artist Stan Douglas has worked these borders for most of his career, staging Though he said he wouldn’t count himself a film and Photoshopping photographs that look noir aficionado, Douglas said, “I’ve always been authentically antique (his “Midcentury impressed by the inventiveness of filmmakers Studio” series) and making films meant to be who worked in the genre. Many of the films experienced as live installations: Journey into were low-budget B movies, and the look of them Fear, a seafaring drama based on Eric Ambler’s was often borne out of necessity: We’re shooting novel that ran in a 15-minute loop, though with outside at night, we have an hour and can only bits of dialogue randomly iterated so that the afford two lights. What are we going to do?” entire film played out over 157 hours; or Circa 1948, a “storyscape” which appeared at last Helen Lawrence, created with Canadian Stage, year’s Tribeca Film Festival, in which viewers was fortunate to draw from more resources. could walk through a seductive, computer- And while filmmakers, then and now, typically generated virtual landscape of post-WWII use just one camera, cutting together coverage Vancouver. (It’s also available as an app.) from all angles into a seamless whole, Helen Lawrence is “edited” live, and thus has four CELEBRATE COMMUNITY

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B000611_Aug2015_CRA_CommADBAM.indd 1 8/25/15 10:09 AM #HelenLawrence Oct 14—17 cameras roving the stage. In rehearsal, these were nicknamed “A Cam, B Cam, C Cam, and Orson,” Douglas said. The first three stand at chest height, rolling back and forth and side to side on dolly tracks; the fourth is named for auteur Orson Welles because, from its vantage point “a few inches off the ground,” Douglas explained, it can be used to create striking shots that have the Photo: David Cooper Lisa Ryder. effect of “looking up into a scene, the way Orson Welles composed many shots in Touch of Evil or The Trial.”

For all its high-tech innovations, though, Helen Lawrence is intended as more than a formal exercise. With a script by screenwriter Chris Haddock which addresses some of the racial and sexual tensions of the postwar Americas, Douglas’ creation comes from an epiphany he had about the context that birthed film noir.

“The genre flourished during WWII and in the postwar period,” Douglas said. What he realized is that “the behavior of the tight-lipped tough guys and strong-willed femme fatales has something to do with the trauma of war, enduring hardships at home and experiencing or inflicting violence abroad. Under these circumstances people will often develop personas as defensive mechanisms to protect them from further trauma.”

The gap between this protective role-playing and flesh-and-blood human interactions is the liminal space conjured and occupied by Douglas’ work. “This separation is much like what happens constantly in Helen Lawrence,” he said. “At the same time that characters are appearing in spectacular images on screen, we always see their fragile human bodies onstage.”

At one key point, as if to emphasize this disparity, the projected film drops out altogether and we see an actor in desperation knock on a real door. Much as film noir’s distinctive look arose from necessity, this stage-only moment arose from a technical challenge (“The actors can touch props but they can’t touch the virtual sets,” Douglas explained). But also like noir’s high- contrast cinematography, it is an aesthetic choice now invested with meaning. As Douglas put it: “Whenever a character’s sense of reality is being disrupted by an event, the projection gives way to the stage.”

Rob Weinert-Kendt is editor-in-chief of American Theatre magazine. BAM Directory

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

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

Official Piano for BAM: BAM.org sponsor: #BAMNextWave #SankaiJuku Photo courtesy Sankai Juku

Sankai Juku by Tanya Calamoneri Cosmic Dance Now one of the best known artists in the avant initiate movement. The dancers transform their garde dance form of butoh, Ushio Amagatsu sense of time, space, shape, and relationship founded Sankai Juku in 1975 in Tokyo. A based on a string of image poetry that propels cultural councilor at the French Embassy in them to move. Japan invited the company to Paris in 1980, and French audiences smartly fell in love with its New York’s formal introduction to butoh on work. Sankai Juku has booked nearly bi-annual the stage came with Kazuo Ohno’s (Hijikata’s engagements at Théâtre de la Ville in Paris ever main collaborator and the co-progenitor of since, and splits its time between Paris and Tokyo. butoh) performance of Admiring La Argentina The company also tours extensively, contributing and My Mother at La MaMa in 1981, invited significantly to butoh’s global recognition. by visionary producer Ellen Stewart. Following this, Dairakudakan (directed by Akaji Maro; Butoh emerged in 1959 in Japan, instigated by Amagatsu was a founding member) performed Tatsumi Hijikata, whose work was a provocation Sea Dappled Horse in 1982 at the American to modernity in general and specifically to the Dance Festival, where many New York-based Western-lead reconstruction of Japan following dancers train and a varied slate of programming World War II. In his 1960 essay “Inner/Outer is offered. American audiences everywhere Material,” Hijikata describes his performances as became increasingly aware of butoh with Sankai “bodies that have maintained the crisis of primal Juku’s performance at the Los Angeles Olympics experience.” His work was grotesque, erotic, in 1984, which featured the now-iconic Jomon inflammatory, and rebellious. Sometimes dancers Sho (Homage to Prehistory), in which four men would flail wildly. Other times, they would stand dangle upside-down from ropes looped around completely still—though not serenely—held their ankles. in place like an insect in amber, crushed by images, sensation, and histories. Rather than a Sankai Juku’s work is often glacially slow and specific dance grammar, butoh utilizes images to sculpturally arresting. The name translates #SankaiJuku Oct 28—31

to “the school of mountains and sea,” and the delicately calibrated gestures echo ballet’s one can clearly see these earthy rhythms in precise placement and clean lines. the hypnotic dance. The dancers are skilled at making the most contorted and strenuous Umusuna translates to “memory before history” positions look graceful, effortless. Watch for and explores the mystery of the creation of the floor work that would challenge even the most world. The beautifully designed set includes two seasoned Pilates instructor. Though Sankai Juku plateaus. In an email exchange, Amagatsu said, is often compared to Zen aesthetics, Amagatsu “They don’t imply dichotomy; rather, they have a maintains that “universality is the foundation of symbolic aspect of ‘two as one,’ or a whole made my work.” This is partly why he was drawn to up of two parts. For example, an individual’s life settle in Paris, where perhaps because of the is a finite thing that has a beginning and an end, cultural diversity of its citizens, he more clearly but life in the context of human beings can be sees the universal elements of humanity despite seen as a continuum that flows on like a river differences. and thus seems infinite. Thus, a finite and an infinite can be seen as two parts of a whole.” One can sense the influence of elegant French Much like the ever-expanding universe from culture, particularly fashion, in Sankai Juku’s which Amagatsu draws inspiration, Umusuna polished performances. The costumes often reminds us that, “nothing is fixed, nor strong, nor feature corsets, gorgeous long trailing skirts, stable. I want to show that they are in a state of and ear adornment on the all-male cast. The instability.” Perhaps what is so compelling about its dancers always look composed, even when work is that Sankai Juku is able to capture beauty they are spinning violently, mouths agape. The in the precariously delicate balance of it all. choreography employs symmetry and unison in a manner reminiscent of ballet. And though the Tanya Calamoneri is a Visiting Professor of Dance at energetic quality is entirely different from ballet, Colgate University, and was a former project manager of DanceMotion USAsm at BAM. She received her PhD from Temple University. Photo courtesy Sankai Juku Securing BAM’s Future Securing BAM’s Future

BAM Endowment Planned Giving A great institution is built upon on a secure future. At BAM, a growing endowment is the foundation for Another way to help BAM prepare for the future is by making a provision in your estate plans. You expansive programming that continues to set new standards for artistic daring and excellence. The BAM create a legacy for many generations to come and ensure BAM’s excellence continues for the next Endowment provides the financial underpinning to launch new artistic initiatives, plan for future years, 150 years. Existing options for planned giving include making a bequest in your will, and naming seize opportunities for institutional advancement, and confront unanticipated challenges. BAM sincerely BAM as a beneficiary in your retirement plan or insurance policy, among others. Unless otherwise thanks those listed below for their generous support in securing BAM’s future. 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. $5,000,000 and above Charles J. & Irene F. Hamm Ide & David Dangoor Richard B. Fisher & Jeanne Stephanie & Tim Ingrassia Thérèse M. Esperdy & Robert G. Donovan Fisher Maribelle & Stephen Leavitt Neborak The Howard Gilman Foundation Mary & Jim Ottaway Jr. in honor of Madison S. Finlay The Peter Jay Sharp Foundation Ruth Blackburne Ottaway Forest City Ratner Companies Lila Wallace-Reader’s Digest Rockefeller Brothers Fund Francena T. Harrison Endowment Fund for Community, Jonathan F.P. & Diana V.C. Rose Performance Fund Educational, & Martha A. & Robert S. Rubin Rita K. Hillman Public Affairs Programs Nora Ann Wallace & Jack Nusbaum HSBC Bank USA, N.A. Goldman Sachs Gives at the $1,000,000 and above $250,000 and above recommendation of Anne Hubbard Altria Group, Inc./Next Wave The Bohen Foundation & Harvey Schwartz Forward Fund The Charles & Valerie Diker Dance Independence Community Bank BAM Fund to Support Emerging Endowment Fund Miriam Katowitz & Arthur Radin and Local Musicians The Horace W. Goldsmith Foundation Mr. & Mrs. Edgar A. Lampert Brooklyn Community Foundation Michael Bancroft Goth Endowed Annie Leibovitz & Studio Our special thanks to the foresight of the charitable BAM Angels listed below. The Campbell Family Foundation Annual Performance Fund Leo Burnett, USA William Randolph Hearst The Irene Diamond Fund James McLaren & Lawton Fitt BAM Angels Doris Duke Charitable Foundation Endowment for Education and Sarah G. Miller & Frank L. Coulson Emily H. Fisher Humanities Programs The Morgan Stanley Community Denis Azaro Karen Brooks Hopkins David L. Ramsay, MD Judith R. & Alan H. Fishman The Rita & Alex Hillman Foundation and Educational Fund Bettina Bancroft William Josephson William Boss Sandberg The Ford Foundation Fund to Carole & Irwin Lainoff J.P. Morgan & Co. Incorporated Robert & Joan Catell Charlotte & Stanley Kriegel Louis Sanders Support Collaborative Creativity Maxwell Family Fund in Community Nash Family Foundation Neil D. Chrisman Edgar A. Lampert Harriet L. Senz Among U.S. Artists Funds, Inc. The Jerome Robbins Foundation, Inc. Mr. & Mrs. Henry Christensen III Harvey Lichtenstein Toni Mendez Shapiro Diane & Adam E. Max The Jessica E. Smith and Kevin R. May & Samuel Rudin Family The Andrew W. Mellon Foundation Brine Charitable Trust Foundation Mallory Factor Phyllis Holbrook Lichtenstein Bella F. Stoll Fund For Opera & Music-Theater The Geraldine Stutz Trust, Inc. Edward Spilka Madison S. Finlay Georgene M. Maxwell Lynn M. Stirrup Bruce C. Ratner $100,000 and above Axel Stawski & Galia Meiri Richard B. Fisher Scott C. McDonald PaulaMarie Susi William Boss Sandberg Michael Bailkin, Marvin Levine, Mr. & Mrs. Ame Vennema The Peter Jay Sharp Fund for Opera Judith R. & Alan H. Fishman Evelyn & Everett Ortner Charlene Magen Weinstein & Jesse Masyr, David Stadtmauer Verizon Communications and Theater Barry M. Fox Frank J. & Adeline Pannizzo Laurence Benjamin Molloy Robert & Joan Catell Fund for The Isak and Rose Weinman The SHS Foundation Rita Hillman William Winthrop Parsons Judge Franklin R. Weissberg Education Programs Foundation in honor of Madame The Starr Foundation Charina Endowment Fund Lilliana Teruzzi Barbara T. Hoffman Marie D. Powers Carol Yorke & Gerard Conn $500,000 and above Neil D. & Kathleen M. Chrisman The Winston Foundation The Devitre Fund Mr. & Mrs. Henry Christensen III Anonymous For more information on Planned Giving opportunities please contact Stephanie Franco at For more information on the BAM Endowment please contact As of September 1, 2015 718.724.8137 or [email protected]. All inquiries will remain confidential. Denis Azaro at 718.636.4193 or [email protected].

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Salutes BAM Supporters & Patrons

Ellen & John Curtis Noa Guy Joseph Lovett & James Pauline Pinto Gayatri Spivak Peter & Katharine Darrow Gunilla Haac Cottrell Daria Pizzetta Jonathan Sporn Karen Dauler & Gaston Silva Helen & Peter Haje Reed Lowenstein Carl Podwoski & Virginia Samarith Srey Megan P. Davis Patricia Hallstein & Axel Ann M. & Mitchell A. Lovejoy Barbara Stanton Monique Davis Kramer Lowenthal Paul & Marjorie Possick Shirley Staples & Donald Trayton Davis Cynthia Hammond & Jane Macan John Michael Powers, Jr. Vangel Sabina & Adam Deaton Joseph Samulski Ann MacDonald & Charles Sandra Pierson Prior Gillian Steel Jeffrey Deitch Jennifer Hand & Thomas Raubicheck Greg Pucillo Judy & Michael Steinhardt DeLaCour Family Foundation Tierney John Macintosh & Anna Verdi Leslie & David Puth Jeanne & Steven Stellman Diana Delmonte-Wong & Joan & Douglas B. Hansen Macro Sea Inc. Theodore Quinn Dr. Susan Stewart Adrian Wong Robert E. Hansmann Edward Mafoud Tom Quinn & Celeste Wright Gail Stone & Matt Fishbein Linda Dennery Anna & Raja Harb Brian & Florence Mahony Les Ramsey Leila Straus Elizabeth Denys Hugh & Tiziana Hardy Dr. Robert Maki Christopher Rapcewicz & The Dorothy Strelsin Jennie L. & Richard K. David Hariton & Thomas Matthew Mallow Claudia Bungaro Foundation Descherer Lippy Ronald Daignault & Teresa Stephen Raphael & Ellen Katherine Sugg Brooke Devine Harrison Atelier Maloney Marks Kathleen Sullivan Edwin & Paula DeYoung Joyce & Ira Haupt II Anne Maltz Alex Rappaport Sukey Tamarkin Anne & John Dockery Douglas & Jessica Healy Andrea Marber Bridget Read Gabrielle Tana Lynn Dolnick Drew & Amy Hearon Nadja Marcoz Eric Reiner Julie Tarney Donaldson Acoustics Co., Inc. Joanna Hedge Barbara Marcus & Michael Samuel Reinhart Ronald & Adele Tauber Miriam Donoho Robert & Barbara Heelan Pollack Me & Ro Josephine & Philip Teverow Donna & Mitchell Drach Isaac & Sheila Heimbinder Marriott International Richmond Hills High School Theater for a New Audience Catherine Dumait-Harper & Kris Heinzelman Phillip Marriott & Susannah Katherine E. Ringer Theatrical Wardrobe Union, Alan Harper Jeffrey Henigson Taylor John Rockwell & Linda Local 764 Allison Dunn Edward Henry John Marshall & Seriti Yamini Mevorach Liz Thompson Violet & Christopher Eagan Jeffery Hentze Lori Marshall The Rodgers & Hammerstein Thornton Tomasetti Marty Ellington Herrick, Feinstein LLP Nina Matis Organization Charlotte L. Thorp Cristina Enriquez-Bocobo & Adam & Sita Hess Jerri & Tom Mayer Paul A. Rogers Catherine K. Tice Cody J. Smith Adria & Donald Hillman Liese & Peter Mayer Connie & Ted Roosevelt Dr. Irena Tocino Lorren Erstad & David Lerner HK Organization Deborah McAlister & Beverly & William Rosoff Coralie Toevs Boris Evelkin The Hoffman Law Firm Christopher Jones Erin Ross Carol Tolan Richard & Florence Fabricant Frank Holozubiec Joseph McDonagh James & Eliza Rossman Michael & Keren Toledano Bill & Jan Farber David Howe & Charlene Dale McDonald Max Rothman Manny Torrijos & Jing Joe Fazio & Scott Hunter Wang Travis McGhie & Thomas Maisie Rubinstein Shang Tan Martin Feinman & Amy Dennis Hranitzky Mizer Lisa & Jonathan Sack Bill Updegraff & Aliza Cooney Whitney Hunter-Thomson Dr. James & Mrs. Jane S. Gerald Saliman & Bartfield Michael & Nancy Feller IATSE - Theatrical Stage McGroarty Raymond Vallejo Chauncey Upson Edith Ferber Employees Local 4 Gordon McLeod & Melanie Mina Samuels & David Foster Frederick Victor Richard Feuring & Charles Sam Ibrahim Grisanti Nancy Sands Patricia Voight & Rachel Krewson Pamela Jackson Susan Meirs Lori Saperstein Wolff Katherine & Luke Fichthorn Beth Jacobs & Dr. Keith Robert Menschel Save Mor Copy Center Vollmuth & Brush Joan Salwen Fields Gottesdiener Claudine & Aeric Meredith- Rosemary Scanlon David Wagner Carl & Merle Fieser Steven & Susan Jacobson Goujon Michele & Jose Scheinkman Ethan J. Wagner & Thea Flanders House Anthony Johnson Danny & Audrey Meyer Douglas & Ans Schickler Westreich Karen L. & Evan L. Flatow T. Radey Johnson & Jane Daniel Michalow Ellen Schleifer & Jordan Katz Marcus Wainwright & Arthur & Susan Fleischer Platt Franny Milberg Lynn Schneider Glenna Neece Jeffrey Fleishhacker Barbara Julius & Marc Diane Miller Lynn C. Schneider Leigh & Robin Walters Lydia Foo Silberberg Judith Scofield & David Miriam Schneider Barbara & Sedgwick Ward Andrew & Blake Foote Genevieve Kahr & Dan C. Miller Roberta Schneiderman Seth Washinsky James Fowler Freedberg Sandra and Lowell Mintz Florian Schodel Janet C. Waterhouse PhD Katherine Franke Shari Kaplan Darcy Miro & Ross Tuttle Ellen Schonfeld William Webb Christopher W. Franklin Alex & Ada Katz Lucy Mitchell-Innes Gabriel & Jolie Schwartz Kathy & Bill Weigel Zhauna Franks & Daniel Aaron & Jacquie Katzel Donald & Gwen Moffat Richard Schwartz & Gita Sandra & George Weiksner Rechelbacher Sebastian & Hilke Kaupert Adrian Mojica Martohardjono Laurie & David I. Weiner M. Derene & Julius Frazier Susan Kellman Nikki Mondschein Ralf Schwieger Earl D. & Gina Ingoglia Lauri Freedman Jessie Kelly Maria Montoya Carl Scott Weiner Andrew Freireich & Tina Suzanne Greene & John John Morning Dr. & Mrs. Thomas P. Sculco Charlene Magen Weinstein Potter Kelly Evangeline Morphos Elisabeth Searles & Richard Michael S. Weinstein Katherine Freygang Ms. Judith Khan Kathy Morton & David Friedberg Cora Weiss Effie & Robert Fribourg Vlad Khandros Nadelman Tatiana Serafin David F. Wertheimer Sarah B. Friedman & Micheline Klagsbrun & Ken Deirdre Mullane Ann Settel Veronica Westberg & Paul Salama Grossinger Jim & Iris Munson Rena Shagan Gregory Hill James Friend Michael Koch & Andrew Edward Nahem Shamos Family Foundation Harry White & Esther Alexander C. & Tillie S. Kohler Brandon Nelson Gerald Shepps Redmount Speyer Foundation David Kolbusz Matthew Nemeth & Tricia Elizabeth M. & David M. Nathaniel White Susan & Michael Furman Bennette Kramer & Eliot Long Kissinger Sherman Susan Whiting & Bruce Treacy & Todd Gaffney Kenneth & Susan Kramer Consulate General of The Melanie & Joseph Shugart Duane McLaughlin & The Krumholz Foundation Netherlands in New York Elizabeth Sidamon-Eristoff Van Dusen M. Salomé Galib Roberta Krumholz Jean-Gabriel Neukomm & Hunter Lewis Tyler Whitmer Al Garner Liz & George Krupp Nonesuch Records Larry & Ashley Silverman Earl Wilcox Peter Gee Rocco & Deborah Landesman Marguerite Nougué-Sans John & Helen Simonson Barbara Wilks Lynda & Marvin Geller Drs. John & Judie LaRosa Tiffany Nowell Leslie Simpson Candace Williams Dr. Peter L. Geller Andrew Lazarow & Rachel James C. & Marie Nugent- Holle Singer Ashley Winton Andra Georges & Timothy Routh Head Marlas Loren & Marlene Skeist Ross Wisnewski C. Shepard Matthew & Sabrina Leblanc Daniel & Rebecca Okrent Johanna Skrzypczyk & Thomas & Sarah Liz Gerring & Kirk Radke Abdul-Rahman Lediju & Barry Michael Okun Emmanuel Gastard Wisniewski Patricia Gift Angela Nurse-Lediju Roger W. Oliver Elaine Sloan Devera Witkin Katharine Gilbert Janice Lee Peter Darrell & Jane Ormerod Annette Smith Doug Wolff Anne Gilchrist Lisa Lee Kathleen Owens Pamela Smith Dr. Elizabeth Wolff Gregory F. Gilmartin Sue Lehmann Ilana Pachter & William Wynn Matthew Patrick Smyth Rachel Wood & Scott Olsen Lauren C. Glant & Michael Richard Levy & Lorraine Meredith Palmer Susan Snodgrass Fred Wright J. Gillespie Gallard Cheryl Paradis & Gene Kenneth Soehner Aamir Wyne Esq. June Goldberg Jeffrey Lewis & Karin McCullough James Sollins Michael Young & Debra Susan Goldberg & Simon Liu Miller-Lewis Gwenevere Parker Andrew P. Solomon & Raskin Roanne Goldfein Keisha A. Lightbourne Estelle Parsons Elizabeth Bartman The Zeitz Foundation Elaine Goldman Chamberlain & Mathieu Kirk & Sue Patrick Richard & Mimi Somerby Jory Zimmerman Amy Kern & John M. S. Chamberlain Robert H. Pees Sarah & R. Sorenson Frank & Arrien Zinghini Goldsmith Emma Lindsay Bill & Patty Dugan Perlmuth Melissa Schiff Soros Anonymous (8) I. Michael Goodman & Simon Lipskar & Kate Amy Perry Annaliese Soros Judith Uman Zuckerman Alexandra & Frederick Peters Ellen Sorrin July 23, 2015 David & Elaine Gould Keith Lloyd Christopher Petescia & Beth Dr. Rogelio Sosnik & Dr. Jane & Jean-Marie Grenier Cary Lochtenberg & Jan Petescia Irene Cairo Bill Grogan Lochtenberg Antonia Pew André Spears & Anne Rosen David Gruber Rachel Loeb & Zachary Block Andrew Pinkowitz & Mary David Spears Amy & Ronald Guttman Randy Lott Pinkowitz Joseph Spiegel

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

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

BAM Staff

Katy Clark, President Anita Goss, Volunteer Librarian John Manderbach, Head Thomas, Michael Whyte, Attendant Joseph V. Melillo, Executive Regina Carra, Christina Kennedy, Electrician, HT Guards Producer Ivonne Paredes, Anika Paris, Jarin Edward Donohue, Master of CUSTODIAL SERVICES Alice Bernstein, Executive Vice Schexnider, Mark Toepfer, Rebecca Properties, HT Ramon Cabassa, Custodial Supervisor President Walsh, Kendra Williams, Interns Alison Dabdoub, Sound Engineer, HT Yossess Allen, Allan Boyce, Ludlow Stephanie S. Hughley, Vice Larysa McKenna, Volunteer Oscar Gruchalski, Utility Man Chamberlain, Isaias Flores, Mayra President of Education, Richard Wurzbach, Utility Man Guillen, Ron Rathan, Akeon Thomas, Humanities & Cinema GENERAL MANAGEMENT Ginger Blake, Wardrobe Supervisor Custodians John Lanasa, Vice President of Patrick J. Scully, General Manager Marketing & Communications Sara Danielsen, Assoc. General ARTIST SERVICES DEVELOPMENT Riccardo Salmona, Vice President Manager, Fisher Building Mary Reilly, Director of Artist Services BOARD RELATIONS & ENDOWMENT for Institutional Advancement Carrie Reynolds, Assoc. General Stacey Dinner, Artist Services Manager Denis Azaro, Board Relations & Keith Stubblefield, Chief Financial Manager Jeannine Baca, Britney Polites, Endowment Director Officer and iceV President of Jaclyn Bouton, Senior Project Artist Services Representatives Alexandra Biss, Manager of Board Finance & Administration Manager Sarah Silverblatt-Buser, Fisher Artist Relations Liz Zieminski, GM Budget Manager Services Representative PRESIDENT’S OFFICE Liana Agredo, Jessie Fairbanks, CORPORATE RELATIONS Michael Doyle, Administrative Project Supervisors THEATER MANAGEMENT Chantal Bernard, Director of Coordinator Chris Mode, GM Coordinator, Christine M. Gruder, Theater Manager Corporate Relations Budgets & Contracts John L. Jones, Assoc. Theater Gwendolyn Pointer, Director, ARTISTIC PROGRAMMING Lucile Hecht, Admin. Asst. & Manager Corporate Sponsorships/ Stonie Darling, Department Manager BAMshop Liaison Sonia Clayton, Jacqueline David, New Business Development Ross Marshall, Manager of Artistic Nivia Prescod, BAM Fisher Front Leroy Houston, Theater Staff Ashley Jacobson, Senior Corporate Planning of House Rep. & Rentals Asst. Supervisors Relations Manager Denis Horan, Intern Elizabeth Sarkady, Business PROGRAMS & CURATORIAL BUILDING OPERATIONS Development Manager Nick Schwartz-Hall, Line Producer PRODUCTION Cameron Christensen, Director of Rebecca Carew, Corporate Amy Cassello, Assoc. Producer, Neil Kutner, Director of Production Building Operations Sponsorship Manager Next Wave Festival Collin Costa, Dylan Nachand, Rohan Bhasin, Facilities Manager Katerina Patouri, Sponsorship Asst. Darrell M. McNeill, Assoc. Producer, Assoc. Production Managers Wendy Berot, Project Manager Music Paul Bartlett, Ryan Gastelum, Markee Glover, Mailroom Clerk INDIVIDUAL GIVING Rachel Katwan, Asst. Line Producer Jennifer Grutza, Elizabeth Moreau, Robyn Goldstein, Mailroom Asst. Barbara Cummings, Director of R. Michael Blanco, DanceMotion Brian Sciarra, Production Elaine Colon, Jean Smith, Building Development USASM, Project Director Supervisors Services Assoc. William Lynch, Director of Ashley Yergens, DanceMotion Danielle Colburn, Laura Williams, Steve McDowell, Auxiliary Technician Leadership Gifts USASM, Project Coordinator Palmer Johnston, Production Summer Krounbi, Building Glenn Alan Stiskal, Director of Paige Haroldson, DanceMotion Coordinators Operations Coordinator Major Gifts USASM, Project Asst. Heli Soell, Admin. Coordinator Gwendolyn Dunaif, Assoc. Jason Collins, Intern Eliza Brennessel, Violaine Crespin, BUILDING MAINTENANCE Director, Major Gifts & Patron Danny Kapilian, Producer, R&B Lynn Koek, Interns Anthony Shields, Maintenance Programs Festival, MetroTech Supervisor Richard Serrano, Research Manager Steven Serafin, Special Consultant STAGE CREW Daniel Curato, Calvin Brackett, Ben Lasser, Manager, Patron Program & Editor, BAM: The Complete Thomas Paulucci, Crew Chief Ronald Hunter, Maintainers Travis Calvert, Project Coordinator, Works Cyrus Similly, Head Carpenter, OH Carl Blango, Asst. Maintainer Major Gifts Paul McManus, Asst. Carpenter/ ARCHIVES Flyman, OH SECURITY INSTITUTIONAL GIVING Sharon Lehner, Director of Archives James D’Adamo, Head Electrician,OH Chris Thompson, Security Manager Clemente Luna, Director of Sarah Gentile, Digital Project Archivist Amy Domjan, Asst. Electrician, OH Melvin Patterson, Manuel Taveras, Institutional Giving Louie Fleck, Archives Manager Nicholas Varacalli, Master of Supervising Attendant Guards Kailin Husayko, Semra Ercin, Bree Midavaine, Mary Rhymer, Properties, OH Kenneth Aguillera, Collie Dean, Institutional Giving Managers Evelyn Shunaman, Processing Marc Putz, Sound Engineer, OH Senior Attendant Guards Stephanie Caragliano, Institutional Archivists James Kehoe, Head Carpenter, HT Marlon Desouza, Felix Jusino, Giving Coordinator Jan Carr, Digital Content Writer Joseph Werner III, Asst. Carpenter, HT Kevin Lemon, Teonia Smith, Andel Rebecca Russell, Intern BAM Staff

MEMBERSHIP HUMANITIES Josephine Llorente, Digital GOVERNMENT & COMMUNITY Katherine King, Director of Violaine Huisman, Director of Production Asst. AFFAIRS Membership Programs Humanities Casey Cleverly, Creative Services Tamara McCaw, Director of Sarah Mischner, Membership Molly Silberberg, Humanities Project Manager Govt. & Community Affairs Manager Manager Bruce Smolanoff, Telefund MARKETING Dewonnie Frederick, Community Manager LEAD INSTRUCTORS Shannon Lacek, Director of Affairs & Bazaar Manager Cheryl-Lyn Miller, Membership Joshua Cabat, Young Film Critics Marketing Ilex Bien-Aime, Govt. & Coordinator Samara Gaev, Arts & Justice Raphaele de Boisblanc, Senior Community Affairs Coordinator Kate Rakowski, Telefund Assistant Michael LoMonico, Shakespeare Marketing Manager Shannon Alexander, Jessica Teaches Teachers Andrew Chan, Melanie Cherry, HUMAN RESOURCES Benton, Allison Bodwell, Jenny Rocha, Dancing into the Allison Kadin, Marketing Seth Azizollahoff, Director of Stéphanie De Latour, Justin Gray, Future Managers Human Resources Kimberly Howard, Samantha Pat Hall, BAM/Restoration Rhea Daniels, Marketing Jenny Rodriguez, Human Inniss, Melissa Krzywicki, Emilie DanceAfrica Coordinator Coordinator Resources Manager McDonald, Joe Mulligan, Adrienne Laura Scholl, Marketing Operations Cynthia Smith, Payroll Manager Reynolds, Amanda Wilder, TEACHING ARTISTS Manager Samara Alexander, Recruiter Membership Representatives Sarah Abrams, Sékou Alájé, Britt Aronovich, Marketing Alexis Boehmler, Human Jennifer Armas, Brigitte Barnett- Revenue Manager Resources Coordinator PATRON SERVICES Loftis, Rebecca Bliss, Melissa Catherine Charnov, Marketing Asst. Naila Mahmood, Benefits & HR Ramzi Awn, Director of Patron Brown, Mahogany Browne, Coordinator Services Chia-Ti Chiu, Darian Dauchan, AUDIENCE DEVELOPMENT & Michael Kendrick, Manager of Harris Eisenstadt, Imani Faye, STRATEGIC PLANNING INFORMATION TECHNOLOGY Patron Services & Donor Kimani Fowlin, Ana Garcia, Glenn Molly Meloy, Director of Audience William Allen Lee III, Director of Relations Gordon, Ingrid Gordon, Rachael Development & Strategic Information Technology Jessica Hindle, Patron Services Holmes, Mel House, Albert Planning Thomas Brown, Tessitura Coordinator Iturregui-Elias, Gwendolyn Kelso, Joaquin Esteva, Advertising Business Manager Alexander Jofe, Annie Steingold, Nicole Kempskie, Abigail Levine, Manager Ira Sibulkin, Assoc. Director of IT Patron Services Assts. Spencer Lott, Farai Malianga, Claire Frisbie, Content Marketing Timothy Assam, Systems Hector Morales, Michael Mullen, Manager Administrator PLANNED GIVING Kwesi Nkroma, Devin Norik, Nathan Gould, Marketing Manager, Svetlana Mikhalevskaya, Database Stephanie Franco, Director of Gene Osborne, Pamela Patrick, Development Developer Planned Giving Drew Petersen, Korey Phillips, Chris Tyler, Content Marketing Asst. Jason Q. Minnis, IT Project Katie Issel Pitre, Mike Ramsey, Sharlene Chiu, Customer Loyalty & Manager SPECIAL EVENTS Gwenyth Reitz, Najee Ritter, Victor Strategy Manager Matthew Taylor, Andrei Iliescu, Margaret Breed, Director of Sanchez, Jen Shirley, Robby Web Developers Special Events Stamper, Rohiatou Siby, Keomi TICKET SERVICES Jersy Rodriguez, Technical Grace Eubank, James Vause, Tarver, Karen Thornton-Daniels, G. Scott Kubovsak, Director of Support Manager Paloma Wake, Special Events Leese Walker, Adia Whitaker, Todd Ticket Services Susan Bishop, Admin. Coordinator Managers Woodard Victor Jouvert, First Asst. Treasurer Lucas Austin, Junior Desktop Kevin McLoughlin, Charlie Dolce, Analyst VISUAL ART SUMMER ASSISTANTS Russell Grier, Asst. Treasurers Holly Shen, Curator of Visual Arts Jenna Boscoe, Alejandra Duque Royda C. Venture, Ticket Services PROJECT MANAGEMENT Mary Gordanier, Visual Arts Cifuentes, Heather Janneck, Manager Jeremy Dewey, Director, Project Coordinator John Meyer Georgina Richardson, Customer Management Care Manager Marissa Angelucci, MBA Intern EDUCATION & HUMANITIES & MARKETING & Giovanny Lopez, Ticket Services BAMCINÉMATEK COMMUNICATIONS Coordinator Shana Parker, Director of COMMUNICATIONS Latasha McNeil, Asst. Manager Audience Research & Analysis Operations for E&H Sandy Sawotka, Director of Ryan Mauldin, Senior Ticket George A. Wachtel Jennifer Leeson, Operations Communications Services Representative Manager for E&H Sarah Garvey, Assoc. Director Saul Almiachev, Anaïs Blin, Louisa Bookseller Jackie Katz, Education Assoc. of Publicity de Butts, Justin Dash, Dominique Greenlight Bookstore

Victoria Collado, Education Asst. Susan Yung, Senior Editorial Delgado, Evan Dice, Robert Rebekah Gordon, Admin. Manager Ebanks, Miranda Gauvin, Joya European Production Coordinator Adriana Leshko, Senior Publicity Harris, Sophie McNeill, Warren Representative Manager Ng, Elsie Pacella, Edward Raube- On Tour Ltd., Roger Chapman BAM ROSE CINEMAS David Hsieh, Lisa Thomas, Wilson, Tara Ricasa, Shanice Efi Shahar, Cinema Executive Publicity Managers Tulley, Noel Vega, Jimmy Weaver, Film Buyer Manager Baha Ebrahimzadeh, Christina Althea Wilkinson, Ticket Services Adam Birnbaum Michael Katz, Projectionist Norris, Publicists Representatives Adam Goldberg, Asst. Manager James Sutton, Publications Asst. Immigration Counsel Andreea Drogeanu, Brente Kelly, Hannah Thomas, Press & FINANCE & ADMINISTRATION Jonathan Ginsburg, Fettman, Davina Roberts, Anthony Marketing Assoc. CAPITAL PROJECTS Tolchin and Majors, PC Shields Jr., Head Floor Staff Jonathan Jones, Director, Capital CREATIVE Projects Insurance Broker BAMCINÉMATEK Patrick Morin, Assoc. Director Matthew Baclini, Capital Projects Dewitt Stern Gabriele Caroti, Director of Design Analyst Nellie Killian, David Reilly, Ryan Rowlett, Senior Interactive Laura Grady, Capital Projects Medical Consultants Programmers Designer Manager Ahmar Butt, MD Jesse Trussell, Programming Asst. Katie Positerry, Interactive Anders Cohen, MD Ryan Werner, Programmer at Designer FINANCE & ADMINISTRATION Large Kyle Richardson, Designer Ellen Leszynski, Project Restaurateur Benjamin Cohen, Assoc. Director Coordinator Great Performances EDUCATION of Video Steven McIntosh, Director of Ben Katz, Video Production FINANCE Education & Family Programs Manager Kozue Oshiro, Controller Aug 15, 2015 John P. Tighe, Asst. Director of Alexander Guns, Video Production Tameka White, Asst. Controller Education Asst. Claudia Bailey, Budget Manager Eveline Chang, Malik Lee, Jenny Choi, Publications Manager Brian Gee, Accounting Assoc. Verushka Wray, Program Seán McKeithan, Robert Wood, David McCullough, Budget Managers Copywriters Coordinator Cathleen Plazas, Program Seon Gomez, Staff Accountant Coordinator DIGITAL MEDIA AND PROJECT Iman Bance, Accounting Asst. Malcolm Jackson, Education MANAGEMENT Adam Sachs, Fiscal Manager Program Intern Aaron Weibel, Manager of Web Douglas Fischer, Fiscal Coordinator Sam Denitz, Education Events Production Yusuf Siddiquee, Fiscal Asst. Intern Jamie Kraus, Nancy Chow, Digital Media Coordinators