Titas Edition 3 | 2019-2020

cover photo MOMIX, photo by Todd Burnsed

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DEAR PATRONS © Carter Rose

Dear Patrons,

SURPRISING | CAPTIVATING | INTERNATIONAL – Words that speak to what sets TITAS/DANCE UNBOUND apart. Forward-thinking, surprising, intriguing and relevant are all precepts that guide the curation of the annual seasons we put together.

Dance is such a special art form. Athletic, difficult, luscious, inspiring and surprising – Time and time again, these are the descriptions I hear from audience members. For more than 37 years, TITAS/DANCE UNBOUND continues to present the coolest, the most innovative, the most remarkable dance artists touring the world today. First-time audience members say they had no idea dance was so cool, something our longtime subscribers have always known.

The 2019/2020 season won’t disappoint. Creative, soulful, gymnastic and breathtaking imagery makes this a very special set of international companies. Funny, stunning, inspiring and exciting, we proudly present a season of ten extraordinary companies from the China, South Korea, Canada, Mexico, France and the United States. It is a season rich in creativity and soul-stirring performances.

Success is rooted in collaboration. Together, TITAS/DANCE UNBOUND and the AT&T Performing Arts Center are dedicated to cultivating talent, new work, and advancing the Arts in our ever-expanding cultural landscape. We are committed, both individually and jointly, to supporting a collaborative community that fosters the creative process. Tonight’s presentation exemplifies our commitment to that process, and to innovative programming. We are building Blended Audiences by bringing the world to Dallas. Thank you for actively engaging in the Arts, and for being a part of the TITAS/DANCE UNBOUND and AT&T Performing Arts Center families.

Sincerely,

Charles Santos, Executive Director/Artistic Director TITAS/DANCE UNBOUND

What we do together truly does make a difference.

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 7

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 9

FRIDAY | JANUARY 31 2020 | WINSPEAR OPERA HOUSE

Co-Artistic Directors/Founders Víctor Manuel Ruiz and Claudia Lavista

Dancers Karla Núñez, Xitlali Piña, Surasí Lavalle, Claudia Lavista, Johnny Millán, Daniel Marín, Renato González, Jonathan Alavés and Víctor Manuel Ruiz

Stage Manager Lighting Designer Technical Production Victor Manuel Ruiz Austin Shirley (in the U.S.)

Tour Management for this engagement provided by: FRONTERA ARTS LLC www.fronteraarts.com

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 11 FRIDAY | JANUARY 31 2020 | WINSPEAR OPERA HOUSE

Program When Disguises are Hung Up (Cuando los Disfraces se Cuelgan)

Original Idea and General Direction: Claudia Lavista and Víctor Manuel Ruiz Piece created in collaboration with the dancers Music: Mario Lavista, Meredith Monk, Michael Galasso, R. Schumann, John Field, Sergio Díaz, J.S. Bach, A. Vivaldi and Bruno Coulais Video Conception and Realization: Renato González, in the collaboration of Ricardo Arzola Costumes Design: Eloise Kazan Costumes Production: Johnny Millán Costumes Realization: Amada Valencia, Elisa Espinosa, Liliana Escobedo, Carmita Soria and Ester Orozco. Musical Edition: Delfos Lighting Design: Víctor Manuel Ruiz Stage Manager: Austin Shirley Video Manipulation: Renato González

Performers: Karla Núñez, Xitlali Piña, Surasí Lavalle, Daniel Marín, Johnny Millán and Jonathan Alavés

12 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER FRIDAY | JANUARY 31 2020 | WINSPEAR OPERA HOUSE

Nominee as Best Touring Show by the Austin Critics Table. The mask is a disguise, but it can be a useful one; however all masks fall away, in the end, we are left with our true selves.

In their celebrated piece, Delfos examines the masks we wear to survive, to love, and to endure in a world that seems never to want us to take the mask off. Eloise Kazán’s stunning costumes, along with a striking video stage-design adds to the startling visual feast that surrounds this evening-length work.

“When Disguises are Hung Up is impressive in the way that Delfos is deeply exploring and questioning one’s daily life. The audience was immersed in the work via the interpretative power of the dancers, along with real-time video, computer animation, and haunting score. It was a well-deserved extended standing ovation for Delfos.” Héctor Guardado, Noroeste. México (January 2009)

Production: This piece was produced thanks to the support of: Programa para el Fortalecimiento de las Artes Escénicas México en Escena-CONACULTA-FONCA, Instituto Municipal de Cultura, Turismo y Arte de Mazatlán and Amigos de Delfos.

Colaborators: Amigos de Delfos, Instituto de Cultura Turismo y Arte de Mazatlán, Centro Municipal de las Artes, CONACULTA-FONCA e Instituto Sinaloense de Cultura.

Consultative Counsel of Delfos: Carlos Berdegué, Patty Kronemeyer, Juan José Ruiz, Juan Carlos Ordaz, Raúl Rico, Martín Gavica y Gaspar Pruneda.

Amigos de Delfos: Mark Kronemeyer, Marcela González de Rico, Laura Graef de Ruiz, Juan Carlos Ordaz, Dolores Sacristán de Berdegué, Carolina Gutiérrez de Pruneda, Dra. María del Carmen Chaparro, Gaspar Pruneda, Ana Belén López, Dr. Eduardo Valle, Gabriela Ramírez, Humberto Avilés, Raúl Carreón Álvarez, Luis Guillermo Laveaga, Gabriela Rodríguez, Andrea Martínez de Castro, Sheila Madsen, Soren Madsen, Richard Marin, Kristi Bishop, Martha Anguiano, Socorro Luna, Roberto Coppel Azcona, Alfredo Gómez Rubio, Rodrigo Becerra, Daniela Rodríguez, Dr. Marco A. Álvarez Arrazola, Dr. Steven Backman, Linda Barker, William Alexander y Moisés Himmelfarb.

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 13 ABOUT THE COMPANY

Delfos Danza Contemporánea was founded in World Series-University of Washington, Center 1992 by Mexican choreographers/dancers Claudia for the Art of Performance at UCLA and The Lavista and Victor Manuel Ruiz with the vision Bates Dance Festival. In 2016, the company of creating dynamic new works in the spirit of received the National Association of Latino Arts collaboration, as well as developing a professional and Culture (NALAC) grant for the creation training program for contemporary dancers. of the project Proa, in collaboration with Dal Niente ensemble from Chicago. The company is a unique collective of artists whose creative vision is characterized by the In 2015, Delfos was invited by Southern fluid physicality and poetic narratives within Methodist University Meadows Dance Ensemble their diverse repertory. Delfos’ work has been to create new choreography on them for presented throughout México as well as in Brazil, Stravinsky’s Firebird which had a world premiere Venezuela, Colombia, Panama, Ecuador, Bolivia, in Dallas March of 2016 at the Bob Hope Peru, Canada, The United States, Italy, Spain, Theater and was again performed at Winspear France, Singapore, South Africa, South Korea, Opera House in May. Lebanon, Lithuania, Algeria, The Netherlands and Greece. Delfos has maintained a constant interest in the creation of projects in collaboration with creators The Company has received worldwide critical of other artistic disciplines, which has allowed it to praise, as well as several major international work with outstanding national and international awards for Dance including: The Mexican artists of different disciplines and visions. National Dance Award in 1992, 1997 and 2002, the Award as Best Dance Company in Mexico Since 1998, Delfos Contemporary Dance has by the Critics Union, the Artistic Merit Award run the Mazatlan Professional School of Dance in Brazil and the Best Show Audience Award at (EPDM), which offers a Bachelor of Arts degree the XXV Lila López International Dance Festival program in contemporary dance. Today Delfos in 2005. and the EPDM are recognized as one of the most important contemporary dance organizations in Delfos had the distinct honor as the only Mexican Latin America. Their home base is the Angela dance company selected to tour extensively in Peralta Theater and the Municipal Center for the the United States in the fall of 2004 with the Arts in Mazatlan, Mexico. support of the National Endowment for the Arts, in association with the National Dance VICTOR MANUEL RUIZ Project of the New England Foundation for the (Co-Artistic Director), dancer, Arts. The tour included a successful week-long choreographer, teacher and run at the Joyce Theater in New York, as part lighting designer, Victor of the Mexico Now Festival. In 2005-06, Delfos Manuel Ruiz has been returned to the United States with the support of praised both nationally and Artes Americas. Delfos toured the U.S. again in internationally. The clarity and 2008-10. In 2011, the company was nominate poetry of his choreographic works and lighting for the Austin Critics Choice Award for touring design has earned him critical praise in cities of show with the piece When the Disguises are Latin America, North America, Asia and Europe. Hung Up. He studied with the Escuela Nacional de Danza, Centro Superior de Coroegrafía in Mexico City. In 2004, 2007, 2009, 2011, 2013 and 2015 He joined Danzahoy of Venezuela and danced Delfos received the Professionals Artistic Groups with the company for 7 years. Scenic Arts MEXICO EN ESCENA Program, from CONACULTA, which is given to the most Victor Manuel Ruiz co-founded Delfos Danza prestigious artistic companies in Mexico. Contemporanea in 1992 with Claudia Lavista in Mexico City, Mexico and the newly formed In 2014, Delfos was selected by the Southern company won the National Dance Award that Exposure-Performing Arts of Latin America— same year. He has been the lighting designer for Mid-Atlantic Arts Foundation, to tour in the almost all of Delfos’ productions in addition U.S. in 2015 and to present their work at: UW to creating lighting design and choreographing

14 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER ABOUT THE COMPANY for companies throughout Mexico and 2005. In 2001, the Mexican press selected her as internationally. In 2002 and 2005, he was the one of the 10 Best Dancers of the XX Century. recipient of the National Dance Award for Best In 2007, she was invited as International Visiting Lighting Designer from INBA-UNAM and Artist at the 25th Bates Dance Festival, and she has received numerous fellowships from Fondo returned as a teacher and faculty member to the Nacional para la Cultura y las Artes (FONCA) festival in 2010-2017. In 2008, 2011 and 2014, for his choreography including a followship for Ms. Lavista became a member of the National Scenic Creation with Outstanding Trajectory. System of Arts Creators, honored by He is a member of the National System of Arts CONACULTA and Fondo Nacional para la Creators Recently. His choreographic work has Cultura y las Artes (FONCA). In 2011, she impacted diverse audiences for his poetic clarity. received a Mellon Residential Fellowship for Arts He has performed and in the best dance festivals Practice and Scholarship at the Richard and in Mexico and internationally. Victor Manuel was Mary L. Gray Center for Arts and Inquiry at the recently the recipient of a Lifetime Achievement University of Chicago. Her work has been praised Award from the Mexican government. by critics and presented in America, Latin America, Asia, Middle East and Europe. In his 34 year career, he has performed in more than 70 works including world She has been a featured performer in over 80 premieres of various national and international works of dance, theater, video and opera, working choreographers. As a teacher, he has developed with an international roster of choreographers her own style and dance technique. He has and artist and performing in some of the world’s taught in cities throughout Mexico been set work most prestigious theaters. Claudia has created on dance students in Europe, the U.S. Canada more than 45 choreographic works and has and Latin America. collaborated with theater and opera directors, photographers, video artists, poets and other Victor Manuel is co-founder, co-director choreographers for nearly three decades. Her and teacher of dance at the Mazatlán School work has been praised by critics and presented of Professional Dance (EPDM), a highly in North America, Latin-America, Asia, Middle respected BFA accredited four year program of East and Europe. contemporary dance whose students hail from Mexico and throughout the world. “Victor Claudia Lavista has been in residence at various Manuel Ruiz, one of the greatest choreographic colleges, universities and dance academies talents in the country.”–Rosario Manzanos, setting work on dance students including SMU, Proceso Magazine, Mexico City, Mexico University of Texas, University of Colorado, Middlebury College, University of North CLAUDIA LAVISTA (Co- Carolina Charlotte, as well as programs in Artistic Director), dancer, Mexico and throughout the world. choreographer and teacher, Claudia Lavista began her Claudia Lavista is also co-director, co-founder and studies in music and theater teacher at the Mazatlán School of Professional at the age of eight. She Dance (EPDM), a highly respected BFA subsequently studied dance at accredited four year program of contemporary the Sistema Nacional para la Enseñanza dance whose students hail from Mexico and Profesional de la Danza del Instituto Nacional de throughout the world. Bellas Artes in Mexico City. In 1987, she joined the dance company U.X. Onodanza and later “If we want to talk of the great figures of Latin joined Danzahoy Dance Company in Venezuela. American Contemporary Dance, the name of In 1992 she co-founded Delfos Danza Claudia Lavista is unavoidable.”–Valerio Cesio, Contemporanea with Victor Manuel Ruiz. She Por la Danza Magazine, Madrid, Spain has received awards for her artistic works including the National Dance Award in 1992, Best Female Dancer-National Dance Awards in 1998 and 2002, and Best Female Dancer at the International Dance Festival of San Luis Potosí in

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 15 ABOUT THE COMPANY

Founders/Co-Artistic Directors Víctor Manuel Ruiz and Claudia Lavista Dancers Karla Núñez, Xitlali Piña, Surasí Lavalle, Claudia Lavista, Johnny Millán, Daniel Marín, Renato González, Jonathan Alavés, Víctor Manuel Ruiz Lighting Designer Victor Manuel Ruiz Stage Manager and Technical Production Austin Shirley (in the U.S.) General Coordination Claudia Lavista Administration Catalina Navarrete Accounting Rocío Martínez Image, Video and Sound Renato González EPDM Co-Artistic Co-Directors Claudia Lavista and Víctor Manuel Ruiz EPDM Administrative Coordination Martha Castillo Phisioterapy Alan Ceballos and Dr. Steven Backman Photographs Martín Gavica • Mazátlan, Sin. / Lois Greenfield • New York, NY www.delfosdanza.org

Touring Manager for Delfos Danza Contemporánea Lynn Fisher, Frontera Arts LLC 3102 Lakeway Blvd., Austin, TX 78734 Phone: (512) 261-6979 www.fronteraarts.com email: [email protected]

16 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER FRIDAY | SATURDAY | FEBRUARY 07 . 08 2020 | MOODY PERFORMANCE HALL

Artistic Director / Choreographer Thierry Malandain

Ballet Masters Richard Coudray, Giuseppe Chiavaro

Dancers Giuditta Banchetti, Raphaël Canet, Clémence Chevillotte, Mickaël Conte, Jeshua Costa, Frederik Deberdt, Clara Forgues, Loan Frantz, Michaël Garcia, Irma Hoffren, Cristiano La Bozzetta, Hugo Layer, Guillaume Lillo, Claire Lonchampt, Nuria López Cortés, Arnaud Mahouy, Alessia Peschiulli, Ismael Turel Yagüe, Patricia Velazquez, Allegra Vianello, Laurine Viel, Yui Uwaha

Technical Director Stage Managers Paul Heitzmann Chloé Brèneur, Jean Gardera, Gilles Muller Lighting Managers Frédéric Bears, Christian Grossard, Sound Managers Mikel Perez Nicolas Rochais, Jacques Vicassiau

Stage Technicians Set and Accessories Production Bertrand Tocoua, Maxime Truccolo Frédéric Vadé

Dressmaker Wardrobe Mistress Véronique Murat Karine Prins, Annie Onchalo

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 17 FRIDAY | SATURDAY | FEBRUARY 07 . 08 2020 | MOODY PERFORMANCE HALL

Program Cendrillon (Cinderella) Malandain / Prokofiev

Choreography: Thierry Malandain Music: Sergueï Prokofiev Production Manager, Lighting Design: Jean-Claude Asquié Set and Costumes: Jorge Gallardo Costumes Production: Véronique Murat Set and Accessory Production: Chloé Bréneur, Alain Cazaux, Annie Onchalo Wig Makers: François Dussourd, Georges Dejardin

Ballet for 20 dancers

Length 94 minutes

While remaining faithful to the dramaturgy of Cinderella and to the score by Prokofiev, Thierry Malandain developed a very personal approach, exploring some themes that he holds dear. Cinderella is the path of a star, a dancing star. Malandain took us on the road to Accomplishment. A road passing through doubt, denial, pain and hope to finally reach light. Through this vision, made of ashes and magic, sometimes tragic, sometimes comical, something quite universal was written.

CINDERELLA SYNOPSIS

Act I Fairy. At this moment, her father appears. In his The day dawns… Lost in the memory of her presence, Cinderella recalls the happy days of mother dead a year ago, Cinderella polishes the past. But once her stepmother and stepsisters the shoes of her father, whom she cherishes come back, her father is thrown out, making with tender love, despite his weakness. The this fleeting moment of happiness disappear. story tells indeed that this melancholic man is Cinderella suffers further humiliation while the submitted to the authority of his new wife. The Fairy and sylphs appear to the sound of music. cruel stepmother and her daughters Drizella This dream is interrupted by the arrival of the and Anastasia arrive. Cinderella endures their dress-makers and dancing master, coming to bullying, until the cruel stepmother enters with prepare Drizella and Anastasia for the ball. They an invitation: the King organises a great Ball at are now ready to leave and, while Cinderella is the Court to wed his son. Enraptured by the left alone with sad reality, her father reappears. idea of being introduced to the Prince, Drizella Like in a dream, the father figure and the Prince and Anastasia leave the stage, followed by their unify. Then, in this magic moment, comes a mother. Left alone, Cinderella expresses her quartet composed of Cinderella, her father, her sadness that she cannot go to the ball, but finds mother and the Prince. And that is when the solace in the company of two elves sent by the Fairy asks the spirits of Summer, Spring, Fall

18 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER CINDERELLA SYNOPSIS and Winter to combine their talents to allow Veronese, Lugano in Scena, Teatro Mayor de Cinderella to attend the Ball. But before leaving, Bogotá, Arteven–Regione de Veneto, Teatros del the Fairy instructs her to come back at midnight. Canal de Madrid, Théâtre Olympia d’Arcachon, Espace Jéliote–Scène Conventionnée CCPO Act II d’Oloron Sainte-Marie, Malandain Ballet Biarritz Celebrations are in full swing at the Palace, but Created on 3rd June 2013 at the Kursaal of San the Prince remains pensive and aloof despite the Sebastián First French representation on 7th June efforts of the Surintendant des Plaisirs. Suddenly, 2013 at l’Opéra Royal du Château de Versailles a beautiful and mysterious music resounds and with l’Orchestre Symphonique d’Esukadi, under Cinderella appears. Bewitched by this charming the direction of Josep Caballé-Domenech. stranger, the Prince leads her into a dreamlike waltz. They dance as if there is no one else in Malandain Ballet Biarritz, Centre Chorégraphique the world when the clock strikes midnight. National, is funded by the Ministry of Culture— Cinderella comes back to reality. She recalls the DRAC Nouvelle-Aquitaine, the City of Biarritz, Fairy’s instructions and flees the ball, leaving the the Region Nouvelle-Aquitaine, the Department Prince totally distraught. He then decides to Council of the Pyrenees-Atlantiques. In view of travel the world to find the one who touched their euro regional cooperation, Malandain Ballet his heart. Unfortunately, she is found neither in Biarritz and the Theater Victoria Eugenia created Spain nor in the East. Pursuing his search, he with the cities of San Sebastián and Biarritz a stops at Drizella and Anastasia’s home. The story cultural cooperation project named “Ballet T,” tells that the ugly sisters try desperately to put initiated and developed thanks to the support on the famous slipper until Cinderella shows of the Fonds Européens de Développement the missing one. Then, right in front of the Régional (FEDER)/Programme Opérationnel stepmother and the two sisters, full of jealousy de Coopération Territoriale Espagne-France- and confusion, the Prince takes Cinderella on a Andorre (POCTEFA). The Communauté long love journey. d’Agglomération Pays Basque and the Diputación Foral de Gipuzkoa supports Malandain Co-produced by: Ballet Biarritz for his actions in Iparralde and Opéra Royal de Versailles/Château de Versailles, Gipuzkoa in the territorial cooperation and in Orquesta Sinfónica de Euskadi, Théâtre National the development of the territorial attractivity. de Chaillot, Opéra de Reims, Teatro Victoria Eugenia de San Sebastián, Estate Teatrale

TITAS/DANCE UNBOUND and Maladain Ballet Biarritz express special thanks to the Dallas Show Sponsor Roberto Powers for his additional support of this production of Cendrillon.

Malandain Ballet Biarritz expresses special thanks to these patrons for their support:

Principal Patron: Repetto

Great Patrons: Banque Populaire Aquitaine Centre Atlantique–BPACA, Association des Amis du Malandain Ballet Biarritz, FIDAL, Société Générale, Pariès, Pyrenex

Patrons: Hôtel du Palais Biarritz, Groupe Slavi, Sofitel Miramar, Aéroport Biarritz Pays Basque, Champagne Delamotte, Miremont, Fraikin, Fournil de la Licorne, Burographic, Goicoechea, Pic Digital, Casden/Acef, Neodigital

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 19 ABOUT CINDERELLA

“What I above all wanted to express in the music or to use cleverness, especially to arrange the for Cinderella is the poetic love of Cinderella and climax of the ballet: the ball at the court. Of the Prince, the birth and flowering of that love, course, I will say nothing more about it. Except the obstacles thrown up in its path and, finally, that when roller skates were all the rage around the coming true of a dream.” Serge Prokofiev. 1875, Mariquita, cited earlier, choreographed roller-skating ballets. Cinderella is a very old story made famous especially by Charles Perrault (1697) and And finally, this is no mystery that Prokofiev, the Brothers Grimm (1812), but we can find the master of the orchestration whom history hundreds of different versions of this fairy did not always judge kindly, composed a music tale throughout the world. Its plot, fantasy sounding sincere, but sometimes contorted, and richness of symbols were also the source ironic and harsh. I often kept his music at bay of numerous film and theatre adaptations. because it reflected in me like a faithful mirror Without giving you too many examples, and and because I preferred to paint a less gloomy before speaking about Sergei Prokofiev’s ballet, picture of my soul. Nevertheless, his scores let me cite Cinderella by Jules Massenet, created possess an amazingly expressive beauty, enabling in 1899 at the Opéra-Comique to a libretto by me to be, in France, the choreographer of his Henri Cain. Mariquita, the fairy of artistic last opus: La Fleur de Pierre (The Tale of the Stone choreography, whose career became a so-called Flower). However, the success of this ballet later ordinary passion for me, arranged the dances performed in the United States did not bring of this opera. One century later, it would be me closer to the ‘disenchanted modernity’ of my turn. the composer. Then, why create Cinderella nowadays? Besides the opportunity to perform it In Massenet’s opera, Cinderella’s god-mother, on the stage of the Royal Opera of Versailles, of who was a fairy, appeared surrounded by which building started during Perrault’s lifetime, fantastic creatures who helped the heroine an impetus was necessary. “One must still have in her quest for love and happiness. Sylphs, chaos in oneself to be able to give birth to a hobgoblins, moonbeams and other ethereal dancing star,” this quote from Nietzsche was the spirits protected her. And while in this version spark I needed. based on Perrault’s tale, the godmother sang: “Your godmother watches and protects you,” in In Greek mythology, chaos is the dense, Brothers Grimm version it is Cinderella’s mother unorganized and formless mass which gave birth who told her, before dying: “I will look down to the earth, the starry sky, love... In the tale, on you from heaven.” Hence, I chose to meld Cinderella was considered by her cruel stepmother the godmother’s and mother’s protective powers as a good-for-nothing and looked always dirty into the Fairy’s character. Otherwise, I remained of being forced to clean the hearth and to live faithful to the rewriting of Perrault’s tale by among ashes—hence her name. But she became Nikolaï Volkov for Sergei Prokofiev ballet. an accomplished young woman, a dancing star, thanks to love, finding the slipper that fitted her Premiered on November 21, 1945 at the perfectly. There is no need to be a child again and Bolshoi Theatre in Moscow with choreography to believe in fantasy in order to understand that by Rostislav Zakharov, this work in three acts this coming true of a dream illustrated in the tale, was destined to be the object of numerous or this rebirth (because ashes obviously refer to interpretations. In 1985, Maguy Marin almost death), symbolizes self-fulfillment. reached perfection, setting the ballet in a dollhouse world. I was highly impressed and felt There is something universal in Cinderella’s then so unable to make a new interpretation that story, suffering, emotions, and hopes. A cry I turned down offer after offer to stage Cinderella. for light, a cry for the serene brightness of But Maguy Marin’s success was not the only stars to counterbalance an inner chaos, in reason for my hesitation. Prokofiev revived which doubts, revolts, sorrows and dreams of the tradition of Tchaikovsky and composed happiness are multiplying. “Creating—that Cinderella as a classical ballet with variations, is the great salvation from suffering, and life’s adagios, pas de deux, forcing the choreographer alleviation,” said Nietzsche. Prokofiev, whose to have a corps de ballet of around thirty dancers second Stalin Prize in 1945, did not protect him

20 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER ABOUT CINDERELLA from bureaucrats and from Andrei Zhdanov, a by the renowned Anton Rubinstein prize as formidable man who drove most of the greatest a pianist and composer with the Concerto for soviet artists to despair in the name of “socialist piano N°1. realism,” served therefore as a model. It then began for him a career beyond the Thus, I choreographed Cinderella to “escape borders of the Soviet Union where he met from the dark realities,” as would say Massenet, Serge Diaghilev and the Ballets Russes. Their to escape from bleeding humanity, ignorance cooperation, which lasted until Diaghilev died and human stupidity, to transcend the ordinary in 1929, resulted among others in the ballet in a nutshell. Like Magifique or Romeo and The Prodigal Son in 1928. That period of exile Juliette which were successes, this ballet was lead him from Japan to the United States where created on a shoes-string, that is to say without he met success with The Love of Three Oranges change of scene, without pretense, without in 1920. But he missed Russia and decided to turning simple things into complicated ones, return there in 1933. but with a real pleasure, derived from humanity, the magic of the tale and the magnificence of His return to his homeland was marked by an music, but also from the laughter of burlesque alternation of honors and persecution according scenes counterbalancing dreamlike or unhappy to Staline’s cultural policy. Firstly, he had official episodes. In short, we did our best to clear up duties to perform therefore he composed for the clouds and “give birth to a dancing star.” the cinema and for ballets like the Kirov and the Bolshoi with which he created Romeo and Thierry Malandain, February 2013 Juliet in 1935. It is at that time that he wrote (1) Creation at the Festival Vaison La Romaine the musical symphony Peter and the Wolf, (1988), later performed at the Opéra Théâtre of commissioned by the Central Children Theater, Saint-Etienne (1990) and at the Grand Théâtre in order to introduce children to music. de Genève (1998) (2) Creation for the Lyon Opera Ballet (1985) But political power suddenly turned against (3) Creation at the Opéra Théâtre of Saint- him and Sergei Prokofiev attempted to have Etienne (1994), later performed at Ballet the least possible to do with politics so he could Florida (2001) concentrate on his music. He composed the ballet Cinderella, performed by the Ballerina Sergueï Prokofiev Galina Ulanova in 1945, between several cardiac Russian composer of well-known classical problems which weakened him greatly. sensitivity, a pianist and a conductor, Sergei Prokofiev was born on 23rd April 1891 in In his later years, he was proclaimed “Artist of Sontsova in what is currently Ukraine. Between the People” by the Socialist Federal Republic Russia, Europe and the United States, his of Russia, but still suffered hostility regularly career evolved according to the political events from the party. Ironically, he died the same in his country. An avant-garde artist, his style day as Stalin and his death was not publicly was at times called creative, cosmopolitan, announced until six days later. and degenerate.

With his mother’s support, he began to study music at the Conservatory of St. Petersburg in 1904 and left after ten years, distinguished

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 21 ABOUT THE COMPANY

CCN-MALANDAIN BALLET BIARRITZ awareness of dance—with, on average, over 450 events per year—and support to Created in 1998 in Biarritz on the initiative artists and companies thanks to the “Accueil of the Ministry of Culture, and the Town of Studio” programme. Biarritz with the support of Nouvelle-Aquitaine Region and the Atlantic Pyrenees Department, Its local presence has led it to forge fertile Malandain Ballet Biarritz is one of 19 National partnerships with numerous cultural actors Choreographic Centres (NCC) in France today. in the Euro-region. It has thus constructed the “Ballet T” project, a partnership between The particularity of Malandain Ballet Biarritz Malandain Ballet Biarritz and San Sebastian’s is that it is made up of 22 permanent dancers Victoria Eugenia Antzokia, with support from trained in classical technique and whose Europe and the Aquitaine Euskadi fund. Its expression in Thierry Malandain’s choreographies aim is to spread choreographic art in the Basque is contemporary. Country, by co-producing and disseminating choreographic works, and also through awareness Today, Malandain Ballet Biarritz is one of Europe’s campaigns and audience mobility within the most widely seen companies with 100,000 Euro-region. The Communauté d’Agglomération spectators per season and almost 100 performances Pays Basque and the Diputación Foral de per year, including one-third abroad. Gipuzkoa supports Malandain Ballet Biarritz for his actions in Iparralde and Gipuzkoa in the As a National Choreographic Centre, Malandain territorial cooperation and in the development of Ballet Biarritz also works intensely on public the territorial attractivity.

BIOGRAPHIES

THIERRY MALANDAIN, succeeded Maguy Marin as winner of the 1st Prize born in Petit-Quevilly, followed of Nyon choreographic competition in the usual path of a classical Switzerland with Sonatine, to a score by Karlheinz dancer, but with a strong taste Stockhausen, and Métamorphosis, to the music of for the unconventional and an Benjamin Britten. By this time, Thierry unusual tenacity. Instead of Malandain was already ambitious and very undertaking training in famous demanding in his choice of music. institutions, he followed the teachings of Jacques Chaurand, Monique Le Dily, René Bon, Daniel In 1986, Thierry Malandain made a bet. He Franck, Gilbert Mayer and Raymond Franchetti. left the Ballet Théâtre Français de Nancy with All of them are eminent and engaging teachers eight dancers and set up the Compagnie Temps with a strong personalities. Violette Verdy, who Présent in Elancourt (78), in the suburbs of Paris. chaired the Prix de Lausanne where Malandain He deliberately chose to get off the beaten track competed in 1978, hired him to join the Paris and undertake a mammoth task. The following Opera Ballet for the 1977-1978 season. There, he season, he was awarded by the Fondation de met Jean Sarelli, who was then “The” ballet la Vocation and the Fondation Oulmont and master, and followed him when Sarelli took over won the 1st Prize of La Baule choreographic the direction of the Ballet du Rhin. Malandain competition, the 1st Prize of Vaison-la-Romaine stayed in Mulhouse until 1980, then joined the choreographic competition and the Prix de la Ballet Théâtre Français de Nancy, directed by Nuit des Jeunes Créateurs in Paris with Angelin Hélène Traïline and Jean-Albert Cartier, until Preljocaj and Claude Brumachon. Malandain 1986. He successfully made his first experiences became known as a promising young talent as a choreographer during the six years he stayed thanks to several works: L’Homme Aux Semelles in Lorraine. In 1984, he won the 1st Prize of the De Vent (1986), music of Benjamin Britten and Volinine Competition with Quatuor op3, to a staged again under the title Les Illuminations score by Guillaume Lekeu. In 1985 and 1986, he (1989) for dancer Patrick Dupond and the Ballet

22 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER BIOGRAPHIES

National de Nancy, Edgar Allan Poe (1988), to The company did not reduce its activity. With scores by Claude Debussy and André Caplet, and the support of Jean-Louis Pichon, Malandain especially Folksongs (1986), music of Benjamin began to recreate the complete works of Massenet Britten and performed by several companies, (Le Cid, Le Carillon and Cigale) from 1999. In including the Ballet de Tours of Jean-Christophe 2000, La Chambre d’Amour, a musical creation Maillot. As people only talked about the “jeune by Peio Çabalette telling a beautiful local danse française” in 1988, Thierry Malandain, like legend, came as a tribute to the new integration his colleagues, contributed to the development of the choreographer in the city. In 2001, of dance in the suburbs while proclaiming his Thierry Malandain paid tribute to the Ballets attachment to the vocabulary of classical dance. Russes by creating an eloquent, touching and He created ballets for opera house companies such audacious programme. as Danses Qu’on Croise (1987), music of Johannes Brahms for the Ballet de l’Opéra de Nantes. His In 2003, Ballet Biarritz took a major creative step unique positioning was confusing for the French with Les Créatures, choreographed to the music choreographic community, but not for the of Ludwig van Beethoven. This powerful, graphic international audience. On the contrary, people, and ambitious work engendered a feeling of especially in Belgium, started to talk about the maturity and poise that earned the Ballet greater French choreographer who achieved the feat of recognition. For the first time in its history, the creating Les Sylphides, music of Frédéric Chopin, troupe officially performed in Paris (Théâtre for the Ballet Royal de Wallonie, and Petite Lune, national de Chaillot) thanks to Dominique to a score by Dmitri Shostakovitch for the Royal Hervieu and José Montalvo, while in 2004 Ballet of Flanders, in the same year (1990). Les Créatures was nominated at the Benois de la Danse in Moscow and received the Critics Prize In 1991, Malandain created Pulcinella by Igor at the 19th International Ballet Festival of Havana Stravinsky on the stage of the previously called in Cuba. Maison de la Culture in Saint-Etienne. At this time, the director Jean-Louis Pichon was trying In 2004, Le Sang des Etoiles confirmed the to turn the institution into an Opera Theatre— company’s success. The CCN then became one named L’Esplanade in 1994. He needed a of the most productive choreographic centres, choreographer who would be sensitive to music with the largest number of performances per and able to have a strong presence. He invited year and a strong international presence. The the Compagnie Temps Présent for a residence in institution also grew in strength. In 2000, Saint-Etienne. This marked the beginning of a Thierry Malandain’s ability to create unanimity collaboration that lasted six years during which he led him almost naturally to the head of the created several of his best-known ballets: La Fleur Temps d’Aimer festival, organized in Biarritz. In de Pierre (1994) by Sergei Prokofiev, L’Après-Midi the same year, he founded a cross-border junior d’un Faune (1995) by Claude Debussy, Ballet ballet in collaboration with the Basque Spanish Mécanique (1996) by Georges Antheil, Sextet community in Donostia-San Sebastián. He (1996) by Steve Reich, Casse Noisette (1997) by juggled all these projects during four years. Piotr Illitch Tchaikovsky. It was also during these years that Thierry Malandain came up with the In 2005, the choreographer gave up his post as original idea of recreating the ballets composed artistic director of Le Temps d’Aimer festival to by Jules Massenet. focus on his work. He then created two works based on the spirit of Pre-romantic ballet: In 1997, the French Ministry of Culture and Les Petits Riens (2005), music of Wolfgang Communication and the City of Biarritz offered Amadeus Mozart, and Don Juan (2006), score Malandain to set up the first classical Centre by Christoph Willibald Gluck. In the meantime, Chorégraphique Contemporain in the Basque the Paris Opera Ballet commissioned Thierry coastal resort of Biarritz. It happened so fast that Malandain to create L’Envol d’Icare (2006), score the Centre Chorégraphique National—Ballet by Alfred Schnittke, which was later nominated Biarritz opened in September 1998 in the Gare at the Benois de la Danse in Moscow. Most of du Midi, a large building abandoned by trains Thierry Malandain’s ballets are now listed in the and whose two big square towers overlook Biarritz repertoire of other big companies worldwide, pleasant gardens. such as the Sadamatsu Hamada Ballet, the

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 23 BIOGRAPHIES

Teatro di San Carlo of Naples, the Staatsoper and Bruenner, the director of the Opéra royal de the Volksoper in Vienna and numerous ballet Versailles. The performances of this ballet were troupes from Caracas, Hong Kong, West Palm on the wonderful stage of the Royal Opera of Beach, Aspen, Cairo, Riga, Tunis, and Karlsruhe. the Palace of Versailles with the accompaniment In France, his works entered the repertoire of the of the Orquesta Sinfónica de Euskadi from Ballet de l’Opéra National du Rhin, the Ballet Donostia-San Sebastián, conducted by Josep National de Marseille, the Ballet de l’Opéra Caballé-Domenech. Cendrillon was unanimously National de Bordeaux, the Ballet du Capitole acclaimed by the press and audiences. In de Toulouse. 2014, Thierry Malandain was named “Best Choreographer” at the Taglioni European Ballet In 2008, Malandain created L’Amour Sorcier Awards, organized by the Malakhov Foundation by Manuel de Falla and Le Portrait de l’Infante, in Berlin. French association of professional music of Maurice Ravel. In this ballet, the dancers critics gave the “Best Company” of 2017 Award performed around three Ménines of Manolo to the Malandain Ballet Biarritz following its Valdès, a Spanish painter and sculptor influenced performances of Noah in Chaillot, National by Diego Vélasquez. Thierry Malandain began Theatre of the Danse. to miss the fieldwork. By the end of 2008, after having celebrated the ten years of his company In 2019, Thierry Malandain was appointed at in Biarritz, the choreographer resumed his post the Académie des beaux-arts in Choreography as artistic director of Le Temps d’Aimer festival at Department, along with Blanca Li and Angelin the request of Didier Borotra, the mayor of the Prejlocaj. Four seats were vacant, three were city. In December, Thierry Malandain staged a filled. Czech choreographer Jiří Kylián joined the new production of Carmen (1996), music of Franz Académie des beaux-arts in March, but in the Schubert. This work marked his appointment to Foreign Associate Members’ Department. the head of the CCN Ballet Biarritz. ALESSIA PESCHIULLI, born In 2009, he was made an “officier” in the Order in Lecce, Italy, Alessia of Arts and Letters. The new name of the graduated from the Rome company, “Malandain Ballet Biarritz”, heralded Accademia Nazionale di danza. a new era for the choreographer. Two new She began her career in 2013 at creations followed: Magifique (2009), music of Balletto di Milano (Milan, Piotr Illitch Tchaikovsky and Roméo et Juliette Italy) directed by Carlo Pesta. (2010) by Hector Berlioz. Both found favour In 2014, she was then hired by Arena di Verona with audiences and critics. For the second time (Verona, Italy) directed by Renato Zanella. She of his career, Thierry Malandain collaborated joined the Tanz Company Innsbruck at the with a composer, Guillaume Connesson, Tiroler Landestheatre, the same year she was resulting in the ballet Lucifer (2011). The score directed by Enrique Gasa Valga, until 2017. In was interpreted by the Orchestre de Pau Pays de 2018, she joined Malandain Ballet Biarritz. Béarn, conducted by Fayçal Karoui, who is also the musical director of the New York City Ballet. ALLEGRA VIANELLO, born In 2012, the Opéra de Reims commissioned him in Venice, Italy. She trained at to create a ballet to celebrate the tenth anniversary the Castelfranco Veneto School of their fruitful collaboration. Malandain chose of Ballet from 2007 to 2011 to explore an unusual musical world by using and was accepted at the English traditional French songs interpreted by Le Poème National Ballet School. She Harmonique of Vincent Dumestre to create began her career in 2013 at the Une Dernière Chanson. This work was awarded English National Ballet then joined the Ballet by the Grand Prix du Syndicat de la Critique Cymru (UK) in 2014. She joined Malandain Théâtre, Musique et Danse in 2012. Ballet Biarritz in 2016.

In 2013, as Malandain Ballet Biarritz gave more than hundred performances per year, Thierry Malandain created Cendrillon to the music of Sergei Prokofiev to the request of Laurent

24 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER BIOGRAPHIES

ARNAUD MAHOUY, born in Lorraine) directed by Didier Deschamps before Nanterre, was trained by joining the Opéra de Limoges (Lomoges Opera Florence Letessier at Bois- House). In 2012, she participated in works by Colombes and Juan Giuliano various ballet companies and choreographers such at the Academy Chaptal in as Les Grands Ballets Canadiens de Montréal Paris. In 2000, he joined the (Great Canadian Ballets of Montreal), the Ballet Paris Superior National de l’Opéra de Lyon (Lyon Opera House Ballet) Conservatory of Music and Dance. He was and the Ballet Vlaanderen (Flanders Ballet). She awarded the first prize by an unanimous jury in joined Malandain Ballet Biarritz in 2017. 2004. He joined the Junior Ballet before joining Malandain Ballet Biarritz in 2005. CRISTIANO LA BOZZETTA, CLAIRE LONCHAMPT, born in Catania, Italy, trained born in Sèvres, trained in the at A.S.D Arteballetto Akademie Dance School of the Paris (directed by Patrizia Perrone) National Opera from 1998 to in Catania, Italy. In 2014, he 2001. She continued her studied at the Princess Grace training at the European Dance Academy in Monte Carlo where he trained with Center, and in 2002 was Michel Rahn, Olivier Lucea and Thierry Sette. He admitted to the CNSMD in Paris, where she won the 2014 Youth America Grand Prix in the joined the Junior Ballet in 2005. She began her European Junior Division (Contemporary Prize). career at the Zurich Ballet and then joined the He joined the Malandain Ballet Biarritz in 2019. Ballet of the National Opera of Finland in Helsinki in 2007. Later, she was in Het National FREDERIK DEBERDT, Ballet in 2010. She joined Malandain Ballet born in Izegem, Belgium, Biarritz in 2011. studied ballet at the School of the Royal Ballet of Flanders. In CLARA FORGUES, born in 1999, he was a finalist in the Biarritz, started training at the Eurovision contest, took part École de Ballet Gillet-Lipszyc in the Varna competition, and in Biarritz before entering the joined the Royal Ballet of Flanders. He joined École Nationale Supérieure de Malandain Ballet Biarritz in 2001. Danse de Marseille in 2010. She continued her training in GIUDITTA BANCHETTI, Lausanne at the Rudra-Béjart School. She joined born in Florence, Italy, studied Malandain Ballet Biarritz in 2014. at the Scuola Accademica Danza Sad in Florence, Italy CLEMENCE and is a graduate of the Marika CHEVILLOTTE, Besobrasova method. In 2017, born in Aix-en-Provence, she joined the New English trained at the Ecole Nationale Ballet Theatre in London. She was awarded the Supérieure de Danse de 2018 Grand Prix in the first edition of Dance Marseille (Marseille National Project Charles Jude Association’s international School of Dance) then at classical dance exams in Florence sponsored by Colette Armand’s Studio Ballet. Her career began the Serge Lifar Foundation. She joined Malandain in 2006 at Gran Canaria Ballet directed by Anatol Ballet Biarritz in 2018. Yanowsky. She then danced for the Marseille and Montpellier opera houses, as well as the Acodanse Company in Marseille. From 2008 to 2010, she joined the ranks of the CCN/Ballet de Lorraine (National Choreographic Centre/Ballet in

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 25 BIOGRAPHIES

GUILLAUME LILLO, born JESHUA COSTA, born in in Joinville-le-Pont, studied at Lecce, Italy, graduated from the the Conservatoire National Rome Teatro dell’Opera (opera Supérieur de Danse de Paris theatre). From 2013 to 2014, (Paris National Conservatory he danced with the Ballet Nice of Music and Dance), then Méditerranée at the Opéra de joined the Ballet Junior troupe Nice (Opera house in Nice, in 2011. In 2012, he danced with the Scottish France) directed by Eric Vu-An. From 2014 to Ballet (UK) for one season before joining the 2018, he danced for the Tanz Company Innsbruck Israel Ballet company in 2013. He joined at the Tiroler Landestheatre directed by Enrique Malandain Ballet Biarritz in 2015. Gasa Valga. He joined the Malandain Ballet Biarritz in 2018. HUGO LAYER, born in Sens, studied at the Conservatoire de LAURINE VIEL, born in Paris, Sens until 2007, then at the began dancing with Virginia National Superior Conservatory Cosnier at the Villejuif of Paris for Music and Dance. Municipal Conservatory. In Meanwhile, he took part in the 2005, she attended the National creation of Rhapsody In Blue Superior Conservatory of with Cathy Bisson, played a role in the French Music and Dance in Paris, television film Fais Danser la Poussière (Make the before joining its Junior Ballet Classic in 2009. dust dance) by Christian Faure and Marie Dô and She joined Malandain Ballet Biarritz in 2011. was chosen to be the soloist in Clowns by Pietragalla/Derouault Company. He joined LOAN FRANTZ, born in Malandain Ballet Biarritz in 2013. Tinago Camalig Albay, Philippines, trained at the IRMA HOFFREN, born in Conservatoire à Rayonnement San Sebastián, Spain, studied at Régional de Toulouse (Toulouse the Thalia Dance School in San Regional Conservatory), Sebastian, and then furthered followed by the Ballet School of her training with Maria de the Opéra National de Paris. He began his career Avila and Carmen Roche. She in 2012 with the Ballet Nice Méditerranée under joined Ballet Biarritz Junior the direction of Eric Vu-An. He then joined the from 2005 to 2008, then CCN-Ballet de Lorraine, Ballet de l’Opéra National de Bordeaux directed under the direction of Didier Deschamps. She by Charles Jude in 2013, and the Opéra Théâtre entered Malandain Ballet Biarritz in 2012. de Metz directed by Laurence Bolsigner in 2016. He joined Malandain Ballet Biarritz in 2017. ISMAEL TUREL YAGÜE, born in Valence, Spain, won MICKAËL CONTE, born in the 2006 Audience Award at Libourne, trained at the the Concurso Ciudad Ribarroja National Conservatory de del Turia. In 2009, he danced Bordeaux in 2001. He joined The Nutcracker with the Ballet Malanadain Ballet Biarritz Nacional de Cuba. In 2012, he Junior in 2006 and joined the was a finalist in the XI Concurso Internacional de CCN-Ballet de Lorraine Ballet Ciudad de Torrelavega. In 2013, he worked directed by Didier Deschamps. He joined for Trainee performance with the Joffrey Ballet Malandain Ballet Biarritz in 2011. School in New York. Graduated in 2014 from the Conservatorio Professional de Danza in Valencia, he joined the Ballet de la Generalitat Valenciana. In 2015, he joined Malandain Ballet Biarritz.

26 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER BIOGRAPHIES

MICHAËL GARCIA, born in YUI UWAHA, born in Nagoya, Toulouse, studied dance at the Japan, studied at the National Arts and Dance Center in Ballet School of Canada from Fontenilles with Elisabeth and 2007 to 2011 then at the Christophe Garcia for 5 years. Dutch National Ballet He joined the Academy Princess Academy in Amsterdam from Grace de Monaco, and later 2011 to 2013. In 2012, she joined Malandain Ballet Biarritz in 2011. began an internship at the Dutch National Ballet directed by Ted Brandsen. She joined the Opéra NURIA LOPEZ CORTES, de Nice Ballet directed by Eric Vu-An in 2013, born in Alicante, Spain, studied where she played demi-soloist roles in ballets by from 2004 to 2010 with Maurice Béjart, Jiří Kylián, Roland Petit and Marika Besobrasova in the Nacho Duato, just to name a few. She joined the Academy Princess Grace de Malandain Ballet Biarritz in 2019. Monaco. She performed at the Ballet of the National Opera of GIUSEPPE CHIAVARO, born Bordeaux in 2008, and joined Malandain Ballet in Catania, Italy, won a Biarritz in 2010. scholarship in 1986 to study at the Paris National Opera School PATRICIA VELAZQUEZ, of Dance. Two years later, he born in Guadalajara, Mexico, joined Rosella Hightower’s studied at the Royal Academy International Dance Centre and of Dance of London, from performed with the Jeune Ballet International from 1994 to 2003. Before joining 1990 on. In 1992, he was awarded the Serge Lifar the Royal Ballet Academy of Prize, and was then hired by Etienne Frey at the Guadalajara, she attended the Sinopia Dance Ensemble in Switzerland. He has Royal Winnipeg Ballet School in Canada from been working as a dancer with Thierry Malandain 2003 to 2005. She started her career in Mexico in since 1994, first as part of the Compagnie Temps the Compañia de Danza Clásica y Neoclásica de Présent, and then with the CCN Malandain Ballet Jalisco in Guadalajara in 2009. She was then Biarritz in 1998. Since 2014, he has been a guest joined the Compannia Nacional de Danza in teacher and puts together ballets by Thierry 2010, and in the Monterrey Ballet in 2011. She Malandain with professional dance companies in joined Malandain Ballet Biarritz in 2012. France and abroad. In 2019, he become Ballet Master for the company. RAPHAËL CANET, born in Avignon, studied at the www.malandainballet.com Regional Conservatory in www.facebook.com/MalandainBallet Avignon, before joining the Ballet of the National Opera of Bordeaux. Hired in 2009 in Dantzaz Konpainia, he joined Malandain Ballet Biarritz in 2011.

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 27 FRIDAY | SATURDAY | FEBRUARY 28 . 29 2020 | MOODY PERFORMANCE HALL

Artistic Director Willy TSAO

www.beijingldtx.com

Touring Management KMP Artist Management Kristopher McDowell / Andrew Delicata 700 Milam Street, Suite 1300 Houston, Texas 77002 www.kmpartists.com

28 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER FRIDAY | SATURDAY | FEBRUARY 28 . 29 2020 | MOODY PERFORMANCE HALL

Program

Premiere: 2018 Duration: 70 mins

Choreographer: ADIYA Music: Armand AMAR, Insingizi, Yo-Yo MA, Isabel SÖRLING Lighting: Joy CHEN Costume: Aojieyihei of Unlimited Non-Cycle

Dancers: FAN Lu, FENG Xiao-ming, HAO Ying, GAO Rong, HUANG Siang, LIU Yang, MA Yue, SHI Qiang, TIAN Ru-meng, WU Mi, ZHANG Xue-feng

Arc symbolizes the ups and downs, the ebbs and flows of one’s life. What is similar is in its reincarnation, what is different is in its landscape.

Arc is the first full-length choreography of resident artist Adiya, marking his artistic transition from dancer to choreographer.

Arc may be static, but can also reflects a kaleidoscope of life, while one may be deviating from one’s path of life, no one can run away from one’s destiny.

TITAS/DANCE UNBOUND thanks tonight’s show sponsor, The Crow Museum of Asian Art of The University of Texas at Dallas for their additional support.

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 29 ABOUT THE COMPANY

BEIJINGDANCE/LDTX (LDTX) is China’s Hong Kong in 1979 and has been its artistic first officially registered private professional director for thirty years from 1989 to 2019; and modern dance company co-founded by in 2019, he founded FLSH, a group to further Willy TSAO and LI Han-zhong. LDTX is promote the inter-exchange between Hong Kong an acronym for Lei Dong Tian Xian which and mainland modern dance. In China, he was a translated as “thunder rumbles under the teacher and advisor to establishing the first proper universe.” The company’s mission is to provide modern dance education program in China at a platform where Chinese dance artists may the Guangdong Dance School from 1987 to freely express their multi-dimensional thoughts 1992. He was named artistic director of China’s and sentiments of today’s China, embodying first professional contemporary dance company, the modern dance attributes of individuality, Guangdong Experimental Modern Dance mindful of zeitgeist and originality. Its dancers Group, when it was founded by the Guangdong come from cities across China, infusing Provincial Government in 1992 and held the individuality with exquisite techniques and post until 1998. In 2004, TSAO was invited excellent creativity. The company performs not by the Guangdong Cultural Bureau to resume only in cities across China, it also presented in as artistic director of the Guangdong Modern more than 20 countries across five continents. Dance Company until 2016. In Beijing, TSAO The company presents and organizes annually co-founded China’s first officially registered the Beijing Dance Festival, which has private professional modern dance company, become an important international cultural BeijingDance/LDTX, and had served as its exchange festivity, artistic director since establishment. In end of 2016, TSAO further built up a network—China “BeijingDance/LDTX, with its solemn artistic Dance Station, joined by private independent values and complete dancer ensemble, further dance organizations in each of the cities, with confirms its prominent and irreplaceable position aim to share resources and intelligence; as of end in China’s modern dance development.” of 2019, there are 42 cities joining the China Dance Station alliance. – China Cultural Journal Committed to nurturing and developing www.beijingldtx.com Chinese contemporary dance groups and artists, TSAO established two contemporary dance WILLY TSAO exchange platforms—the Guangdong Modern Founder/Artistic Director, Dance Festival and the Beijing Dance Festival. BeijingDance/LDTX The annual Beijing Dance Festival was set up in Council Member, China’s 2008 with TSAO as artistic director. It began as Chinese Dancers Association a one-week festivity and has since 2012 expanded Vice Chairman, Guangdong to become a two-weeks. The Beijing Dance Provincial Dancers Association Festival has become one of the biggest celebration of dance in Beijing and among cities in China Willy TSAO is an influential figure in China’s with more than 300 dance artists, over 200 contemporary dance development as a dance students and more than 5000 audience choreographer, educator, curator, manager and attendance coming from cities throughout director. Born and educated in Hong Kong, China, Hong Kong, Taiwan, as well as across the TSAO received his modern dance training in world from North & Central America, Europe, the U.S. He received his MBA degree from Africa, and Asia. University of Hong Kong. TSAO was named an Honorary Fellow in 2000 and received an TSAO holds several public posts in China. In Honorary Doctorate in 2015 from the Hong 2015, he was appointed as council member of Kong Academy for Performing Arts. the China Dancers Association. In 2016, he was appointed as vice chairman of the Guangdong As a contemporary dance pioneer in China Provincial Dancers Association. TSAO also and Hong Kong, TSAO founded the first and frequently gives lectures and holds workshops only professional modern dance company, City in universities and dance groups across China Contemporary Dance Company (CCDC), in in cities such as: Beijing, Changde, Changsha,

30 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER ABOUT THE COMPANY

Chengdu, Chongqing, Daqing, Fuzhou, Since the 1980’s, TSAO has created more than Guangzhou, Guiyang, Hefei, Huhhot, Kunming, 60 major works. They include: Bird Songs, Lanzhou, Nanchang, Nanjing, Nanning, Ningbo, China Wind-China Fire, 365 Ways of Doing and Ordos, Shanghai, Shenzhen, Taiyuan, Tianjin, undoing orientalism, Wandering in the Cosmos, Urumqi, Wuhan, Xian, Xiamen, Yinchuan and One Table N Chairs, Sexing Three Millenniums, China Hong Kong and China Macao. Dao: Extraodinair, Conqueror, Warrior Lanling and In Search of Grand View Garden. And his TSAO’s contribution to dance has been widely choreographies have been presented in Canada, recognized. He was awarded “Dancer of Year France, Germany, Israel, Japan, Korea, United Award” from the Hong Kong Artists’ Guild in States as well as Beijing, Guangzhou, Shanghai 1988, “Ten Outstanding Young Persons” Award and Taipei. in 1990, “Badge of Honor” from HRH Queen Elizabeth II in 1993, “Louis Cartier Award of ADIYA Excellence—Outstanding Choreographer” in Resident Artist, BeijingDance/LDTX 1998, “Bronze Bauhinia Star” by the Hong Kong SAR Government in 1999, Distinguished Born in Ordos of Inner Mongolia of Mongolian Achievement Award in 2014 and Life ethnicity, ADIYA studied at Art College of Ordos Achievement Award in 2017 by the Hong Kong from 1998 to 2002. He became a dancer with Arts Development Council for his immense and Cultural Troupe of Inner Mongolian Military invaluable achievement and contributions to Region from 2002 to 2003; joined Beijing Hong Kong dance. TSAO was invited by the Tenggeritala Art Troupe from 2004 to 2010. In Dance Committee of the International Theater 2012, Adiya joined BeijingDance/LDTX and Institute, a partner of the UNESCO) to be the became its resident artist in 2017. Message Author for Asia-Pacific and delivered the message on the International Dance Day 2018. ADIYA has visited Algeria, Australia, Costa Rica, Germany, India, Israel, Lebanon, Poland, Tunisia, U.S. and various countries and regions. He has participated in American Dance Salad Festival, and Spring Festival (Lebanon and Tunisia). His major choreographies include: Mai, Everywhere, Twilight Line and Arc.

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 31 TITAS/DANCE UNBOUND DONORS

As of December 30, 2019 Rishi Ganti Joe Pacetti and Tristan Nieves Maria May Michael Ginsberg and Sally Pian and Ira Silverman Meadows Collier PLATINUM $20,000 and up Lorri Michel/Sterlizia Joseph Patti Stacey Mickelson American Airlines Foundation MPWS Company, LLC/ Regina Montoya and Beverly Blumenthal Gail Griswold~ and Pioneer Wine Company Paul Coggins City of Dallas, Office of Arts Bill Brice, Jr. Janine and Charles Pulman Christi Nicolas and Cultural Craig and Kathryn Hall/ Deedie Rose Christi Neill Trammell S. Crow Hall Group Melissa and Lee Shore Mary and Sean O’Brien Dallas Morning News Zoe DeRopp-Hart~ and Karen and Martin Sosland Scott O’Neill Dallas Tourism Todd Hart Saundra Steinberg and Jay Oppenheimer Public Improvement Maria and Michael Hasbany Matthew Wilner Mary and Robert Potter District Program Madeline Jobst Arlene Switzer Steinfield~ Tracy Preston~ Claire Dewar~ KERA and David Steinfield Andrew Rosen Gayle~ and Jim Halperin/ Ann and Fred~ Margolin Texas Women’s Foundation/ Capera Ryan/Christie’s Heritage Auction Galleries Carolyn and David Miller Roslyn Dawson Thompson Auction House Lola~ and Todd Lott/ Susan and Bill Montgomery and Rex Thompson Charles Santos~ and charlieuniformtango Harry S. Moss Foundation Stacey and Michael~ Titens Rick Bond Neiman Marcus Dana Nearburg Thompson & Knight Gloria Snead DeMetris Sampson~ Ralph Randall Foundation Smith Limousine Sheraton Dallas Hotel Cindy and George Santos Molly Byrne/Turningpoint Mandy Strauss TACA Eugene Sepulveda and Foundation Mary Suhm Texas Commission on the Arts Steven Tomlinson Jacques Vroom III~ and Lori White and The Dallas Foundation Simmons Sisters Fund of Anne Clayton Anthony Tillman Donna M. Wilhelm The Dallas Foundation Kate Walker~ Roslyn Thompson Family Fund Nancy Whitenack Lily~ and Jeff Weiss Linda and Ralph Williams GOLD $10,000-$19,999 BRONZE $2,000-$4,999 PRODUCER’S CIRCLE DIRECTOR’S CIRCLE Anonymous Anonymous $1,000-$1,999 $500-$999 CBS TV Association of Performing Anonymous Naomi Aberly and Audrey and Joel~ Bines/ Arts Professionals Cultural Steve Atkinson and Larry Lebowitz for AlixPartners Exchange Fund Ted Kincaid the Lebowitz Family Lucilo A. Peña and Janice Berman Richard Babb and Foundation Lee A. Cobb~ Arthur Bollon~ and Phillip Neely Suzanne and Ansel Aberly Trammell and Margaret Crow Rhonda Porterfield William Benac Jorge Baldor Museum of Asian Art of the Alana and Ron Brame Paula Blackmon Rebecca and Chuck Bauer University of Texas Dallas Howard Brown~ Julie Bleicher Mike Birrer Carol A. Crowe Kitty~ and Keith Carter Lois Anne Bond Debra Bishop Read and Steven~ Gendler Communities Foundation Mickie and Jeff Bragalone David Brochu Mona and Bill~ Graue of Texas Robert Briggs Mary Dolan The Jewish Federation of Delia and Michael~ Crossley Rebecca Bruder Patsy Fagadau Greater Dallas Lenore Diamond~ Jerry Bywaters Cochran Kim Fredenberg Ambassador Ron Kirk and Veronica Erickson~ The Dallas Voice Alex Hamerman Matrice~ Ellis-Kirk Helen and Jerome Frank Lisa Dawson Sally Hansen National Endowment for Rebecca and Barron Fletcher Doodlebug Keith Hughes the Arts Wanda Gierhart~ Diana Dutton and Tony Grindl Susan and Donald Paul Meaders and Robert Ozarow/ David Glover and Leslie el-Effendi Jarzemsky Empire Baking Co. Jorge Martinez Julie and Bob England JCB by Jean Charles Boisset Jacqueline Porter/The Dallas Steven Goldfine and Bess and Ted Enloe Louise W. Kahn Conservatory Deborah Deitsch Perez Anna Gomez Endowment Fund Roberto Powers Kathy and Graham Greene Maria Gomez and Sheilon King Greg Swalwell and Terry Emilio Gomez~ Luis Escobar Joe Kobell Connor, Carter Thomas Linda and Scott Greer Jose Gomez and Sarah and Alan Losinger and Rod Bowman Tracey and David Huntley Francis Luttmer Doug Mitchell and Ed Calcote TACA Bowdon Family Patty and Tom Hussey Paul Hale and Oscar Gomez Margaret Nelson Foundation Artist JCB by Jean-Charles Boisset Denise Huddle Kim Noltemy Residency Fund Norman Kaplan Leslie Irwin Thomas Pullano and SILVER $5,000-$9,999 Bill Leazer Rusty and John Jaggers Brad Waites Ric Abel Veronica Lewis Janet and Terry Kafka Raymond Vineyards Anonymous Veletta Forsythe Lill and Philanthropic Fund of the Debbie and Arts Midwest Touring Fund John C. Lill Dallas Jewish Community Michael Richman John R. Blanton, Jr. and Enrique MacGregor and Foundation Genie and Gary Short Deborah Handler Mark Niermann The Kob Family Britt Stark Diane and Hal Brierley Jill and Brent Magnuson Lisa and Peter Kraus Suzanne V. Walker Kathy Chamberlain/ Gail and Guillermo Marmol Mary Noel Lamont Aurelia C. Weiss Chamberlain Ballet Tom and Charlene Marsh Robert Langdon Michelle Wilson Harlan R. Crow Foundation Family Foundation Alexandra and Robert Lavie Lauren Embrey/Embrey Carla Nichols Alan H. Levi, CPA and Family Foundation Lynn and Hisashi Nikaidoh E. Kelly Nitsche, DVM

32 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER TITAS/DANCE UNBOUND DONORS

CHOREOGRAPHER’S Kate McBride Dorothy Cawley Abbie Meyering CIRCLE $250-$499 Monica Simon McCray Richard Cerrone Margaret Miesch Cordell Adams Susan McNabb Nancy Childs Lynette Miller Brady Allen The Meadows Foundation Mary Cloutier Paul Miller C. and Jo Blackburn Gift Match Program Sean Cooper Muriel Mimura Heather and Ray Balestri Donovan Miller Sherry Copeland Barry Moore Jeff Christenson Ben Needham-Wood Jacqueline Czitrom Chet Morrison Joan Davidow Linda O’Connor Ruth Dandalides Geraldine Mullane Paulette Deutman Joe Parker, III Audrey Decherd Alejandro Munoz Pedro Fernandez Rebecca Posten Patty Delaney Donna Nickels Marge and Larry Goodman Susan Paul and James Kipp Louise Delano Christina Parker Debbie and Stratton Horres Lynnette Rakuskin and Kathleen Delsanter Michelle Parker Heather and John Knapowski Hank Garrett William Deniger Diana and Michael Payer Janice Lombardi Linna and Richard Robinson Constance DePaula Riana Pellicane-Hart and Darrell Mueller Lisa Ryan Laura Doolittle Tami Pellicane Kathleen Muldoon and Joyce Sanders and Stefania Dragomir Susan Perez Bob Hendler Bob Lebovitz Karen Eaves Annette Pinkerton Lynn and Mark Oristano Patricia Santiago Jodie Elder Marianne Pohle Annita and Mark Ryan Christine and Ken Sherman April Ellis Ellen Presby Erin A. Smith Nancy Somodevilla James Engelbrecht Debra Priest Norma and Don Stone Melanie Spiegel Debra Engstrom JC Puckett Dale Van Vleck Dorit and Michael Suffness Susan Ernst Alejandro Puerto Marilyn and Larry Waisanen Lenore M. Sullivan and Neil Erwin and Susan Rumsey Barry N. Henry Lauren Partovi Cynthia Rollow and COMPOSER’S CIRCLE Lester Taub Osvaldo Fajardo Edward Bennett $100-$249 James Thomas Tony Farrer Rochelle Rubin Anonymous Lynn and Jim Thomas Diana Fenves Keira Scanks Anonymous Meagan Kirk Thompson Paul Ferraro Ninon Schalk Brenda Anderson Linda and Hubert Threats Sharon Fisher John Schmerein Kathryn Anderson Dr. Martin and Judy Tobey Melissa Fleming Alexandra Schwartz Karl Berger Bruce E. Turner Mallory Fosdick and Sarah Schweitzer The Boeing Company Gift Ellen Tye Bobby Gibbs Tanya Scott Match Program Douglas Unger Evelyn Fox Karen Shumway Laura Bowers Elizabeth Van Vleck Nancy Franks Linkie Seltzer Kathy Brown Nancy Vasto James Garza Dr. D.D. Sety Teresa Byrd Georgia Vickers Larry Glazer Efrain Sain Jan Callender Barbara and Bill Walton Sharon and David Gleeson Douglas Stark Cheryl Chase Chalmers Ward Amber Green Patricia Stella Patricia and James Chatt Michael Weinman Shannon Green Richard Stern Michael Chilen Donna and Jack Greenman Bennett Stokes Laura Vickers Chittick and Ronald Whitehead Ginny Hajek Kevin Tillet Graham Goodkin Michael Wilson Susan Hanlon Fred Toothman Cece Cox Andrea Wolf Vanessa Harrington-Brooks Grethel Toothman Kevin Demel Jana Hartline Walker Trigg ARTIST’S CIRCLE $0-$99 Michele DeSalme and Chris Heinbaugh Jeffrey Underwood Frederick Toulmin Almeida Adiarys Karen Hill Carolyn and William Vandiver Nora and Les Elledge Chrystal Almeida Pamela Hill Moriah Wallace Tammy Elkins Talal Al-Muhanna Elizabeth Hirsch Liz Wally Linda Evans Anonymous Sharon Holland Nancy Walker Faynetta Fort Anonymous Elizabeth Jeffett Durward Watson and John Frazier Renee Baker Mollie Johnson Michael Kaufman Barbara and Stowe Gardner Catherine Barnes Thomas Kemper Monda Watson Wayne Gilbert Jerod Barnes Dennis Kniery B. Weinstein Daniel Guenther Maura Bartley Lois Kowalsky Janis and Dennis Wells Marcie Guidry Andrea Beck David Leggett Joan L. Weltman Debbi Haacke Jerome Bell Karin Lesica Mary Westfall Milinda Hall and Jerry Wright Laura Billingsley Jeff Lewis Cheryl White Callie and Zach Hamilton J. Blackwell Patricia Magadini William Wilcox Jennifer Heffernan Karyn Bloom Robert Magnusson Mary Williford-Shade Kristi and Ron Hoyl Frances Branham David Mairs Jack Wrightson Maureen and Hilton Israelson Jean Brock Joan Martin Judy Youngblood and Scott Johnson Brandye Brown Nina Martin Dan Butler Kathryn Jordan Nichol Bunn Julie and Anthony Matt Bonnie Kudlicki Danny Buraczeski and Abby McCartney Kelley Lindquist Les Johnson Hunter McGrath ~ denotes Candace MacMahon Stan Carpenter and Chris Mcintyre TITAS/DANCE Madeline Mandell Jerry Baden Mitchell Menezes UNBOUND Thomas R. Marshall Fran Carris Olga Metz Board of Trustee Kenneth Mays Crystal Carter

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36 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 37

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 39 40 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER BOARD OF TRUSTEES

BOARD OF TRUSTEES DeMetris Sampson, President Joel Bines Veronica Erickson Fred Margolin Arthur P. Bollon Steven Gendler Tracy Preston Howard Brown Wanda Gierhart Charles Santos Kitty Carter Emilio Gomez Arlene Switzer-Steinfield Lee Cobb Bill Graue Michael Titens Michael Crossley Gail Griswold Jacques Vroom III Claire Dewar Gayle Halperin Kate Walker Lenore Diamond Zoe DeRopp Hart Lily Cabatu Weiss Matrice Ellis-Kirk Lola Lott

HONORARY BOARD Tom Adams Lauren Embrey Sally Hansen Penny Atkiss Bess Enloe Alan Lerner William P. Benac Rebecca Enloe Fletcher Charlene Marsh Beverly Blumenthal Kathryn D. Greene Lynn Nikaidoh Jeanne Marie Clossey Carol Hall Deedie Rose

Charles Santos Executive Director/Artistic Director

Tammy Elkins Director of Finance

John Frazier Operations Manager

Elizabeth Van Vleck Development Officer

Tom Adams and Gene Leggett Co-Founders of TITAS

700 N. Pearl Street, Suite 1800, Dallas, TX 75201 Administrative Office: 214.978.2855 · Box Office: 214.880.0202 Titas.org

TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 41 42 TITAS/DANCE UNBOUND IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER AT&T PERFORMING ARTS CENTER CENTER STAFF SENIOR STAFF MARKETING Paul Cathey General Manager Cindy Evans Director of Publicity Kelli Criswell Administrative Assistant Brian Irvin Senior Graphic Designer Tracy Hargis Vice President of Human Resources Shaliyah Johnson Graphic Designer Chris Heinbaugh Vice President of External Affairs Matt Lyle Digital Marketing Manager Michelle Holmes Vice President of Marketing Chris McDonald Senior Marketing Manager Kathie Parsons Chief Financial Officer Greg Robertson Group Sales Manager Debbie Storey President & CEO Bill Spellman Director of Digital Marketing BOX OFFICE & TICKETING SERVICES OPERATIONS Blanca Carranza Ticket Services Manager Graeme Bice Director of Operations Ashley Davis Ticket Services Supervisor Richard Bowlin Facilities Technician Supervisor John McCoy Ticket Services Manager Jabari Earl Event Manager Curtis Meek Sr. Director of Ticket Services & Analytics Steve Green Facilities Lead Technician TJ Micallef Ticket Services Manager Linda Keogh Administrative Operations Manager Alan Pollard Senior Ticket Services Agent Naomi Link Event Manager Priscilla Schmitt Ticket Services Supervisor Tim McCaghren Facilities Technician Katie Spanos Associate Director of Ticket Services Rian Mendez Facilities Technician Chuck Thomas Director of Facilities CORPORATE PARTNERSHIPS Jennifer Ulich Senior Event Manager Erika Bocanegra Corporate Partnerships Associate Ted Whitehead Safety Operations Manager Kathryn Cox Director of Corporate Partnerships Jefferson Ferguson Account Manager PATRON SERVICES Marissa Bateman Front of House Manager DEVELOPMENT Robert McDowell Director of Patron Services Kathy Everitt Board & Donor Relations Manager Charles Moore Senior Front of House Manager Meagan Hemenway Director of Annual Fund Anastasia Pharr Senior Front of House Manager Savannah Saxton Development Associate PRODUCTION EDUCATION & COMMUNITY ENGAGEMENT Alex Benningfield Technical Coordinator I Autumn Garrison Director of Ed & Comm Engagement Adam Bowlin Carpentry & Rigging Manager Ahila Gulasekaram Ed & Comm Engagement Asst. Mgr Tim Callahan Head Carpenter Joya Johnson Ed & Comm Engagement Coordinator Weston Keifer Technical Director EXTERNAL AFFAIRS Patrick Keller Head Flyman Aaron Johansen Lighting Manager Drew Eubank Communications & External Affairs Manager Bart McGeehon Production Manager Hector Garcia Strategic Services Manager Candice Miears Technical Coordinator II FINANCE & ACCOUNTING Eric Miller Production Senior Manager Caleb Adeogun Director of Financial Planning & Analysis Matt Pearce Technical Coordinator I Don Anderson Controller Lee Terry Head Electrician Robin Kong Financial Analyst Jeff Waite Technical Coordinator II Carol Taino-Chew Staff Accountant Amanda West Director of Production Jonathan White II Head Audio INFORMATION TECHNOLOGY John White Head Properties Erik Bowers Shared Data Support Specialist Stewart Fowler Technology Infrastructure Manager PROGRAMMING Adam Hourigan Director of Information Technology Caroline Crocker Director of Broadway Presentations Sterling Vicks IT Support Specialist Ryan Henry Talent Buyer Matt Winchester Director of Shared Data Services Anne Kogan Programming Manager Alex Reyes Programming Coordinator Greg Seamon Director of Programming

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