WINTER/SPRING SEASON

Jan 23–24 eighth blackbird Hand Eye ______Jan 28–30 Toshiki Okada/chelfitsch God Bless Baseball ______Feb 4 and 6–7 Ingri Fiksdal, Ingvild Langgård & Signe Becker Cosmic Body ______Feb 11–14 Faye Driscoll Thank You For Coming: Attendance ______Feb 18–27 Tim Etchells/Forced Entertainment The Notebook, Speak Bitterness, and (In) Complete Works: Table Top Shakespeare ______Mar 5–6 Joffrey Academy of Dance Winning Works ______Mar 25–26 eighth blackbird, Bryce Dessner, David T. Little, and others Ghostlight ______Mar 31–Apr 3 Blair Thomas & Co. Moby Dick ______Apr 7–10 Teatrocinema Historia de Amor (Love Story) ______Apr 12 and 14–16 Taylor Mac The History of Popular Music ______Apr 28–May 1 Kyle Abraham/ Abraham.In.Motion When the Wolves Came In

Museum of Contemporary Art Chicago Jan 28–30, 2016 Video Designer Takaki Sudo Production Manager Tamiko Ouki (precog) Toshiki Okada/ ______English Translation Aya Ogawa chelfitsch Japanese Surtitles (from English) Kaku Nagashima Surtitles operator Eun Choi God Bless Baseball Publicity Design Ruka Noguchi ______The performance runs approximately 100 minutes with Written and directed by Toshiki Okada no intermission. ______Performers Yoon Jae Lee Pijin Neji Sung Hee Wi Aoi Nozu ______Recorded Voice Jerome Young Set Design Tadasu Takamine Costumes Kyoko Fujitani Toshiki Okada’s God Bless Baseball US tour is funded by the Agency for Cultural (FAIFAI) Affairs, Government of Japan in the fiscal year 2015, Tokyo Metropolitan Government, The Japan Foundation through the Performing Arts JAPAN Program, Dramaturgy Sugatsu Kanayama and the Asian Cultural Council. This project is supported in part by an award (Tokatsu Sports) from the National Endowment for the Arts. Hongyie Lee Korean Translation/ Hongyie Lee Interpretation ______Stage Managers Koro Suzuki, Tsubasa God Bless Baseball is commissioned by Asian Culture Complex–Asian Arts Theatre; Yamashita coproduced by Asian Culture Complex–Asian Arts Theatre, Festival/Tokyo, and Taipei Arts Festival; additional commissioning support provided by FringeArts, Philadelphia; Japan Society, New York; Museum of Contemporary Art Chicago; Assistant Stage Manager Susumu Kumaki The Clarice Smith Performing Arts Center at the University of Maryland; and Wexner Center for the Arts at The Ohio State University. Research and workshop Lighting Designer Ayumi Kito support by Doosan Art Center in cooperation with Kinosaki International Arts Center, Steep Slope Studio, and Sample. Lighting Operator Yukie Shibata God Bless Baseball made its world premiere at the Opening Festival of the Asian Culture Complex–Asian Arts Theatre in Gwangju, South Korea, in September Sound Designer Yuji Tsutsumida 2015. The production made its Japan premiere at Owlspot in Tokyo, presented (WHITELIGHT) as part of Festival/Tokyo in November 2015. The MCA gratefully acknowledges Japan Society for assisting in compiling Sound Operator Masahide Ando program notes for this presentation. ARTISTS UP CLOSE SYNOPSIS

MCA Stage’s series of artist-centered talks, workshops, and Baseball was reportedly introduced into Japan in 1873 and open studios engages the public with the artists in intimate Korea in 1904. Over the course of more than 100 years, the settings and provides a closer look at the creative process. game has solidly taken root in both countries and become Join us today. deeply intertwined with society and people’s lives. The play proceeds through a sequence of various baseball-related MCA TALK scenes. We meet women who do not know the rules of the Jan 28 game very well, a man who came to hate baseball because Following the performance, audience members are invited to stay for a moderated conversation with the ensemble. Thanks go to the League of Chicago Theatres for connecting the Chicago community and Toshiki Okada in conversation, as well as in a physical-theater workshop led by the writer/ director. The League provides many vital opportunities for visiting artists to meet and interact with members of Chicago’s vibrant performing arts community throughout the year and all over the city. The MCA presents Toshiki Okada/chelfitsch as a part of IN›TIME Festival, celebrating contemporary performance in partnership with the City of Chicago Department of Cultural Affairs and Special Events, defibrillator, the Illinois Humanities Council, Links Hall/Constellation, 6018North, The Poetry Center, Roosevelt University, Threewalls, and the School of the Art Institute of Chicago. Toshiki Okada Photo: Nobutaka Sato of a traumatic childhood experience, and then a baseball- loving woman who, by some twist of fate, ends up marrying that man. Historical figure Ichiro Suzuki (the Japanese outfielder who broke the long-standing record for the most single-season hits in the US big leagues) and others bound up with baseball appear as characters, along with personal and national memories. The work also portrays exploits of and anecdotes about Korean and Japanese baseball players who made their marks on the US major leagues. Eventually, the story squarely faces the larger issue of the United States, which has had and continues to have a tremendous influence on both Japan and Korea. The United States of America is at once above, behind, inside, and with us. Can’t we somehow build a relationship with this huge power of influence that differs from that of the present? — Toshiki Okada FROM THE ARTIST

God Bless Baseball is a collaborative work between Koreans and Japanese, and it is the first production for me as a theater director to work with non-Japanese-speaking actors. In September 2015, the Asian Arts Theatre, one part of a giant cultural complex, opened in Gwangju, South Korea. The conception of this work began when Ms. Seonghee Kim, director of the Theatre, requested that I create a piece to be featured in the lineup of the Opening Festival of the Asian Arts Theatre, which serves as a hub for Asian arts, a national mission of Korea. In response to Kim’s request, I said that I wanted to take this chance to challenge myself to create a Japanese-Korean collaborative work. What I wanted to address through this production was the relationship between Korea and Japan and both countries’ positions within the international state of affairs. God Bless Baseball Furthermore, I wanted to ask: “If we could constructively Image: Ruka Noguchi change the current situation even slightly by using our imagi- nation, what kind of imagination would we possibly use?” For these two countries there remain serious and unresolved influence in their lives. My play positions the United States as issues brought upon by Japan’s thirty-five-year colonization of parent and Japan and Korea as brothers who are heavily the Korean Peninsula for in the first half of the twentieth influenced by that parent. It weaves notions and images that century. Even today, these issues continue to significantly affect come to the surface from episodic narratives revolving around the relationship between both countries. It is not as though the baseball culture shared by all three nations. I am evading these historic issues, but rather taking my own approach; I, as a Japanese artist, wanted to not only capture At the same time, the play describes the realities of contem- the current situation in which contemporary Koreans and/or porary society in Japan and Korea, while taking up issues Japanese live but also envisage our possible future. such as the presence of US military bases in both countries and the draft in Korea. To bring these ideas to life, I decided that the subject matter of this collaborative piece would be America, the nation that God Bless Baseball is performed by two Japanese and molds the states of Japan and Korea and still hugely influences three Korean actors who are not in my chelfitsch ensemble. each country culturally as well as politically. And I chose The Japanese actors play Koreans roles, and the Korean the sport of baseball, which thrives in both Korea and Japan, actors, Japanese roles. The scenes about Japanese are related as a tool to paint this theme. in Korean, and those about Koreans, in Japanese. The actors’ baseball-related memories and our ensuing communications As children are taught to play catch by their fathers, both were integral in the work’s creation. Japan and Korea have been taught baseball by America. What comes to light when one views the States as a parent I am extremely curious about how this piece will be perceived and Japan and Korea as brothers? by an American audience. People in Japan and Korea cannot ignore the American —Toshiki Okada has been involved in works ABOUT including the opera As Feb 4 and 6–7 THE ARTISTS If the Moon Slithered on the at MCA Stage Surface of the Water, which won the second Edaily Culture KYOKO FUJITANI Award Grand Prix for Extra­ was born in 1981 and is ordinary Production, and the a costume designer for the play Karumegi, which won Ingri Fiksdal, theater company FAIFAI. the fiftieth East Asian Theater Fujitani collages items from Award Production Award. unique areas, eras, and genres. Ingvild Langgård In addition to working with YOON JAE LEE theater and dance, Fujitani is was born in 1972 and grad­ & Signe Becker also involved in workshops, uated from the Institute film, TV, and live performances of the Arts. In addition to the by musicians. She has also works he creates for his own worked with artists including company, Lee has performed Teppei Kaneuji. in a number of Japanese productions such as Romeo and SUGATSU KANAYAMA Juliet and Kamome, directed began work on artistic projects by Japanese director Junnosuke with his theater unit, Tokatsu Tada (founder of Tokyo Sports, in 2008. In addition Deathlock theater company), to staging theatrical perfor- and Electra, directed by mances, Kanayama has Tadashi Suzuki. Following his participated in events such as performance of Kiwoong Azumabashi Dance Crossing Sung’s One Day of the Novelist, and X-Point. His works are Mr. Kubo, Lee became a known for their genre-defying member of the 12th Tongue sound samples, and lines Theatre Studio. delivered in the style of rap. Kanayama appears in some of PIJIN NEJI his own productions as a DJ/ performed as a member of VJ. Drawing heavily on hip-hop the acclaimed butoh company culture and infusing elements Dairakudakan from 2000 to of cynicism, he has built a 2004. After leaving Dairakuda- unique place for himself in the kan, Neji began his career contemporary theater scene. as an independent choreo­ grapher/dancer. He is a HONGYIE LEE recipient of the is a member of the Korean Dance Collection Jury Prize, creative theater company and his work the acting DIRECTURG42. Foreign plays motivation, an autobiographi- Sam Pratt, Catherine Ellis Kirk that she has translated into cal documentary based on his Photo: Tim Barden Korean include I was Punched own experience working for Sticking Out Slightly, part-time, won the Festival/ Rai-Rai-Rai-Rai-Rai, Outer Tokyo F/T AWARD. World, The Caucasian Chalk Cosmic Body Circle, Shonen B, The Devotion AOI NOZU of Suspect X, and Remote was born in Tokyo in 1995 Tickets at mcachicago.org Backwater Island, among and began her acting career others. As a dramaturge, Lee while a student at university. Toshiki Okada God Bless Baseball for New National Theatre, Prefecture in 1968 and cur- Photo: Asian Tokyo (2009)—Okada contin- rently lives in Shiga Prefecture. Arts Theatre (Moon So Young) ues to write and direct plays He studied at the Kyoto City for his theater company, University of Arts and the including Freetime (2008, Institute of Advanced Media cocommissioned by KUNSTEN- Arts and Sciences (IAMAS). FESTIVALDESARTS, , Takamine was a longtime Wiener Festwochen, member of the influential and The Festival d’Automne à Japanese multimedia perfor- ), We Are the Undamaged mance group Dumb Type, Others (2010), and The Sonic and is internationally active in Life of A Giant Tortoise (2011). the visual arts, creating installations, video works, Okada’s US production of photography, and performanc- Enjoy was directed by Dan es that address social Rothenberg and produced/ issues. His recent museum solo In 2008, Nozu performed in Award for Art and Cultural presented by The Play exhibitions include Good Shu Matsui’s Sample theater Encouragement. His work Company in New York in 2010. House, Nice Body (2010, company production Kazoku Air Conditioner (2005) was Ensuing US tours have included Kanazawa 21st Century no Shouzou and became a a finalist for the Toyota Hot Pepper, Air Conditioner, Museum), which deals with member of the company in Choreography Award, and the Farewell Speech in issues surrounding the rise 2011. Nozu has performed garnering attention not only 2012 presented by the Japan in cookie-cutter houses; Too in Hi no Kao (Festival Tokyo, from the theater but also Society as part of The Public Far to See (Ikon Gallery, UK; 2009), written by Marius from the contemporary dance Theater’s Under The Radar Yokohama Museum; Hiroshima von Mayenburg and directed community. In 2006, Okada Festival; Zero Cost House, Contemporary Museum; and by Shu Matsui; The Treasured took part in the Stueck a collaborative work by Okada Kirishima Open-Air Museum); Son (2012), written and International Literature Project and Dan Rothenberg, presen­ and Tadasu Takamine’s Cool directed by Shu Matsui; and as a representative of Japan, ted by the Live Arts Festival, Japan (2012, Art Tower Invisible Neighbors (2014), and in December of that year Philadelphia, also in 2012; Mito), which focused on the written and directed by he created Enjoy, commis- and The Sonic Life of a Giant Fukushima nuclear plant Kaori Nishi. sioned and presented by Tortoise, produced/presented disaster. Takamine has also New National Theatre, Tokyo. by The Play Company at JACK been active in the field of TOSHIKI OKADA in 2014. performing arts as a director was born in Yokohama in 1973 In 2007, Okada’s collection as well as a collaborator. and formed the chelfitsch of novels The End of the Special In recent years, Okada has He teaches visual art as an theater company in 1997. Since Time We Were Allowed also earned attention widely adjunct professor at Akita then, Okada has written and (Watashitachi ni Yurusareta in the visual arts, with exhibi- University of Arts. Takamine’s directed all of the company’s Tokubetsu na Jikan no Owari) tions at international art acclaimed video God Bless productions, practicing a was published; it included the centers and museums. His America (2002) inspired distinctive methodology for novel version of Five Days in plays continue to be published the title of Okada’s new work creating plays, known for their March and his first novel, in Japan and translated into God Bless Baseball. hyper-colloquial texts and Our Many Places (Watashitachi many languages. Recently exaggerated commonplace no Basho no Fukusu). This the Munich Kammerspiele, SUNG HEE WI gestures. collection was awarded the one of the foremost theaters was born in 1984 and majored Kenzaburo Oe Prize in the in Germany, invited Okada in philosophy and minored His play Five Days in March following year. In addition to to direct his works in the in theater at Daegin University. (2004), which was presented working on projects by other Kammerspiele’s repertory Wi’s work Dry Monologue, by MCA Stage in 2009, won artists—such as Three Women program for three seasons which she began in 2011, has the 2005 Kunio Kishida Drama for director Naoto Takenaka starting in 2016. been presented at four venues Award and the same year (2008) and directing Tattoo and festivals. She performed earned Okada the Yokohama (Taetowierung) written by TADASU TAKAMINE in form form directed by Kyung Cultural Award/Yokohama German playwright Dea Loher was born in Kagoshima Ae Ro, which was selected as Feb 18–27 at MCA Stage Tim Etchells/ Forced Entertainment

Tim Etchells/Forced Entertainment, Speak Bitterness Photo: Hugo Glendinning God Bless Baseball Image: Ruka Noguchi a New Arts Trend by the Seoul graduate degrees from Temple The Notebook, Speak Arts Foundation in 2012, and University and The University in Decoding Movement, sel- of Warwick and is now Bitterness, and ected as a Young Art Frontier an instructor at Keio University. by the Arts Council Korea Young conducts research in 2013. Wi also works as a in psychopathology and has (In) Complete Works: dancer and choreographer. published many articles in various academic journals. JEROME YOUNG As a singer-songwriter, he has Table Top Shakespeare was born in the Chicago area, released two full-length moved to Japan in 1994, and albums to date and is develop- currently resides in the seaside ing a blues music project Tickets at mcachicago.org town Zushi, Kanagawa. He has planned for release in 2016. FOUNDING MEMBERS FRIENDS OF MCA STAGE The MCA’s newest OF ENACT: THANK YOU affinity group, Enact, $10,000–24,999 Dr. Bruce and Sally Bauer Lead support for the 2015–16 Shawn M. Donnelley and gives longtime Julie and Shane Campbell season of MCA Stage is provided by Christopher M. Kelly performance fans and Patricia O. Cox Elizabeth A. Liebman. Lois and Steve Eisen and The Shawn M. Donnelley* Eisen Family Foundation newcomers alike the and Christopher M. Kelly Generous support for MCA Dance Ginger Farley and Bob Shapiro opportunity to meet Lois** and Steve Eisen and is provided by David Herro and Jay The Eisen Family Foundation Franke. Additional generous support $5,000–9,999 artists, discuss ground- Ginger Farley and Bob Shapiro is provided by Caryn and King Ellen Stone Belic breaking directions David Herro and Jay Franke Harris, and Lois and Steve Eisen and Pamela Crutchfield Sarai Hoffman and Stephen Pratt the Eisen Family Foundation. The Irving Harris Foundation with leading curators, Rhona Hoffman The Martha Struthers Farley and choose key Cynthia Hunt and Philip Rudolph The MCA is a proud member of and Donald C. Farley Jr. Mary E. Ittelson Museums in the Park and receives Family Foundation performers to sponsor. Anne Kaplan major support from the Chicago Sharon and Lee Oberlander Anne and John Kern Park District. Maya Polsky Join Enact, a group of MCA Circle Lisa Yun Lee Carol Prins and John Hart/ Donors dedicated to supporting and Elizabeth A. Liebman The Jessica Fund learning more about the renowned Susan Manning and Doug Doetsch Foundation programs on the MCA Stage. Herbert R. and Paula Molner Season Sponsor $1,000–4,999 Membership in Enact enhances your Sharon and Lee Oberlander Amphion Foundation, Inc. MCA experience by offering you Maya Polsky Leigh and Henry Bienen backstage access to artists and Carol Prins and John Hart/ Preferred Melynda Lopin insider information about our The Jessica Fund Hotel Partner Maecenas programs and the current state of Elizabeth Price and Lou Yecies Herbert R. and Paula Molner the field. Carol Prins and John Hart/ Elizabeth Price and Lou Yecies The Jessica Fund The MCA is a Mr. and Mrs. John Seder Each year, Enact members choose— Mr. and Mrs. John Seder proud partner Ms. Patricia F. Sternberg through discussion and voting—one Ms. Patricia F. Sternberg of the National performance to sponsor, thereby Ellen Stone Belic Performance $500–999 increasing the impact MCA Stage Richard and Ann Tomlinson Network Julie and Shane Campbell programming has on the community. Cynthia Hunt and Philip Rudolph Anonymous ADDITIONAL BENEFITS OF ENACT MEMBERSHIP INCLUDE:

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For more information, contact * Enact Chair 220 East Chicago Avenue us at [email protected]. ** Enact Cochair Chicago, IL 60611 As of January 2016 As an internationally renowned institution Anne Kaplan, Chair of devoted to contemporary culture, the Museum the Board of of Contemporary Art Chicago presents the Trustees most thought-provoking visual art and Madeleine Grynsztejn, performing arts of our time. MCA Stage is a Pritzker Director vibrant series presenting theater, dance, and Teresa Samala music by leading artists from the United States de Guzman, Deputy and around the world in the MCA’s three- Director hundred-seat Edlis Neeson Theater. Michael Darling, James W. Alsdorf MCA Stage’s groundbreaking performances Chief Curator are an integral part of MCA Chicago’s artist-activated, audience-engaged program- PERFORMANCE ming. Along with the museum’s exhibitions PROGRAMS and educational initiatives, they encourage a Peter Taub, Director broad and diverse community to experience Yolanda Cesta Cursach, and discuss the work and ideas of living artists. Associate Director John Rich, Manager Isabel Dieppa, PARKING Coordinator Validate your ticket at the coat check for $12 Richard Norwood, parking in the MCA garage (220 East Chicago Theater Avenue) or the Bernardin garage (747 Production North Wabash). Discounted parking is limited Manager to six hours on the date of performance. Meghan Claire Coppoletti, Intern LOST AND FOUND Udita Upadhyaya, Intern To inquire about a lost item, call the museum at 312-280-2660. Unclaimed articles are held HOUSE MANAGEMENT for thirty days. Kevin Brown, Associate Phill Cabeen, Associate SEATING Quinlan Kirchner, Please switch off all noise-making devices Associate while you are in the theater. BOX OFFICE Patrons are seated at the management’s Matti Allison, Manager discretion. Food and open beverage containers Phongtorn Phongluantum, are not allowed in the seating area. Assistant Manager Molly Laemle, REPRODUCTION Coordinator Unauthorized recording and repro­duction of Lucas Baisch, Associate a performance is prohibited. Stephanie Branco, Associate GENERAL INFORMATION Nora Carroll, Associate 312-280-2660 Emma Dwyer, Associate Wright Gatewood, BOX OFFICE Associate 312-397-4010 Julie Kriegel, Associate Laura Volkening, Associate VOLUNTEER FOR PERFORMANCES 312-397-4072 Program notes compiled by [email protected] Yolanda Cesta Cursach MUSEUM HOURS Tuesday: 10 am–8 pm Wednesday–Sunday: 10 am–5 pm Closed Mondays, Thanksgiving, Christmas, and New Year’s Day