2014 Next Wave Festival DEC 2014 Sponsored by Time Warner Inc

2014 Next Wave Festival DEC 2014 Sponsored by Time Warner Inc.

Roberto Diago, Aqui Estoy, 2014

Published by: Season Sponsor: 2014 NEXT WAVE FESTIVAL

Brooklyn Academy of Music

Alan H. Fishman, Chairman of the Board The William I. Campbell, Vice Chairman of the Board

Adam E. Max, Wanderer Vice Chairman of the Board Karen Brooks Hopkins, President Jessica Lang Dance Joseph V. Melillo, Executive Producer Choreography by Jessica Lang

DATES: Dec 3—6 at 7:30pm

LOCATION: BAM Fisher (Fishman Space)

RUN TIME: 1hr 5min (no intermission)

Season Sponsor:

Time Warner Inc. is the BAM 2014 Next Wave Festival Sponsor

Leadership support for dance at BAM provided by The Harkness Foundation for Dance

Major support for dance at BAM provided by The SHS Foundation.

BAM Fisher #THEWANDERER 2014 NEXT WAVE FESTIVAL The Wanderer

WORLD PREMIERE The Wanderer: Kirk Henning The Brook: Kana Kimura Artistic Director & Choreographer The Girl: Laura Mead JESSICA LANG The Hunter: Milan Misko

Assistant to the Choreographer The Others: Julie Fiorenza, Sarah CLIFTON BROWN Haarmann, John Harnage, Claudia MacPherson Music by FRANZ SCHUBERT Generous support for the creation Die schöne Müllerin of The Wanderer provided by Anonymous Donor, The Dau Family Visual Concept Foundation, Ann and Weston Hicks, JESSICA LANG and Christopher Jones and Deborah McAlister. Additional support provided Set Designer by Deborah and Charles Adelman. MIMI LIEN In-kind support provided by Judith R. Lighting Designer and Alan H. Fishman and Jill and Alan NICOLE PEARCE Resnick.

Costume Designer The Wanderer was created in part BRADON McDONALD during a Creative Development Residency with support from the Dancers Jacob’s Pillow Dance Award Initiative. JULIE FIORENZA SARAH HAARMANN The Wanderer was created in part with JOHN HARNAGE support from the Made In Wickenburg KIRK HENNING Residency Program with funding from KANA KIMURA the R. H. Johnson Foundation, The CLAUDIA MacPHERSON Del E. Webb Center for the Performing LAURA MEAD Arts, and the National Endowment for MILAN MISKO the Arts.

with This program is supported, in part, STEVEN LABRIE, Baritone by public funds from the New York TYSON DEATON, Pianist City Department of Cultural Affairs, in partnership with the City Council. 2014 NEXT WAVE FESTIVAL

BRIEF SYNOPSIS: JESSICA LANG THE WANDERER DANCE Founded in 2011, Jessica Lang Dance A miller (the Wanderer) is journeying (JLD) is a New York City-based dance through a forest. He comes across a company dedicated to creating and Brook. The Brook leads him to a mill, performing the work of Jessica Lang. where he falls in love with the Miller’s JLD enriches and inspires global audi- daughter, the Girl. He decides to stay ences by immersing them in the beauty and work at the mill, while he ques- of movement and music. tions the Brook if she has deliberately led him to the Girl—is this his destiny? Since the company’s inception, marked by Lang’s receipt of a Joyce Theater The Girl loves the color green. Artist Residency supported by the Andrew W. Mellon Foundation, JLD has made rapid success perform- As a sign of his love, the Wanderer ing at renowned venues and festivals gives the Girl his green ribbon. She throughout the country including accepts it, which he mistakes for Jacob’s Pillow Dance Festival, the Ken- requited love. nedy Center Concert Hall, the Joyce Theater, New York City Center’s Fall Then, a Hunter, dressed in green, fol- for Dance Festival, and the Winspear lows the Brook’s path and comes upon Opera House in Dallas, TX, where the the mill. The Girl falls in love with the company’s performance was chosen Hunter because he is wearing green. as the best dance event of 2013. In 2014, JLD premiered Scape, commis- Tortured and tormented by everything sioned by the Kennedy Center and the National Symphony Orchestra to John in nature that is the color green, the Adams’ Violin Concerto and played heart-broken Wanderer can bear no live by violinist Leila Josefowicz with more and throws himself into the Brook the NSO. JLD has received numerous and dies. The Brook sings him a lul- grants and funding from organizations laby. including the Jerome Robbins Founda- tion, the O’Donnell-Green Music and Dance Foundation, the New York City Department of Cultural Affairs, the Rockefeller Brothers Fund, Japan Foun- dation New York, and the Foundation for Contemporary Arts. In spring 2015, the company will undertake an 8-city tour, followed by a two week run of The Wanderer at Jacob’s Pillow, marking the company’s third Pillow season since its debut in 2012.

For a full listing of upcoming performances, visit jessicalangdance.com. 2014 NEXT WAVE FESTIVAL

Award in the UK. Lang has received numerous grants for her work on ballet companies from organizations Who’s including the Jerome Robbins Foundation, the NEA, and the Choo San Goh Foundation. Her receipt of a 2010 Joyce Theater Artist Residency supported by the Andrew W. Mellon Who Foundation helped launch her own company, Jessica Lang Dance (JLD) JESSICA LANG in 2011. Lang’s work has also been Choreographer-Artistic Director performed by numerous educational institutions including the Juilliard Jessica Lang is a choreographer and School, NYU Tisch School of the Arts, the artistic director of Jessica Lang the Ailey/Fordham BFA Program, Dance. Hailed as “a master of visual Marymount Manhattan College, SUNY composition” by Dance magazine, Purchase College, Southern Methodist Lang seamlessly incorporates striking University, Princeton University, design elements and transforms University of Richmond, and Point classical ballet language into artfully Park University, among others. She crafted, emotionally engaging is on the faculty of American Ballet contemporary works. Since 1999, Theatre’s Jacqueline Kennedy Onassis Lang has created more than 80 School as well as a teaching artist works on companies worldwide for the Make A Ballet program. With including Birmingham Royal Ballet, her strong belief in the importance of The National Ballet of Japan at the education, Lang recently developed her New National Theatre Tokyo, Joffrey own methodology called LANGuage, a Ballet, Kansas City Ballet, Cincinnati unique creative curriculum that teaches Ballet, Colorado Ballet, Ballet San individuals from all populations to Jose, Richmond Ballet, Pennsylvania cultivate the habit of creative thinking Ballet, Ailey II, ABT II, Hubbard through exercise. Lang, a graduate of Street 2, and New York City Ballet’s the Juilliard School under the direction Choreographic Institute, among many of Benjamin Harkarvy, is a former others. American Ballet Theatre has member of Twyla Tharp’s company, presented her work at the Metropolitan THARP! Opera House, and she has received commissions from the Dallas Museum of Art and the Guggenheim Museum CLIFTON BROWN for its Works and Process series. For Dancer-Rehearsal Director opera, Lang received outstanding acclaim for her directorial debut and Clifton Brown began his professional choreography of Pergolesi’s Stabat career when he joined the Alvin Ailey Mater at the 2013 Glimmerglass Opera American Dance Theater in 1999. Festival. Lang is the recipient of a There he was featured in many works, prestigious 2014 Bessie Award, and named assistant rehearsal director, her ballet Lyric Pieces, commissioned and served as Judith Jamison’s and performed by Birmingham Royal choreographic assistant. While Ballet, earned a nomination for a dancing with the Ailey company he coveted 2013 Manchester Theatre was nominated in the UK for a Critics 2014 NEXT WAVE FESTIVAL

Circle National Dance Award for best male dancer. Brown has received a SARAH HAARMANN Bessie Award in recognition of his Dancer work with the Ailey company, as well as a Black Theater Arts Award. He Sarah Haarmann grew up in Macungie, has had the privilege of performing PA. In 2012, she earned a BFA in at the White House and for President dance from Marymount Manhattan Obama. He has also danced with College under the direction of Katie Earl Mosley’s Diversity of Dance, Lar Langan, where she performed works Lubovitch Dance Company, and as by Benoit-Swan Pouffer, Jessica Lang, a guest artist with Miami City Ballet, Lar Lubovitch, Larry Keigwin, Shen Rome Opera Ballet, Nevada Ballet, Wei, and Pam Tanowitz, with whom and Parsons Dance Company. He has she continues to perform. Upon made several television appearances graduation, Haarmann was selected including performing as a guest artist to participate in the Cunningham on So You Think You Can Dance and repertory workshops sponsored by the Dancing with the Stars. As a répétiteur, Merce Cunningham Trust. Haarmann he has set the work of Alvin Ailey, began working with JLD in 2012 and Earl Mosley, and Jessica Lang on joined the company in 2013. various companies. He continues to assist Lang on her creations across the globe, most recently for Birmingham JOHN HARNAGE Royal Ballet and the Glimmerglass Dancer Opera Festival. Brown is proud to be a founding member of JLD. John Harnage was raised in Miami, FL, where he trained with the Miami City Ballet School and New World JULIE FIORENZA School of the Arts. In May of 2014 Dancer he graduated from the Juilliard School under the direction of Lawrence Julie Fiorenza was born in South Korea Rhodes, where he had the privilege of and grew up in Massachussetts, where learning works by choreographers such she trained at the Academy of Dance as José Limón, Alexander Ekman, Pina Arts and the Boston Ballet School. Bausch, and Lar Lubovitch. Harnage is She earned a BFA in dance from the also a modern dance finalist from the Ailey School/Fordham University and 2010 NFAA YoungArts competition, was a member of Ailey II, Nai-Ni has worked professionally with Brice Chen Dance Company, and Adams Mousset’s Oui Danse, and performed Company Dance. Fiorenza danced at internationally at the 2012 Edinburgh the Metropolitan Opera in productions International Festival with the Juilliard of Turandot and Mark Morris’ Orfeo Dance Ensemble. Harnage began ed Euridice. She has also performed working with JLD as an apprentice in with the Mark Morris Dance Group 2014. in Romeo & Juliet: On Motifs of Shakespeare, The Hard Nut, and L’Allegro, il Penseroso ed il Moderato. Fiorenza is a founding member of JLD. 2014 NEXT WAVE FESTIVAL

various Brooklyn-based artists and KIRK HENNING collaborated with musicians in Dancer Kentucky, Vermont, and Brazil. She performed with the Mark Morris Dance Kirk Henning began his training with Group in The Hard Nut, Romeo & Watmora Casey and Avnun Yakubov. Juliet: On Motifs of Shakespeare, and He was a member of Dayton Ballet, L’Allegro, il Penseroso ed il Moderato, Richmond Ballet, and currently dances as well as in Morris’ production of with Suzanne Farrell Ballet. Henning Orfeo ed Euridice at the Metropolitan has performed a variety of works both Opera. MacPherson assisted Lang contemporary and classical, including at the 2013 Glimmerglass Opera Lang’s Lines Squared and To Familiar Festival and restages Lang’s work on Spaces in Dream, as well as lead roles universities for educational programs. in Giselle, Sleeping Beauty, Hamlet, She is a founding member of JLD. Slaughter on Tenth Avenue, Romeo and Juliet, and Apollo. His many awards include the Josie Award for LAURA MEAD outstanding performer and the Movado Dancer Future Legend’s Award. Henning is a founding member of JLD. Laura Mead grew up in Austin, TX, and Berkeley, CA. She received a BFA in dance from the Juilliard School, KANA KIMURA where she performed works by Jessica Dancer Lang, Ronald K. Brown, Eliot Feld, and Paul Taylor, among others. Mead Kana Kimura was born in Hiroshima, originated the principal role of Betsy Japan, where she began her ballet in Twyla Tharp’s Broadway musical training at the age of four and studied Come Fly Away, for which she received contemporary dance with Takako an Astaire Award nomination. Mead Asakawa. After graduating from the served as dance captain on a national Juilliard School, Kimura worked with tour of Tharp’s Movin’ Out and has also Wally Cardona Quartet. She appeared performed with American Repertory in Nixon in China at the Metropolitan Ballet, the Metropolitan Opera, and Opera, choreographed by Mark Morphoses. Mead has been a member Morris, worked on a dance video of JLD since the full company’s debut performance for Shanghai Expo, and in 2012. has also performed with Japanese Arts Organization J-Collabo in NYC. She was in the off-Broadway show The MILAN MISKO Nutcracker Rouge with Company XIV. Dancer Kimura is a founding member of JLD. Milan Misko was raised in Missouri, where he began his dance training with CLAUDIA MACPHERSON Jo Noth’s White Oak Dance Academy Dancer and the Kansas City Ballet School. He holds a BFA from the Purchase Claudia MacPherson received her College Conservatory of Dance. Misko BFA from the Ailey School/Fordham has worked with Kansas City Ballet, University. She has worked with Lar Lubovitch Dance Company, 2014 NEXT WAVE FESTIVAL

Merce Cunningham Dance Company/ Norsworthy, Linda Wang, Julie RUG, Kazuko Hirabayashi Dance Landsman, Victoria Livengood, Othalie Theater, Adams Company Dance, and Graham, and Sherrill Milnes, among Setsuko Kawaguchi Ballet, Japan. He many others. In 2013, he conducted has created dances for Take Dance, and recorded Tom Cipullo’s Glory Bucknell University, and directed his Denied (Fort Worth), now available on first short dance film,Transportation , the Albany label. Productions of Lucia which was selected for Lincoln Center’s (Anchorage), Norma (Baltimore), and Dance on Camera Festival 2013. Guillaume Tell (Wichita) rounded out Misko has been a member of JLD since the season. A champion of the music the full company’s debut in 2012. of our time, he will lead the premiere of Libby Larsen’s A Wrinkle in Time in a future season. The 2013—14 STEVEN LABRIE season included his Kennedy Baritone Center recital debut alongside tenor Matthew Grills and a term as artist- Steven LaBrie, a native of Dallas, in-residence at McGill University. TX, and a graduate of the Academy He was recently recorded with Julia of Vocal Arts (AVA) in Philadelphia, Kogan on a disc titled In Jest which is known for his beautiful timbre, will be distributed by Harmonia expressive singing, and dramatic Mundi (UK). This year is completed presence. This season LaBrie reprises by a recital tour with Matthew Worth, the role of Schaunard in La Bohème in addition to recently conducting with Washington National Opera and Le Nozze di Figaro in Memphis. Dallas Opera. Recent performances include Schaunard with New Orleans Opera, Dancaïro in Carmen at the MIMI LIEN Dallas Opera, the Secret Police Agent Set Designer in Menotti’s The Consul with Seattle Opera, and Raimbaud in Le Comte Ory Mimi Lien is a designer of sets and with Des Moines Metro Opera. During environments for theater, dance, and his AVA residency, LaBrie appeared opera. Having arrived at set design as Figaro in Il Barbiere di Siviglia, from a background in architecture, her Marcello in La Bohème, Malatesta in work often focuses on the interaction Don Pasquale, and Guglielmo in Così between audience/environment and fan tutte. LaBrie’s awards include a object/performer. She is an artistic 2013 Encouragement Grant from the associate with Pig Iron Theatre George London Music Foundation and Company and the Civilians, and Second Place from the Gerda Lissner co-founder of JACK, a new art/ Foundation. performance space in Brooklyn. Her work has been presented at the Prague Quadrennial, and her sculpture was exhibited at the Storefront for Art and TYSON DEATON Architecture. Lien is a recipient of a Pianist Lucille Lortel Award, American Theatre Wing Hewes Design Award, Barrymore Tyson Deaton has gained attention as Award, Drama Desk nomination, Bay both a conductor and pianist having Area Critics Circle nomination, and has performed worldwide with such been a MacDowell Colony fellow. In artists as Denyce Graves, Michael 2014 NEXT WAVE FESTIVAL

2012, she received an Obie Award for choreographers, her credits include 10 sustained excellence in design. works with Mark Morris (Mark Morris Dance Group, Boston Ballet, and Houston Ballet); six works with Aszure BRADON MCDONALD Barton (Nederlands Dans Theater, Costume Designer Aszure & Artists, and Hubbard Street Dance Company); six works with John Bradon McDonald has had a diverse Heginbotham (Dance Heginbotham career in both the performing arts and Atlanta Ballet); No Longer Silent and design fields. Upon graduating with Robert Battle (Introdans); Blush from Juilliard in 1997, McDonald with Andrea Miller (Jacoby & Pronk); danced with José Limón Dance Episode 31 with Alexander Ekman Company for three years, and with (Joffrey Ballet); and Torrent with Brian Mark Morris Dance Group for 10 Brooks (Brian Brooks Moves). Selected years. He has choreographed operas New York theater credits include The and taught movement to opera singers American Dream and The Sandbox at companies including LA Opera, directed by Edward Albee; Beebo Bolshoi Opera, Royal Academy of Brinker Chronicles directed by Leigh Music, Houston Grand Opera, Gotham Silverman; Edgewise directed by Trip Chamber Opera, Wolftrap Opera, and Cullman; Trouble in Mind directed Tanglewood Music Festival. Twelve by Jade King Carroll; and Savage in hours after retiring from the stage, Love directed by Pam MacKinnon. McDonald began studying fashion nicolepearcedesign.com design at LA’s Fashion Institute of Design and Merchandising where he earned two degrees in fashion design. JESSICA LANG DANCE STAFF McDonald was a top four finalist and showed a collection at New York Artistic Director and Choreographer Fashion Week on Project Runway JESSICA LANG Season 12. He was both costume designer and choreographer for the Operations Manager Kurt Weill opera The Protagonist, a GRETCHEN K. WILLIAMS Beth Morrison Projects production at Fire Island Opera Festival. As well as Rehearsal Director creating couture garments for private CLIFTON BROWN clients from his Los Angeles studio, his signature dancewear collection, Assistant Rehearsal Director Bradon@Capezio, is available CLAUDIA MacPHERSON worldwide. Lighting Designer-Production Manager NICOLE PEARCE NICOLE PEARCE Lighting Designer Stage Manager DATHAN MANNING Previous work with Jessica Lang: 10 works including Escaping the Administrator Weight of Darkness (National Ballet JULIE FIORENZA of Japan), Crossed (Joffrey Ballet), and Lyric Pieces (Birmingham Royal Video Content Manager Ballet). A frequent collaborator of top MILAN MISKO 2014 NEXT WAVE FESTIVAL

Photographers MILAN MISKO, TAKAO KOMARU

Graphic Designer JIM LANG

Website Developer ALLAN HATTA

Music Associate to the Choreographer NATHAN TROUP

jessicalangdance.com

For booking information for Jessica Lang Dance and Jessica Lang, please contact: Margaret Selby—President, CAMI Spectrum: 212.841.9554 [email protected] | cami.com

For booking information for Steven LaBrie, please contact: Michael Benchetrit—Vice President, CAMI Vocal: 212.841.9559 [email protected] | cami.com

Thank You!

The set for The Wanderer built by Paper Mâché Monkey.

Dancewear and dance shoes courtesy of Gayle Miller & Capezio NYC.

JLD would like to thank its Board of Directors and generous donors who made tonight’s program possible. by Stephanie Berger The Wanderer Photos: 2014 NEXT WAVE FESTIVAL

LIBRETTO Nor who prompted me; But I too had to go down Die schöne Müllerin (Op. 25, D 795) With my wanderer’s staff. (The Fair Maid of the Mill) Down and ever onwards, By Franz Schubert (1797—1828) Always following the brook, Texts by Wilhelm Müller (1794—1827) As it babbled ever brighter Translation by Richard Wigmore And ever clearer.

1 WANDERING Is this, then, my path? O brook, say where it leads. To wander is the miller’s delight With your babbling To wander! You have quite befuddled my mind. A poor miller he must be Who never thought of wandering Why do I speak of babbling? Of wandering. That is no babbling, It is the water nymphs singing We have learnt it from the water, As they dance their round far below. From the water! It never rests, by day or night, Let them sing, my friend, let the brook But is always intent on wandering, babble, The water. And follow it cheerfully. For mill-wheels turn We can see it in the wheels too, In every clear brook. The wheels! They never care to stand still 3 HALT! But turn tirelessly the whole day long, The wheels. I see a mill gleaming Amid the alders; The stones themselves, heavy as they are, The roar of mill-wheels The stones! Cuts through the babbling and singing. They join in the merry dance And seek to move still faster, Welcome, welcome, The stones. Sweet song of the mill! How inviting the house looks, O wandering, my delight, How sparkling its windows! O wandering! Master and mistress, And how brightly the sun Let me go my way in peace, Shines from the sky. And wander. Now, dear little brook, Is this what you meant?

2 WHERETO? 4 THANKSGIVING TO THE BROOK I heard a little brook babbling From its rocky source, Is this what you meant, Babbling down to the valley, My babbling friend? So bright, so wondrously clear. Your singing, your murmuring, I know not what came over me, Is this what you meant? 2014 NEXT WAVE FESTIVAL

To the maid of the mill! 6 THE INQUISITIVE ONE This is your meaning; Have I understood you? I ask no flower, To the maid of the mill! I ask no star; None of them can tell me Did she send you, What I would so dearly like to hear. Or have you entranced me? I should like to know this, too: For I am no gardener, Did she send you? And the stars are too high; I will ask my little brook However it may be, If my heart has lied to me. I yield to my fate: What I sought, I have found, O brook of my love, However it may be. How silent you are today! I wish to know just one thing, I asked for work One small word, over and over again. Now I have enough For hands and heart; One word is yes; Enough, and more besides. The other is no; These two words contain for me The whole world. 5 AFTER WORK O brook of my love. If only I had a thousand How strange you are. Arms to wield! I will tell no one else: If only I could drive Say, brook, does she love me? The rushing wheels! If only I could blow like the wind Through every wood, 7 IMPATIENCE And turn Every millstone, I should like to carve it in the bark of every So that the fair maid of the mill tree, Would see my true love. I should like to inscribe it on every pebble, Sow it in every fresh plot Ah, how weak my arm is! With cress seed that would quickly reveal it; What I lift and carry, I should like to write it on every scrap of What I cut and hammer – white paper: Any apprentice could do the same. My heart is yours, and shall ever remain so. And there I sit with them, in a circle, In the quiet, cool hour after work, I should like to train a young starling And the master says to us all: Until it spoke the words, pure and clear, I am pleased with your work. Until it spoke with the sound of my voice, And the sweet maid bids us all With my heart’s full, ardent yearning: Goodnight. Then it would sing brightly at her window: My heart is yours, and shall ever remain so.

I should like to breathe it to the morning winds, And whisper it through the rustling grove; 2014 NEXT WAVE FESTIVAL

If only it shone from every flower, 9 THE MILLER’S FLOWERS If only fragrant scents could bear it to her from near and far. Many small flowers grow by the brook, Waves, can you drive only mill wheels? Gazing from bright blue eyes; My heart is yours, and shall ever remain so. The brook is the miller’s friend, And my sweetheart’s eyes are bright blue; I should have thought it would show in my Therefore they are my flowers. eyes, Could be seen burning on my cheeks, Right under her window Could be read on my silent lips; I will plant the flowers; I should have thought my every breath There you shall call to her when all is silent, would proclaim it When she lays down her head to sleep; to her; For you know what I wish to say. But she notices none of these anxious signs: My heart is yours, and shall ever remain so! And when she closes her eyes And sleeps in sweet repose, Then whisper to her as a dream: 8 MORNING GREETING Forget me not! That is what I wish to say. Good morning, fair maid of the mill! Why do you quickly turn your head away And when, early in the morning, she opens As if something was wrong? the shutters, Does my greeting annoy you so deeply, Then gaze up lovingly; Does my glance upset you so much? The dew in your eyes If so, I must go away again. Shall be the tears That I will weep upon you. O, just let me stand far off And gaze at your beloved window, From the far distance! 10 SHOWER OF TEARS Little blonde head, come out! Come forth from your round gates, We sat together in such harmony Blue morning stars. Beneath the cool canopy of alders, And in harmony gazed down Little eyes, drunk with slumber, Into the rippling brook. Little flowers, saddened by the dew, Why do you fear the sun? The moon had appeared too, Has night been so good to you And then the stars; That you close and droop, and weep They gazed down in harmony For its silent bliss? Into the silvery mirror.

Shake off now the veil of dreams I did not look at the moon, And rise up, refreshed and free, I did not look at the stars; To God’s bright morning! I gazed only at her reflection The lark is trilling in the sky And her eyes. And from the depths of the heart Love draws grief and care. I saw them nod and gaze up From the happy brook; The little blue flowers on the bank Nodded and glanced at her. 2014 NEXT WAVE FESTIVAL

The whole sky seemed Rest now, dear lute, here on this nail, Immersed in the brook And if a breath of air wafts over your strings, And sought to drag me down Or a bee touches you with its wings, Into its depths. I shall feel afraid, and shudder. Why have I let this ribbon hang down so Above the clouds and stars far? The brook rippled merrily, Often it flutters across the strings with a And called me with its singing and ringing: sighing sound. Friend, follow me! Is this the echo of my love’s sorrow, Or could it be the prelude to new songs? Then my eyes filled with tears And the mirror became blurred; She said: It’s about to rain, 13 TO ACCOMPANY THE LUTE’S Goodbye, I’m going home. GREEN RIBBON

“What a pity that the lovely green ribbon, 11 MINE! Should fade on the wall here; I am so fond of green!” Brook, cease your babbling, That is what you said to me today, my love; Wheels, stop your roaring! I untied it at once and sent it to you: All you merry woodbirds Now delight in green! Great and small, End your warbling! Though your sweetheart is all in white Throughout the wood, Green shall have its reward, Within it and beyond, And I, too, am fond of it. Let one rhyme alone ring out today: For our love is evergreen, My beloved, the maid of the mill, is mine! For distant hope blossoms green, Mine! That is why we are fond of it. Spring, are these all of your flowers? Sun, do you have no brighter light? Now plait the green ribbon Ah, then I must remain all alone Prettily into your hair, With that blissful word of mine, For you are so fond of green. Understood nowhere in the whole of Then I shall know where hope dwells, creation. Then I shall know where love reigns, Then I shall truly delight in green.

12 PAUSE 14 THE HUNTSMAN I have hung my lute on the wall, And tied a green ribbon around it. What does the huntsman seek here by the I can sing no more, my heart is too full, millstream? I do not know how to force it into rhyme. Stay in your own territory, defiant hunter! The most ardent pangs of my longing Here is no game for you to hunt, I could express in playful song, Here dwells only a tame fawn for me. And as I lamented, so sweetly and tenderly, And should you wish to see that gentle I believed my sorrows were not trifling. fawn, Ah, how great can my burden of joy be Leave your guns in the forest, That no song on earth will contain it? Leave your baying hounds at home, Stop that pealing din on your horn, 2014 NEXT WAVE FESTIVAL

And shave that unkempt beard from your chin, Or the fawn will take fright in the garden.

But it would be better if you stayed in the forest, And left mills and millers in peace. How can fish thrive among green branches? What can the squirrel want in the blue pond? Stay in the wood, then, defiant hunter, And leave me alone with my three mill- wheels; And if you wish to make yourself popular with my sweetheart, Then, my friend, you should know what distresses her heart: Wild boars come out of the wood at night, And break into her cabbage patch, Rooting about and trampling over the field; Shoot the wild boars, heroic huntsman!

15 JEALOUSY AND PRIDE

Whither so fast, so ruffled and fierce, my beloved brook? Do you hurry full of anger after our insolent huntsman friend? Turn back, and first reproach your maid of the mill For her frivolous, wanton inconstancy. Did you not see her standing by the gate last night, Craning her neck as she looked towards the high road? When the huntsman returns home merrily after the kill A nice girl does not put her head out of the window. Go, brook, and tell her this; but breathe not a word – Do you hear? – about my unhappy face; Tell her: he has cut himself a reed pipe on my banks, And is piping pretty songs and dances for

the children. by Stephanie Berger The Wanderer Photos: 2014 NEXT WAVE FESTIVAL

16 THE BELOVED COLOUR And thought she does not look out to see me, Yet I can look in. I shall dress in green, In green weeping willows: O untie the green ribbon My love is so fond of green. From your brow; I shall seek out a cypress grove, Farewell! And in parting A heath full of green rosemary; Give me your hand. My love is so fond of green.

Up, away to the merry hunt! 18 WITHERED FLOWERS Away over heath and hedge! My love is so fond of hunting. All you flowers The game I hunt is death; That she gave to me, The heath I call Love’s Torment; You shall be laid My love is so fond of hunting. With me in the grave.

Dig me a grave in the grass, How sorrowfully Cover me with green turf; You all look at me, My love is so fond of green. As though you knew No black cross, no colourful flowers, What was happening to me! Green, everything green, all around. My love is so fond of green. All you flowers How faded and pale you are! All you flowers, 17 THE LOATHSOME COLOUR Why are you so moist?

I should like to go out into the world, Alas, tears will not create Into the wide world. The green of May, If only it were not so green Nor make dead love Out there in field and forest! Bloom anew.

I should like to pluck the green leaves Spring will come, From every branch, And winter will pass, I should like to make the green grass And flowers Deathly pale with my weeping. Will grow in the grass.

O green, you loathsome colour, And flowers will lie Why do you look at me, On my grave, So proud, so insolent, so gloating; All the flowers At me, a poor white miller. That she gave me.

I should like to lie at her door And when she walks In storm and rain and snow, Past the mound And sing softly, day and night, And ponders in her heart: One single word: Farewell! His love was true. Then, all you flowers, Hark: when a hunting horn sounds in the Come forth, come forth! wood, May is here, I can hear her window. Winter is over! 2014 NEXT WAVE FESTIVAL

19 THE MILLER AND THE BROOK 20 THE BROOK’S LULLABY

The Miller Rest well, rest well! Where a true heart Close your eyes! Dies of love, Weary wanderer, this is your home. The lilies wilt Here is constancy, In their beds. You shall lie with me, Until the sea drinks up all brooks. There the full moon Must disappear behind clouds, I shall make you a cool bed So that mankind On a soft pillow Does not see its tears. In this blue crystal chamber. Come, come, There angels All you who can lull, Cover their eyes, Rock and lull this boy for me! And, sobbing, sing The soul to rest. When a hunting-horn echoes From the green forest, The Brook I shall surge and roar about you. And when love Do not peep in, Struggles free of sorrow, Little blue flowers! A new star You will give my slumberer such bad Shines in the sky; dreams.

Three roses, Away, away Half-red, half-white, From the mill-path, Spring from thorny stems, Wicked girl, lest your shadow should wake And will never wither. him! Throw me And the angels Your fine shawl, Cut off their wings, That I may keep his eyes covered! And every morning Descend to earth. Good night, good night, Until all awaken, The Miller Sleep away your joy, sleep away your sor- Ah brook, beloved brook, row! You mean so well: The full moon rises, Ah, brook, but do you know, The mist vanishes, What love can do? And the sky above, how vast it is!

Ah, below, down below Is cool rest! Brook, beloved brook, Sing on! BAM Fisher BAM

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Contents

ABT’s The Nutcracker The Mariinsky

Designer Richard Hudson at work on costumes for The Nutcracker. The Enchanted Wanderer. Photo by V. Baranovsky Photo: Susie Morgan Taylor Courtesy Mariinsky Theater Richard Hudson, set designer of ABT’s The The storied Mariinsky Theater of St. Petersburg, Nutcracker, takes on a real Beauty. Russia brings three ballet programs and an by Mario R. Mercado opera to the BAM Howard Gilman Opera House in January. The Iceman Cometh by Susan Yung Eugene O’Neill’s epic hasn’t always had an easy time of it. by Steve Scott

BAMbill Dec Cover Artist

Roberto Diago Known for interweaving elements of his Afro-Cuban roots and involvement with the Abakua (a religious male secret society), Roberto Diago addresses issues of race, slavery, and religion in his artwork. He figuratively incorporates both historical and contemporary references through a variety of materials such as canvas, bamboo, and recycled materials in collages. The use of text and religious symbols brings subjects of the past to the present day.

Diago graduated from the Academia de Artes Plásticas San Alejandro, Havana in 1990 and is a member of the Unión de Escritores y Artistas de Cuba (UNEAC). He has exhibited internationally and most recently particpated in the 2012 Havana Bienal, Queloides at the Mattress Factory, Harvard University, and The 8th Floor. He was awarded the Juan Francisco Elso Prize by the National Fine Arts Museum, Cuba.

This work is currently available for purchase for $25,000; all proceeds benefit Roberto Diago, Aqui Estoy, 2014. Mixed media, 78-3/4” x 59”. Image courtesy of the artist and BAM. For more information please contact Holly Shen Chaves, Curator of Magnan Metz Gallery, New York Visual Arts, at [email protected] or 718.636.4101. 2014 WINTER #ABTNutcracker Design King show curtain. Design by Richard Hudson The Nutcracker Richard Hudson Creates a New Beauty

by Mario R. Mercado

While it’s the final season to enjoy Alexei “Alexei said to me he wanted a family show Ratmansky’s wondrous staging of The Nutcracker that would appeal to children of all ages,” says for American Ballet Theatre at the BAM Howard Hudson. “I went back to Hoffmann’s original Gilman Opera House from December 12 to German story which is a Christmas fairy tale and 21, happily, the production will live on in West yet quite creepy. I think children are happy to Coast performances each December beginning be frightened a bit by such stories.” The drama, in 2015. For audiences on both coasts, there after all, in the second scene of the first act is more happy news to celebrate as Ratmansky revolves around the battle between the Mouse and the ballet’s designer Richard Hudson get King—a striking seven-headed creature in set to collaborate again. This time it’s an all-new Hoffmann’s story and ABT’s staging—his army production of The Sleeping Beauty, premiering of mice and the Nutcracker leading a cadre of early March at the Segerstrom Center in Orange soldiers. Hudson adds, “Alexei was keen for the County, California and in New York City in May, mice to be frightening. They are not cuddly little 2015. animals.” If the creatures are vivid, they remain whimsical: a celebrated painting of the pot- Ratmansky and Hudson’s deft gift for storytelling bellied Napoleon by the painter Jacques-Louis is evident from the beginning of The Nutcracker. David served as inspiration for Hudson’s design The first image audiences glimpse on the show of an elegantly frock coat-attired, corpulent curtain is a little house at night. As Tchaikovsky’s Mouse King. sparkling overture begins, with its hushed sense of anticipation, Ratmansky’s vision of the story Tchaikovsky wrote The Nutcracker on a based on The Nutcracker and the Mouse King commission from the Imperial Theater in St. by E.T.A. Hoffmann draws us into the house of Petersburg. It followed his composition of Swan the Stahlbaum family, leading to the first scene Lake and The Sleeping Beauty. For Ratmansky, set in the kitchen of the 19th-century household the strongest impression has always derived from where children watch the preparations for the the music (he danced in Nutcracker productions Christmas eve meal. It is in the kitchen where as a child and as a professional dancer) and we first encounter... the mice! he believes that the score’s expressive richness ABT—THE NUTCRACKER #ABTNutcracker

acts, the last of which includes the cavalcade of fairy tale characters, from Puss-in-Boots to Little Red Riding Hood. It also calls for more than 350 costumes.

For The Sleeping Beauty, Ratmansky asked Hudson to take as a point of departure the historic, extravagant production created by the Russian painter and designer Léon Bakst for impresario Serge Diaghilev’s Ballets Russes in 1921 in London. Hudson confirms, “I ‘quote’ Bakst, but the dimension of the costumes is very different as are today’s dancers from comes from the sum total of Tchaikovsky’s life those of the 1920s. My color schemes, too, experience. are quite different, and I take into account that contemporary lighting is far more sophisticated.” This spring’s production of The Sleeping Beauty, widely considered Tchaikovsky’s greatest ballet In Ratmansky’s The Nutcracker, it is Clara, on score, marks the fifth collaboration between the brink of young adulthood, and the Nutcracker Ratmansky and Hudson (in addition to The Prince, who dance the ballet’s climactic pas Nutcracker and Dumbarton for ABT, Hudson de deux. Transformation is at the heart of the designed the choreographer’s Romeo and Juliet Nutcracker story as it is in The Sleeping Beauty, at the National Ballet of Canada and Le Coq d’Or whose dormant princess awakens to love by at the Royal Danish Ballet). Hudson says, “The an ardent prince’s spell-shattering kiss. There, opportunity to design a new production of The enchantment and noble splendor are sure to be Sleeping Beauty is a very rare thing and makes encapsulated and extolled by Ratmansky and the responsibility daunting. There is the sheer Hudson and, at the same time, made essential scale of it— enormous—and there are so many and enduring. costumes.” Indeed. Ratmansky’s Beauty, which follows the Petipa telling of the classic story by Mario R. Mercado writes on dance, music, Charles Perrault, unfolds in a prologue and three theater, and art.

Photos—clockwise from top: designer Richard Hudson at work, photo: Susie Morgan Taylor; sketch for Princess Aurora’s Rose Adagio costume by Richard Hudson; sketch for Carabosse by Richard Hudson. THE ICEMAN COMETH #ICEMAN The Iceman Cometh Photo: Liz Lauren In Production by Steve Scott

The Iceman Cometh is often regarded Harry Hope) for the daunting role. By all reports, as a modern masterpiece, but like many great Barton was overwhelmed by the demands of works of art it was eschewed by audiences the part, and had difficulties both learning and before eventually achieving popular and critical delivering Hickey’s mammoth confessional acclaim. Even its progression from page to stage monologue in act four. On opening night, October got off to a slow start: although Eugene O’Neill 9, he also spent the dinner intermission enter- had completed the initial draft of The Iceman taining friends in his dressing room, leaving Cometh by late 1939, the play wouldn’t make its him exhausted and nearly voiceless by the official premiere for nearly seven years, due both play’s climax. Perhaps as a result, opening night to the author’s failing health and his reluctance notices were mixed, and the production ran for a to produce anything during the “damned world disappointingly short run of 136 performances. debacle” of World War II. But by the winter of 1946, O’Neill’s spirits had revived to the point A decade later Iceman returned, via a muscular that he once again looked forward to the rigors revival off Broadway at Circle in the Square of rehearsal and production; by the spring, plans Theatre. Vibrantly directed by José Quintero (a for the New York debut of Iceman were under graduate of the Goodman School of Drama), the way. The playwright had initially championed new production featured the nearly unknown actor/director Eddie Dowling to both direct the 33-year-old actor Jason Robards, Jr., as Hickey, production and play the central role of Theodore and his towering performance soon became the “Hickey” Hickman, after viewing Dowling’s stuff of legend. Critics, who 10 years earlier had triumphant work in staging and starring in been put off by the play’s absurdist blend of William Saroyan’s The Time of Your Life. Soon boisterous comedy and stark tragedy, now hailed after work on O’Neill’s play began, however, The Iceman Cometh as O’Neill’s masterpiece, Dowling realized that he couldn’t do both, and he and helped restore the playwright’s some- engaged former vaudevillian and film character what faltering reputation as America’s greatest actor James Barton (formerly hired for the role of dramatist. Quintero and Robards became widely BAM

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acknowledged as O’Neill’s master interpreters, infectious bonhomie and a terrifying rage to his and the production was one of the bona fide portrayal of the doomed salesman in Robert hits of the 1956 theater season. A somewhat Falls’ 1990 Goodman Theatre production, which truncated version of the production was telecast also featured Jerome Kilty, James Cromwell, and on CBS’ Play of the Week in 1960; Robards future theater notables Denis O’Hare and Hope would again assay the role of Hickey in a 1985 Davis. The last major American revival of The revival, again under Quintero’s direction. Iceman Cometh originated at London’s Almeida Theatre in 1998, with Kevin Spacey as Hickey Since then a handful of productions have under the direction of Howard Davies; it came further established The Iceman Cometh as one to Broadway the next season for a limited three- of the greatest of American dramas. In 1973, month run. producer Ely Landau chose the play as the initial offering in his American Film Theatre Reprinted with permission by Goodman Theatre (AFT) series, an attempt to bring classic plays Producer Steve Scott. to the screen; the AFT version was directed by John Frankenheimer and featured such screen Goodman Theatre’s production of The Iceman notables as Robert Ryan, Fredric March, a Cometh, directed by Robert Falls, runs at the 23-year-old Jeff Bridges, and Lee Marvin, whose BAM Harvey from Feb 5 to Mar 15. cynical, world-weary take on Hickey proved to be critically controversial. The following year, This production was the Goodman’s most another Circle in the Square production (this successful show in the theater’s 87-year time at the theater’s uptown Broadway space) history, and was seen by more than 42,000 featured James Earl Jones as the first African- people in Chicago over the course of a 2012 American Hickey (Jones’ father had played the 50-performance run. The New York Times’ critic character Joe Mott in the 1956 incarnation said it featured “as many great performances as of Iceman). Brian Dennehy brought both an I’ve seen in a single show for years.” Brian Dennehy and Nathan Lane. Photo: Liz Lauren BAM Directory

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Season Sponsor: The 2014 Next Wave Festival is Next Wave Festival supporters: dedicated to the late Hamish Maxwell— Frances Bermanzohn & Alan Roseman a corporate visionary at Philip Morris, a Brooklyn Community Foundation dedicated BAM trustee, a valued advisor, William I. Campbell & Christine and a generous BAM supporter together Wächter-Campbell with his wife Georgene. The Gladys Krieble Delmas Foundation BAM 2014 Next Wave Festival Sponsor: Aashish & Dinyar Devitre The Rolex Institute supports emerging Epstein Teicher Philanthropies artists at BAM Judith R. & Alan H. Fishman Endowed funds supporting the Next Ford Foundation Support for the Howard Gilman Signature Wave Festival: The Howard Gilman The Grand Marnier Foundation Artist Series provided by: Foundation; Lila Wallace-Reader’s Gotham Organization, Inc. Digest Endowment Fund for Community, The Francena T. Harrison Educational, and Public Affairs Programs Foundation Trust at BAM; The SHS Foundation; The The Hearst Foundations, Inc. Andrew W. Mellon Foundation Fund for Stephanie & Timothy Ingrassia Opera and Music-Theater; The Peter Frederick Loewe Foundation Programming in the BAM Harvey Theater Jay Sharp Fund for Opera and Theater; Diane & Adam E. Max is endowed by the Doris Duke Charitable The Ford Foundation Fund to Support McKinsey & Company, Inc. Foundation. Collaborative Creativity Among U.S. The Ambrose Monell Foundation Artists; Estate of Richard B. Fisher; BAM Henry and Lucy Moses Fund, Inc. Leadership support for BAM’s Fund to Support Emerging and Local Donald R. Mullen Jr. presentation of Shakespeare’s Musicians; The Starr Foundation; Next Samuel I. Newhouse Foundation, Inc. Sonnets provided by The Robert Wave Forward Fund: Altria Group, Inc./ The Reed Foundation W. Wilson Charitable Trust, Founding Sponsor “Supporting the Spirit The Peter Jay Sharp Foundation Aashish & Dinyar Devitre, and of Innovation”; and The Devitre Fund. The SHS Foundation Pablo J. Salame BAM 2014 Music Sponsor: The Morris and Alma Schapiro Fund The Shubert Foundation, Inc. Major support for BAM provided by The Harold and Mimi Steinberg American Express The BAM facilities are owned by the Charitable Trust City of New York and benefit from public Judy & Michael Steinhardt Support of works by women composers funds provided through the New York The Winston Foundation, Inc. provided by Virginia B. Toulmin City Department of Cultural Affairs with Foundation Title Sponsor of BAM Rose Cinemas and support from Mayor Bill De Blasio; BAMcinématek: Cultural Affairs Commissioner Tom Additional support for Basetrack provided Finkelpearl; the New York City Council by Altria Group, Inc. and The Nets including Council Speaker Melissa Foundation Mark-Viverito, Finance Committee BAM Rose Cinemas are named in Chair Julissa Ferreras, Cultural Affairs Major sponsor of Nonesuch Records recognition of a major gift in honor of Committee Chair Jimmy Van Bramer, at BAM: Jonathan F.P. and Diana Calthorpe Rose, the Brooklyn Delegation of the Council, and have been generously supported by and Councilwoman Laurie Cumbo; and The Peter Jay Sharp Foundation, and the Brooklyn Borough President Eric Adams. Estate of Richard B. Fisher.

Official Beverage of BAM: The Steinberg Screen at the BAM Harvey Major support for Black Mountain Songs Theater is made possible by: and Dawn Upshaw & Gilbert Kalish provided by Robert L. Turner

Leadership support for BAM’s BAM would like to thank the Brooklyn presentation of L.A. Dance provided by Delegations of the New York State BAMcafé Live sponsor: The Jerome Robbins Foundation, Inc. Assembly, Joseph R. Lentol, Delegation Leader; and New York Senate, Senator The BAM Fisher Artist Residency receives Velmanette Montgomery, Delegation support from The Harkness Foundation Leader. for Dance Programming in the BAM Lepercq Space Major support for Global BAM Presenting sponsor of BAMkids is supported by The Lepercq Charitable provided by: and community programs Foundation.

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Official Piano for BAM: 2015 WINTER/SPRING #MARIINSKY . Danila Korsuntsov (center). Courtesy Mariinsky Theater. . Danila Korsuntsov Swan Lake

by Susan Yung at BAM MariinskyJanuary can be a long, cold month, but here’s The music, which evokes both the mystical some heart-warming news: the Mariinsky and the carnal and employs traditional Slavic Theater is in residence at BAM from January 14 instruments, has been praised for its sensitive to 24 with three ballet programs and an opera. orchestral and choral passages, brought to full We’ll get a quenching fix of both the seminal expansiveness by Maestro Gergiev’s renowned early work (Swan Lake) and its contemporary conducting. offerings. The company performs Alexei Ratmansky’s Cinderella, in addition to the three- The storytelling power of ballet is exemplified part program Chopin: Dances for Piano, with by Swan Lake. The Mariinsky’s production was choreography by Benjamin Millepied and Jerome originally choreographed by Marius Petipa, Robbins, alongside Michel Fokine’s Chopiniana. who with Lev Ivanov created that consummate In addition, the Mariinsky Opera will perform the Romantic ballet (as well as two other icons rarely-seen The Enchanted Wanderer by Rodion of the genre—The Sleeping Beauty and The Shchedrin. Maestro Gergiev will conduct select Nutcracker), all to lush, dramatic scores by Pyotr performances by this legendary St. Petersburg Tchaikovsky. There is no more sublime melding institution renowned for its emphasis on artistry of content with form than Swan Lake, from its and musicianship, and now in its 232nd season. feather-like white tutus to the dancers’ wing- like rippling arms, particularly interpreted with Rodion Shchedrin’s The Enchanted Wanderer nuance and passion by these superb dancers. takes the opera house stage on January 14, directed by Alexei Stepanyuk and conducted by The Mariinsky is also known for its purity of line Valery Gergiev. This 2002 production, based on and crystalline technique, imbued in the dancers the novel by Nikolai Leskov, animates several throughout their training at the company’s characters of deeply Russian provenance—a fabled Vaganova Ballet Academy. Interestingly, horse trainer/monk, a gypsy, and a prince— the Mariinsky’s Swan Lake—which premiered amid graphic and evocative thrushes of reeds. in 1895, with revised 1950 choreography and #MARIINSKY stage direction by Konstantin Sergeyev—ends Frédéric Chopin’s music is redolent with on an optimistic note, in contrast to many other romance. His sensitive piano compositions versions. The lead role will be danced by some accompany Fokine’s homage, Chopiniana of the most lauded ballerinas, such as Ulyana (1908), replete with ankle-length white tulle Lopatkina, Viktoria Tereshkina, Alina Somova, skirts and floral garlands. Jerome Robbins’In and Yekaterina Kondaurova. the Night (1970) features three pairs of lovers moving with a furtive urgency to a selection of Alexei Ratmansky, who was born in St. nocturnes. And in Without (2011), Millepied Petersburg, Russia, is a luminary on New York’s sets five couples in dramatic proximity, dancing ballet scene. He is artist in residence at ABT, to a slate of preludes and etudes—music he and has created a number of highly praised and grew up hearing and dancing to in the ballet popular ballets for both ABT and New York City studio. This program of old and new work Ballet. His Cinderella, which premiered in 2002 demonstrates not only the company’s deep roots, at the Mariinsky, opens at BAM not long after but the enduring relevance of the Mariinsky to his Nutcracker for ABT ends its fifth holiday the form. season in the Howard Gilman Opera House. (It heads to the West Coast next year.) He brings This is a historic partnership between two the beloved rags-to-riches fairy tale into a more storied institutions, with a collective 385 years of modern era, with casts led by Diana Vishneva, presenting cultural treasures. Now’s your chance Vladimir Shklyarov, Yekaterina Kondaurova, and to take part in the legend. Daria Pavlenko, and striking sets by Ilya Utkin and Yevgeny Monakhov. Ratmansky—whose Valery Gergiev conducts Mariinsky Ballet remarkably fresh vocabulary is dotted with folk performances on Jan 15, 17, 18, and 20, in dances and humor—is known as a superbly addition to The Enchanted Wanderer on Jan 14. musical interpreter of Russian composers, including Sergei Prokofiev’s lush, lyrical score for Cinderella.

The Enchanted Wanderer, Kapustinskaya. Photo by V. Baranovsky, courtesy Mariinsky Theatre Securing BAM’s Future

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

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

As of September 1, 2014

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

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

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

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

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

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Mariinsky Ballet, Swan Lake. Photo: Mariinsky Theatre BAM Supporters & Patrons

BAM wishes to thank our patrons for all the operating, capital, and endowment support you’ve given us over the past year. (List represents gifts between October 1, 2013—October 1, 2014)

$500,000 and above The Rita and Alex Hillman The Morris and Alma Bartholomew A. Sheehan & Will & Prattana Kennedy brigitte nyc Foundation Schapiro Fund Sheila A. Cain Alexander E. Kipka & Brooklyn Borough Stephanie & Timothy Shearman & Sterling LLP Skadden, Arps, Slate, Katherine Nintzel President’s Office— Ingrassia Starry Night Fund Meagher & Flom LLP David L. Klein, Jr. Eric Adams Frederick Iseman Joseph A. Stern Joseph and Sylvia Slifka Foundation Brooklyn Community The Lepercq Charitable Pedro Jose Torres & Cecilia Foundation KPMG LLP Foundation Foundation Picon Mr. & Mrs. Howard Jay Kriegel & Kathryn The City of New York— Toby Devan Lewis Virginia B. Toulmin Solomon McAuliffe (Tides Bill de Blasio, Mayor Pierre and Tana Matisse Foundation Brian Stafford Foundation) Judith R. & Alan H. Foundation Joseph LeRoy & Ann C. The Harold and Mimi Eileen M. 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BAM greatly appreciates all contributions in support of our work. We apologize for any inaccuracies. Please contact the Development Department at [email protected] with any corrections. BAM Board

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

BAM Staff

Karen Brooks Hopkins, President ARCHIVES John Manderbach, Head Kenneth Aguillera, Collie Dean, Joseph V. Melillo, Executive Sharon Lehner, Director of Archives Electrician, HT Senior Attendant Guards Producer Sarah Gentile, Digital Project Archivist Edward Donohue, Master of Marlon Desouza, Felix Jusino, Alice Bernstein, Executive Vice Louie Fleck, Archives Manager Properties, HT Kevin Lemon, Teonia Smith, Andel President Bree Midavaine, Mary Rhymer, Alison Dabdoub, Sound Engineer, HT Thomas, Michael Whyte, Attendant Stephanie S. Hughley, Vice President Processing Archivists Joe Werner, Asst. Carpenter, HT Guards of Education & Humanities Jan Carr, Digital Content Writer Oscar Gruchalski, Utility Man John Lanasa, Vice President of Anita Goss, Volunteer Librarian Richard Wurzbach, Utility Man CUSTODIAL SERVICES Marketing & Communications Ivonne Paredes, Anika Paris, Mary Lou Houston, Wardrobe Ramon Cabassa, Custodial Supervisor Riccardo Salmona, Vice President Mark Toepfer, Rebecca Walsh, Supervisor Allan Boyce, Ludlow Chamberlain, for Institutional Advancement Interns Isaias Flores, Mayra Guillen, Ron Keith Stubblefield,Chief Financial Larysa McKenna, Volunteer ARTIST SERVICES Rathan, Akeon Thomas, Custodians Officer and Vice President of Mary Reilly, Director of Artist Services Finance & Administration GENERAL MANAGEMENT Stacey Dinner, Artist Services DEVELOPMENT Patrick J. Scully, General Manager Manager INDIVIDUAL GIVING PRESIDENT’S OFFICE Sarah Bierenbaum, Asst. General Jeannine Baca, Britney Polites, William Lynch, Director of Grace Eubank, Manager Manager Artist Services Representatives Leadership Gifts Michael Hurst, Admin. Asst. Sara Danielsen, Asst. General Emma Acciani, Fisher Representative Barbara Cummings, Director of Manager, Fisher Building Development BAM ROSE CINEMAS Jaclyn Bouton, Project Manager THEATER MANAGEMENT Glenn Alan Stiskal, Director of Efi Shahar,Cinema Executive Kevin Condardo, GM Budget Christine M. Gruder, Theater Manager Major Gifts Manager Manager John L. Jones, Assoc. Theater Gwendolyn Dunaif, Assoc. Michael Katz, Projectionist Liana Agredo, Jessie Fairbanks, Manager Director, Major Gifts & Patron Adam Goldberg, Asst. Manager Project Supervisors Sonia Clayton, Jacqueline David, Programs Adam Birnbaum, Film Buyer Molly Rodino, GM Coordinator, Leroy Houston, Theater Staff Richard Serrano, Research Manager Andreea Drogeanu, Brente Kelly, Budgets & Contracts Supervisors Holly Shen Chaves, Curator of Davina Roberts, Anthony Shields Jr., Dakota Scott, Admin. Asst. & Visual Arts Head Floor Staff BAMshop Liaison BUILDING OPERATIONS Mary Gordanier, Visual Arts Asst. Nivia Prescod, BAM Fisher Front Michael Zanca, Director of Building Ben Lasser, Manager, Patron ARTISTIC PROGRAMMING of House Rep. & Rentals Asst. Operations Program Stonie Darling, Department Manager Chris Mode, GM Intern Rohan Bhasin, Facilities Manager Travis Calvert, Project Coordinator, Ross Marshall, Manager of Artistic Markee Glover, Mailroom Clerk Major Gifts Planning PRODUCTION Elaine Colon, Jean Smith, Building Kaylen Higgins, Admin. Asst. Courtney Surmanek, Admin. Asst. Neil Kutner, Director of Production Services Assoc. Hadley Leary, Intern Josh Escajeda, Dylan Nachand, Steve McDowell, Auxiliary Technician PROGRAMS & CURATORIAL Assoc. Production Managers Alysha Wright, Building Operations MEMBERSHIP Nick Schwartz-Hall, Line Producer Paul Bartlett, Ryan Gastelum, Coordinator Katherine King, Director of Amy Cassello, Assoc. Producer, Jennifer Grutza, Elizabeth Moreau, Harsh Lochan, Building Operations Membership Programs Next Wave Festival Barbara Wohlsen, Production Asst. Sarah Mischner, Membership Darrell M. McNeill, Assoc. Producer, Supervisors Cassandra Hunte, Mailroom Asst. Manager Music Danielle Colburn, Laura Williams, Wendy Berot, Special Projects Bruce Smolanoff, Telefund Rachel Katwan, Asst. Line Producer Palmer Johnston, Production Manager Manager R. Michael Blanco, DanceMotion Coordinators Cheryl-Lyn Miller, Membership USASM, Project Director Heli Soell, Admin. Coordinator BUILDING MAINTENANCE Coordinator Sophia Shackleton, DanceMotion Anthony Shields, Maintenance Shannon Alexander, Jessica Benton, USASM, Project Manager STAGE CREW Supervisor Allison Bodwell, Stéphanie De Ashley Yergens, DanceMotion Thomas Paulucci, Crew Chief Daniel Curato, Calvin Brackett, Latour, Justin Gray, USASM, Project Assistant Cyrus Similly, Head Carpenter, OH Ronald Hunter, Maintainers Kimberly Howard, Samantha Jacqueline Folville, DanceMotion James D’Adamo, Head Electrician,OH Carl Blango, Asst. Maintainer Inniss, Melissa Krzywicki, Emilie USASM, Intern Amy Domjan, Asst. Electrician, OH McDonald, Joe Mulligan, Adrienne Danny Kapilian, Producer, R&B Marc Putz, Sound Engineer, OH SECURITY Reynolds, Amanda Wilder, Festival, MetroTech Paul McManus, Ass’t. Carpenter/ Chris Thompson, Security Manager Saarah Zebede, Membership Steven Serafin,Special Consultant Flyman, OH Melvin Patterson, Manuel Taveras, Representatives & Editor, BAM: The Complete James Kehoe, Head Carpenter, HT Supervising Attendant Guards Works BAM Staff

INSTITUTIONAL GIVING HUMANITIES Benjamin Cohen, Assoc. Director Dewonnie Frederick, Community Clemente Luna, Director of Violaine Huisman, Director of of Video Affairs & Bazaar Manager Institutional Giving Humanities Ben Katz, Video Production Ilex Bien-Aime, Govt. & Molly Silberberg, Humanities Manager Community Affairs Coordinator Kailin Husayko, Semra Ercin, Manager Alexander Guns, Catherine Lee, Institutional Giving Managers Lucile Hecht, Humanities Intern Video Production Assts. HUMAN RESOURCES Stephanie Caragliano, Institutional LEAD INSTRUCTORS Seth Azizollahoff, Director of Giving Coordinator Joshua Cabat, Young Film Critics MARKETING Human Resources Saarah Zebede, Institutional Samara Gaev, Arts & Justice Gillian Fallon, Director of Jenny Rodriguez, Human Giving Intern Michael LoMonico, Shakespeare Marketing Resources Manager Teaches Teachers Raphaele de Boisblanc, Melanie Cynthia Smith, Payroll Manager CORPORATE RELATIONS Jenny Rocha, Dancing into the Cherry, Allison Kadin, Program Sajal Javid, Benefits Manager Chantal Bernard, Director of Future Marketing Managers Neil Acharya, Recruiting Asst. Corporate Relations Pat Hall, BAM/Restoration Rhea Daniels, Program Marketing Alexis Boehmler, Human Gwendolyn Pointer, Director, DanceAfrica Coordinator Projects Coordinator Resources Asst. Corporate Sponsorships/New Claire Frisbie, Content Marketing Taryn Kao, Intern Business Development TEACHING ARTISTS Manager Ashley Jacobson, Corporate Sarah Abrams, Harold Joaquin Esteva, Advertising INFORMATION TECHNOLOGY Relations Manager Akyeampong, Sékou Alájé, Manager William Allen Lee III, Director of Elizabeth Sarkady, Business Jennifer Armas, Brigitte Barnett- Jenny Choi, Publications Manager Information Technology Development Manager Loftis, Melissa Brown, Mahogany Robert Wood, Copywriter Thomas Brown, Tessitura Rebecca Carew, Corporate Browne, Chia-Ti Chiu, Darian Catherine Charnov, Interim Business Manager Sponsorship Project Coordinator Dauchan, Harris Eisenstadt, Marketing Asst. Ira Sibulkin, Assoc. Director of IT Imani Faye, Kimani Fowlin, Ana Laura Scholl, Marketing Operations Chris Tusciuk, Web Development PATRON SERVICES Garcia, Glenn Gordon, Ingrid Manager Manager Ramzi Awn, Director of Patron Gordon, Rachael Holmes, Mel Britt Aronovich, Marketing Analyst Timothy Assam, Systems Services House, Albert Iturregui-Elias, Chris Tyler, Content Marketing Asst. Administrator Michael Kendrick, Manager of Lauren Keating, Gwendolyn Kelso, Svetlana Mikhalevskaya, Database Patron Services & Donor Nicole Kempskie, Abigail Levine, STRATEGIC MARKETING Developer Relations Spencer Lott, Farai Malianga, Molly Meloy, Director of Strategic Jason Q. Minnis, IT Project Jessica Hindle, Patron Services Geneva Manley, Hector Morales, Marketing Manager Coordinator Michael Mullen, Kwesi Nkroma, Jessie Montgomery, Marketing Matthew Taylor, Andrei Iliescu, Samantha Shay, Patron Services Gene Osborne, Pamela Patrick, Manager, Customer Loyalty & Web Developers Asst. Drew Petersen, Katie Issel Pitre, Strategy Jersy Rodriguez, Network Analyst Alexander Jofe, Intern Baba Wali Rahman, Mike Ramsey, Susan Bishop, Admin. Coordinator Gwenyth Reitz, Najee Ritter, TICKET & CUSTOMER SERVICES Lucas Austin, Junior Desktop SPECIAL EVENTS Victor Sanchez, Robby Stamper, G. Scott Kubovsak, Director of Analyst Margaret Breed, Director of Rohiatou Siby, Elizabeth Simmons, Ticket Services Special Events Keomi Tarver, Karen Thornton- Royda C. Venture, Ticket Services PROJECT MANAGEMENT Marissa Neiman, James Vause, Daniels, Leese Walker, Adia Manager Jeremy Dewey, Director, Project Special Events Managers Whitaker, Todd Woodard Georgina Richardson, Customer Management Paloma Wake, Special Events Care Manager Coordinator MARKETING & Giovanny Lopez, Ticket Services COMMUNICATIONS Coordinator Audience Research & Analysis ENDOWMENT & PLANNED BOX OFFICE Latasha McNeil, Asst. Manager George A. Wachtel GIVING Fred Dorso, Treasurer Ryan Mauldin, Senior Ticket Denis Azaro, Endowment & Victor Jouvert, First Asst. Services Representative Bookseller Planned Giving Director Treasurer Saul Almiachev, Anaïs Blin, Greenlight Bookstore Alexandra Biss, Manager of Board Kevin McLoughlin, Charlie Dolce, Louisa de Butts, Justin Dash, Relations Russell Grier, Asst. Treasurers Robert Ebanks, Miranda Gauvin, European Production Joya Harris, Katora Matthews, Representative EDUCATION & HUMANITIES PUBLICITY Edgar Mendoza, Warren Ng, Elsie On Tour Ltd., Roger Chapman Shana Parker, Director of Sandy Sawotka, Director of Pacella, Megan Pearson-Mason, Operations for E&H Publicity Jenise Primus, Edward Raube- Film Buyer Jennifer Leeson, Operations Joe Guttridge, Assoc. Director Wilson, Tara Ricasa, Shanice Adam Birnbaum Manager for E&H of Publicity Tulley, Noel Vega, Jimmy Weaver, Jackie Katz, Education Assoc. Susan Yung, Editorial Manager Althea Wilkinson, Ticket Services Immigration Counsel Victoria Collado, Education Asst. Sarah Garvey, David Hsieh, Representatives Jonathan Ginsburg, Fettman, Rebekah Gordon, Admin. Asst. Adriana Leshko, Publicity Tolchin and Majors, PC Managers FINANCE & ADMINISTRATION BAMCINÉMATEK Lauren Morrow, Junior Publicist CAPITAL PROJECTS Insurance Broker Gabriele Caroti, Director Baha Ebrahimzadeh, Education & Jonathan Jones, Director, Capital Dewitt Stern Nellie Killian, David Reilly, Humanities Publicist Projects Programmers James Sutton, Publications Asst. Matthew Baclini, Capital Projects Legal Counsel Lisa Thomas, Publicity Manager Drew Devero, Publicity Intern Analyst Ronald E. Feiner PC Andrew Chan, Marketing Manager Laura Grady, Capital Projects Jesse Trussell, Programming Asst. DESIGN Manager Medical Consultants Hannah Thomas, Publicity & Clara Cornelius, Director of Design Ahmar Butt, MD Marketing Asst. Patrick Morin, Assoc. Director FINANCE & ADMINISTRATION Anders Cohen, MD Ryan Werner, Programmer at of Design Ellen Leszynski, Project Large Ryan Rowlett, Senior Interactive Coordinator Restaurateur Designer Great Performances EDUCATION Katie Positerry, Interactive FINANCE Steven McIntosh, Director of Designer Kozue Oshiro, Controller Education & Family Programs Michelle Angelosanto, Designer Tameka White, Asst. Controller November 15, 2014 John P. Tighe, Asst. Director of Casey Cleverly, Design Studio Claudia Bailey, Budget Manager Education Coordinator Brian Gee, Accounting Assoc. John S. Foster, Education Manager Ariel Davis, Intern David McCullough, Budget Eveline Chang, Verushka Wray, Coordinator Program Managers DIGITAL MEDIA Seon Gomez, Staff Accountant Cathleen Plazas, Internship Stephen Litner, Director of Digital Adam Sachs, Fiscal Manager Coordinator Media Douglas Fischer, Fiscal Coordinator Paul Weintrob, Keven Urlich, Aaron Weibel, Digital Operations Yusuf Siddiquee, Fiscal Asst. Education Interns Manager Suzanne Youngerman, Curatorial Nicholas Breul, Digital Production GOVERNMENT & COMMUNITY Consultant Administrator AFFAIRS Jamie Kraus, Digital Media Tamara McCaw, Director of Coordinator Govt. & Community Affairs