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The Principles of Uncertainty

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The Principles of Uncertainty Brooklyn Academy of Music Adam E. Max, Chairman of the Board William I. Campbell, Vice Chairman of the Board Katy Clark, President The Principles Joseph V. Melillo, Executive Producer of Uncertainty A collaboration between John Heginbotham and Maira Kalman Dance Heginbotham DATES: Sep 27—30 at 7:30pm; Sep 30 at 2:30pm Season Sponsor: LOCATION: BAM Fisher (Fishman Space) Leadership support for RUN TIME: Approx 1hr, no intermission dance at BAM provided by The Harkness Foundation for Dance. Major support provided by Agnes Gund. This production is made possible with support from the Joseph V. Melillo Fund for Artistic Innovation. Major support for dance at BAM provided by The SHS Foundation. Support for dance at the BAM Fisher provided by the Mertz Gilmore Foundation. #BAMNextWave BAM Fisher The Principles of Uncertainty NY Premiere A collaboration between DANCE HEGINBOTHAM John Heginbotham Artistic Director: John Heginbotham and Maira Kalman Executive Director: Adrienne Bryant Performers: John Eirich, Lindsey Jones, Performed by Courtney Lopes, Amber Star Merkens, Dance Heginbotham Weaver Rhodes, Macy Sullivan Maira Kalman Guest Artists: Maira Kalman, Daniel Pettrow Daniel Pettrow Featuring members of THE KNIGHTS The Knights Artistic Directors: Eric & Colin Jacobsen Executive Director: Shruti Adhar Choreography & Direction Violin & Viola: Colin Jacobsen John Heginbotham Cello: Caitlin Sullivan Flute & Vocals: Alex Sopp Text, Illustrations, Accordion: Nathan Koci Scenic & Costume Design Maira Kalman Includes excerpts from The Principles of Uncertainty (2009, Penguin). Music Direction Colin Jacobsen MUSIC Andrea Guerra, Vuci mia cantannu Lighting Design vai; Johann Sebastian Bach, Two-Part Nicole Pearce Invention No. 4 in D minor, BWV 775 (1720—23); Gabriel Fauré, Berceuse, Projection Design Op.16 (1878—79); Colin Jacobsen, Todd Bryant Spun Out (2017); Heinrich Ignaz Franz von Biber, Partita IV in E Flat: So- Associate Costume Design nata (1696); Heitor Villa-Lobos, Suite Maile Okamura Populaire Brésilienne, Choros No.1 (1912); Franz P. Schubert, Die Schöne Assistant Direction Müllerin, Op. 25, D. 795: Des Baches Daniel Pettrow Wiegenlied (1823); Verbunk, Legé- nyes, Szapora (Hungarian Traditional); Production Stage Manager Colin Jacobsen, Achilles’ Heel I: Lydia’s Valerie Oliveiro Reflection (2009); J. Leubrie Hill, At the Ball, That’s All (from Way Out West) Assistant Stage Manager (1937)*; José Alfredo Jiménez, Si Tu & Set Supervisor Tambien Te Vas (1963); Ludwig van Diego Quintanar Beethoven, String Quartet No.13 in B flat, Op.130, Alla danza tedesca (Allegro Video Engineer assai) (1825); Johann Sebastian Bach, Simon Harding Sinfonia No. 11 in G Minor, BWV 797 (1723); Franz P. Schubert, Gretchen am Spinnrade Op. 2, D. 118 (1814) All music arranged by Colin Jacobsen. *Music and choreography used by permission from Sonar Entertainment. The Principles of Uncertainty premiered at Jacob’s Pillow Dance Festival on August 23, 2017. The Principles of Uncertainty was co- commissioned by Jacob’s Pillow Dance Festival and the Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign, and was created during residencies at BAM Fisher, The Banff Centre, Dartmouth College, Jacob’s Pillow, the Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign, Lower Manhat- tan Cultural Council’s Arts Center at Governor’s Island, and the NYU Center for Ballet and the Arts, with additional rehearsals at Baryshnikov Arts Center, the Mark Morris Dance Center, and New York City Center. Additional support for the creation and touring of The Principles of Uncertainty provided in part by the Barbara Bell Cumming Foundation, Howard Gilman Foundation, Andrew W. Mellon Founda- tion, Jerome Robbins Foundation, Lower Manhattan Cultural Council’s Extended Life Dance Development Program, New York City Center, and Dance Heginbo- tham’s Commissioners’ and Benefactors’ Circles. This project is supported in part by an award from the National Endow- ment for the Arts and by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Photo: Christopher Duggan, courtesy of Jacob’s Pillow Dance Festival The Principles of Uncertainty I encountered Maira’s work for the first John and I started taking walks together. time as an adult, when I read and fell in love with her children’s book, Max We looked at people walking. We Makes a Million. Since then, I have been noticed birds, dogs, trees. We drank fortunate to work with her in several coffee and hung around on the corner different capacities—when she designed talking to each other. the sets for Mark Morris’s Four Saints in Three Acts, performed as The Duck Going from that to a dance that is a in Isaac Mizrahi’s Peter and the Wolf, kind of gentle reverie is no simple thing. and co-taught a graduate course at the Every moment has infinite possibilities. School of Visual Art. I asked Maira to collaborate on a project with me, and How do you choose? The dancers have she miraculously, thankfully, said yes. to move. The music has to play. The We did not know what it would look like, costumes and sets must be there. sound like, or really even feel like when we started, but I believe we trusted The words must be written. And all each other. We have worked on this for that time, John and I are trying to a long time, starting from an idea to do make something that feels like it is something together, some conversation, almost nothing. some ancient and fresh images and words. What enthralls and moves me Well not nothing, of course, but the kind about Maira’s work is her gentle, direct, of nothing that is full of the sad sweet poetic, funny, generously heartbreaking funny uncertain life we lead. attention to time and the fact of endings. This idea about time and taking our time —Maira Kalman is the start of this piece. —John Heginbotham Museum of Art, and the Vail International Dance Festival, among others. In the spring of 2016, the company toured to Indonesia, Laos, and the Philippines Who’s as cultural ambassadors of the United States with the DanceMotion USASM program, a project of the US Department of State’s Bureau of Educational and Cultural Affairs (ECA), produced by BAM. DH celebrated its fifth anniversary Who in February 2017 with the world DANCE HEGINBOTHAM premiere of Lola, performed with the world renowned violinist Joshua Bell, The mission of Dance Heginbotham and commissioned by The John F. (DH) is to move people through dance. Kennedy Center for the Performing Arts DH is a New York-based contemporary and the National Symphony Orchestra, dance company committed to supporting, Christoph Eschenbach, Music Director, producing, and sustaining the work as part of the 2016—17 season. of choreographer John Heginbotham. danceheginbotham.org With an emphasis on collaboration, DH engages with national and international communities with its unique blend of THE KNIGHTS inventive, thoughtful, and rigorous dance theater works. Founded in 2011, DH The Grammy-nominated orchestral has quickly established itself as one of collective, The Knights, is flexible in size the most adventurous and exciting new and repertory, dedicated to transforming companies on the contemporary dance the concert experience. Engaging listen- scene and is celebrated for its vibrant ers and defying boundaries with pro- athleticism, humor, and theatricality, as grams that showcase the players’ roots well as its commitment to collaboration. in the classical tradition and passion for DH has shared the stage with music artistic discovery, The Knights has “be- icons including Alarm Will Sound, come one of Brooklyn’s sterling cultural Brooklyn Rider, Ethan Iverson, Gabriel products…known far beyond the borough Kahane, and Shara Nova, and in 2016, for their relaxed virtuosity and expansive presented Fantasque, a collaboration repertory.” (The New Yorker). with puppeteer Amy Trompetter, commissioned and produced by Bard The Knights’ 2017 summer season College’s Summerscape Festival. included a world premiere by Judd Greenstein and an East Coast premiere DH had its world premiere in January of by Vijay Iyer; returns to Central Park’s 2012 at the John F. Kennedy Center for Naumberg Concerts, Tanglewood, the Ra- the Performing Arts and has since been vinia Festival, and Jacob’s Pillow Dance commissioned and presented by Arts Festival. This fall, The Knights embark Brookfield, Bard College, Baryshnikov on a second home season in Brooklyn, Arts Center, BAM, Carolina Performing in partnership with the downtown venue Arts, Jacob’s Pillow Dance Festival, The BRIC, presenting family concerts and Joyce Theater, Lower Manhattan Cultural evening performances. Next is a US tour Council, Lincoln Center for the with Israeli mandolinist Avi Avital and Performing Arts, the Metropolitan Syrian clarinetist and composer Kinan Azmeh. This follows a 2016—17 season Share for Atlanta Ballet (2014), and which saw the release of the album Azul Isaac Mizrahi’s Peter and the Wolf for on Warner Classics with longtime collabo- Works & Process at the Guggenheim rator Yo-Yo Ma; a debut at the Kennedy (2013), which has become an annual Center as part of the inaugural SHIFT: A holiday event. Festival of American Orchestras; and a European tour, with performances at the Heginbotham’s growing list of opera Easter Festival at Aix-en-Provence and commissions includes Candide with three concerts across Germany, including the Orlando Philharmonic (2016); The one at the new Elbphilharmonie in Ham- Magic Flute at the Opera Theatre of Saint burg where the ensemble’s performance Louis, directed by Isaac Mizrahi (2014); was lauded as one of the best in the new Handel’s Alceste for the American Clas- hall (Hamburg Abendetter). sical Orchestra (2014); and María de Buenos Aires at the Cork Opera House The Knights evolved from late-night (2013). In the fall of 2017, he will chamber music reading parties with choreograph the San Francisco Opera friends at the home of violinist Colin production of John Adams’ and Peter Sel- Jacobsen and cellist Eric Jacobsen.
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