DOCSLIB.ORG

The Philadelphia Dance Company

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Philadelphia Dance Company THE PHILADELPHIA DANCE COMPANY A SECREST ARTISTS SERIES EVENT AT WAKE FOREST UNIVERSITY WINSTON -SALEM , NORTH CAROLINA WEDNESDAY, MARCH 6, 2002 8PM IN BRENDLE RECITAL HALL C 0 sage Worf The Philadelphia Dance Company Joan Myers Brown - Executive/ Arti stic Director panJ "lABESSII" Choreographer : David Brown (Company Premiere,2000 Music: Zap Mama - Philadelphia) Assistants to Mr. Brown: Akari Sasaki & Nadine Mose lighting Design/Execution: William H. Grant. Ill Costume Design. David Brown Costume Execution: Natasha Guruleva Dawn Marie Watson with Tracy Vogt, Willia -Noel Montague , Hollie Wright Francisco Gella, Ahmad Maverick lemons, Antonio Sisk "Labess"is a Tunisian expression meaning that, in the face of all we mustc in life, in each day,"It's all right .../'m okay" The piece is drawnfrom a simp a joyous place and a celebration of self-acceptance. Built in four sections ensemble of seven dancers, one woman carries a •thread throughout-lea,NOS pan) following and opening the space. The dance is set to music by Zap Mama, Euro a cape/la women's vocal ensemble. "EXOTICA" Choreographer: Ronald K. Brown (Company Premiere, 1999Music: Wunmi & Various Artists - Philadelphia) Assistant to Mr. Brown: Telly Fowler lighting Design/Execution: William H. Grant, Ill Costume Design/Execution: Wunmi Kristen J.S. Irby, Ahmad Maverick lemons , Roxanne lyst Willia -Noel Montague, Gabriele Tesfaguma, Dawn Marie Watson, Hollie Wright "Exotica" is a variation of "No More Exotica," an excerpt from a full Ieveni, "Lessons''. "Exotica" begins with a judgment parade, drops down to a1 test of compassion and then goes into the contemporary plea ofWunmi O/aiya's, "Woman Child." The creation of "Exotica"was madeI SI in part by a grant from Meet the Composer, Inc. and the AT&T Foundatio -INTERMISSION- r til ges From The Heart" "Messagesfrom the Heart"is an evening-length presentation, conceivedby Joan (excerpts) Myers Brown,Artistic Directorof PH/LADANCO. These excerpts representan forld Premiere,2001) integration of modern dance andfolk traditions into work encompassingissues of class,gender, race and spirit;cultural traditions that impact the veryhearts and the souls of women. "MY SCIENCE" Choreographe r: Bebe Miller •anyPremiere - 2001) Music: La Voix Bulgare & Led Zeppelin Costume Design/E xecution: Natasha Guruleva Ligh t ing Design/Execution: William H. Grant, Ill Francisco Gella, Roxanne Lyst, Odara Nefert iti Jabali -Nash , Mar c Aurel Nelles, Antonio Sisk, Allyson Triplett, Tracy Vogt, Dawn Marie Watson, Hollie Wright The imagination and scienceand how we act as cotatystsfor each other inspire this work.Set to the music of La VoixBulgare and LedZeppelin, the piece plays with the image of heavy water, the collisionof matter and the mechanics of relationship.After reading the biography of physicist RichardFeynman, I was inspiredby the kineticsof his ideasand how the sameflexibility of the imagination 1usta occursin life. I'm also inspiredby the passion and energy of Philadancoand use 1imp,~ their kinetic style to shape this. 1ons1 -/roilID SINGING SONGC>" Choreogra pher: Jawo le Willa Jo Zollar ma.~,any Premiere•2001) Assistant t o the Choreographer: Allyso n Triplett Original Score: M ichae l Wimberly Costume Design/Execution: Jackson Lowell Lighting Design/Execution: William H. Grant, 111 Francisco Gella , Warren B. Griffin , Ill , Kristen J.S. Irby, Ahmad Lemons , Roxan ne Lyst , Odara Nefertiti Jabali -Nash, Marc Aurel Nelles , Antonio Sisk, Gabriele Tesfaguma , Allyson Triplett, Dawn Ma rie Wat son, Hollie W ri ght Hand SingingSong., is a work that explores the use and idea of hand gestures, specificallythe "dap';In a symbolic manner expressingthe political and cultural aspects of a people, specificallythe AfricanAmerican. The "dap"is a name given to the hand to fist greeting during the BlackPower Movement to affirm African American identity and solidarity. Hand Singing Song0 was originally commissioned by the American Dance Festivalthrough the Doris Dul<eAwards for New Work. with additional support from the Phlhp Morris New Work Fund. This new version was commissioned for PHILADA NCO, 1998 Jawole Willa Jo Zollar All rights reserved. Initial funding by the Philip Morris New Works Fund. Subsequent funding by Dance Advance of the Pew Charitable Trusts. Additional funding was made possible through the Doris Duke Fund for dance of the National Dance Project administered by the New England Foundation for the Arts with funding from the National Endowment for the Arts and the Andrew W. Mellon Foundation. Additional touring support provided by the Pennsylvania Council on the Arb and the British Council. THIS PROGRAMIS SUBJECTTO CHANGE. 2 ABOUT THE ARTISTS Joan Myers Brown Ms. Brown is the founder of thePhiladelphia Dance Company {PHIIADANCO) and The for the International Executive/Artistic Director Philadelphia School of Dance Arts. She serves as honorarychairperson Association of Blocks In Dance, organizationan she establlshed in 1991. She is also founder of the International Conference of Block Dance Companies. She Is a Distmgulshed Visiting Professor ot the University of the Arts, which bestowed upon her an honoraryDoctbrote of Fine Arts,and is a member of the donce faculty at Howard University in Washington. DC.Listed in Who's Who inAmerica and described as an "innovotorandcommunicator." Ms. Brown hasmade significant contributions to the national and internationalart> communities. Joan Myers Brownhas seNed a broad rangeof regional and national organizations. including NEFA's National Dance Project,the United States InformationAgency, Arts America, the National Endowment for the Arts, the Arts Councils of Pennsylvania,New Jersey. Michigan, Nevada, and Ohio and the National Forum for Female Executives. Locally, she has been a part of the Greater Philadelphia Cultural Alliance, the Minority ResourceArts Council, the Philadelphia Mayor's Cultural AdvisoryCouncil, the Philadelphia Dance Alliance, The Women's Heritage Society. Dance/USA and the Coalition of African American Cultural Organizations, which sheseNed as vice president. Ms. Brown'sexpertise and counsel have been sought by many organizations, including the RockefellerFoundation's Arts& Humanities Program. SheseNes as a trusteeof the Stockton Rush Bartol Foundation andthe Media Performing Arts Center. Ms. Brown is a member of the Philadelphia Chamber of Commerce Arts& Business Council and other nan-profit organizations. She has convenedthree International Conferences of Black Dance Companies.facilitated the Smithsonian Institution's Conference of Black Dance Companies ond served as a consultant to East Coast Committee of Festivalwoo, the San Francisco Bay AreaCultural Initiative, the NEA "Dance on Tour" ad hoc committeeand the Kennedy CenterAdult Education Task Force. Ms. Brown was recently honored as one of the "Dance Women;Living Legends" during a four-day series sponsored by New York area presenters, in tribute to five AfricanAmerican pioneer women whofounded distinguishedmodern dance companieswith deep roots in black communities around the country. Ms. Brown's efforts on behalf of dance excellence belie a much larger contribution to the arts and the community. She remains a tireless advocate and spokesperson and 1s a model of tenacity, hope and discipline. She is the proud mother of daughters Mar/isa and Dannielle, who teach at her school, The Philadelphia School of Dance Arts, and grandmother of Jade Greene. Francisco Gella Francisco graduated from the University of Washington with8.A. a in Dance. While/1, • Bacolod City. Philippines school, he performed with the Chamber Dance Company, Leaving/Ground Dance,Speqrum Dance Theater andthe Seattle Opera. Before joining Philadanco in 1998, Franciscodt['Pced with RepertoryDance Theater inSalt lake City, Utah. He has worked with many prominent choreographers: David Parsons, Shapiro and Smith, Zvi Gotheiner.Sharir, YacovBill Evans and LucindaChilds. Francisco alsoperformed at the Nagano Olympic closing ceremonies. This is his fourth season with Philadanco. Romnee Marisa Hayes Romnee studied ballet extensively withBarbara Walczak who is a soloist with New York • New York, NY City Ballet.She graduatedfrom laGuardia High Schoolof Performing Arts inNew York City and continued her education. earning a 8.F.A.from Ohio State University. At OSU she had the opportunity to perform choreography by the dance department faculty,her peers and her own choreography.Romnee has also performed works byRoger (.Jeffrey.Nathan Trice, 3 Jamel Gaines and Laila Sa.les. This is her first seasonPhiladanco. with Warren 8. Griffin, Ill Warren began his dance tro,ning under the direction of his uncle, Stephen Love.Mr Criffin -Camden, NJ latercontinued his studies and performed with 'Oh' {Danco /If• formerly The Next Generation Dance Company.Mr. Griffin attended the High S(hool of Creatwe & Performing Arts. Upon graduating. Warren toured the Un,ted States os a dancer with Pr,ncessCruise Lines.Warren also attended the University of the Arts in Philadelphia. PA He hos worked with world-renowned choreographer George Faisonon severalprojects and performed with the £/eone Dance Theater.This is Warren'sfirst season with Philadanco. Kristen J.S. Irby Kristen began his theater and dance training ot the age of 13while on scholarship at the - Chicago, fl ETACreative Arts Foundation. He Jatn become a scholonhip student ot thl' JosephHolmes Chicago Dance Theatre, Columbia CollegeChicago. Houstor! Bo/let Academy. Homer Hans Bryant Ballet, Deeply Rooted Productions and the Barat College
Load more

Recommended publications
  • Racial Justice Through Class Solidarity Within Communities of Color
    The Community-Building Project: Racial Justice Through Class Solidarity Within Communities of Color Joseph Erasto Jaramillot INTRODUCTION As people of color continue to face racial and socioeconomic subordination in this country, one wonders when, if ever, the "elusive quest for racial justice"' will end. Intellectuals dedicated to the pursuit of racial justice have focused their work on unmasking the operation of racism and white privilege and recognizing the perspectives of the oppressed. One central insight of this approach is the need to take race into account when analyzing the application of supposedly "race neutral" but so often racially discriminatory criteria. This strategy provides a theoretical basis for transforming society's view of racism and race relations. However, until the dominant culture becomes genuinely receptive to these ideas, communities of color will continue to suffer.2 Indeed, current political discourse adds fuel Copyright 0 1996 by Joseph Jaramillo. t Joseph Erasto Jaramillo received his J.D. from the University of California, Berkeley School of Law (Boalt Hall), and his B.A. from the University of California at Davis. He is currently a staff attorney at the Mexican American Legal Defense and Educational Fund (MALDEF) in San Francisco. He completed this Comment before he joined MALDEF. He would like to thank Professor Jerome McCristal Culp, Jr., of Duke University School of Law for his insight, former La Raza Law Journal Co- Editor-in-Chief Robert Salinas for his assistance and support, and Susana Martinez and Robby Mockler for their helpful editing and feedback. This Comment is dedicated to the committed gente of La Raza Law Students Association at Boalt Hall and all other schools, who give true meaning to the word "community." 1.
    [Show full text]
  • ROUTES June 1978
    1166 1/ 80 Schomburg Center 03 West 135th Street ~---------------------------------------------~ew York NY 10030 Produced by David Rubinson & Friends, Inc. Great Eastern Management. Pub isher SStatement ur feature story is a stimulati~g Ointerview with the dynamic entertainment trio-Sharon Redd, Ula Hedwig and Charlotte Crossley, formerly of the Harlettes. One night in April, arrangements were made for me to see the trio perform to a standing room only audience. Midway through the act there was little doubt in my mind that the Harlettes were putting on one of the best acts I had ever seen. Our salute to Melba Moore was a Their diversity of material, delivery night to remember. For those of you of songs and stage presence com­ who were present, you may remin­ manded the audience to not only beg isce on pages 24, 25 & 26. For those them back for two encores but of you who were unable to attend, I Sharon, Ula and Charlotte left them hope you will enjoy our pictorial clamoring for more. The next time essay. they're in town, go see them and I King Tut, Disco Roller Skating, think that you too will clamor for Going South for the Summer, Child­ more! ren's Summer Activities, "Fats" In the business of entertainment Waller and a host of music, sports, feature writing, it is essential for the and theatre activities are just pages editors to rely on staff members to away. Enjoy! keep them current on the new and Our next issue will devote many exciting shows and personalities. So of its pages to Jazz in and about the thanks to Ms.
    [Show full text]
  • Caroline, Or Change
    Education Caroline, or Change book and lyrics by Tony Kushner music by Jeanine Tesori Caroline, WORKSHEET The National’s production 2 Brief summary 3 Synopsis 4 or Change Characters 8 Background to time and place book and lyrics by Civil Rights in 50s and 60s USA 10 Tony Kushner Assassination of JFK 11 music by Lake Charles 11 Jeanine Tesori Themes 12 Musical influences 13 The production is supported by The RNT Mackintosh Musicals Fund The American Associates of the National Theatre The Laura Pels Foundation Airline sponsor americanairlines.co.uk Originally developed and produced in October 2003 by The Public Theater, New York City: George C. Wolfe, Producer; Mara Manus, Executive Director photo (Tonya Pinkins as Caroline Thibodeaux) by Michal Daniel Further production details: This workpack is published by Director NT Education Worksheet written by nationaltheatre.org.uk and copyright The Royal George C Wolfe National Theatre Clive Paget, staff director on National Theatre Board South Bank Caroline, or Change Reg. No. 1247285 London SE1 9PX Editor T 020 7452 3388 Registered Charity No. Emma Gosden 224223 F 020 7452 3380 E educationenquiries@ Design Views expressed in this nationaltheatre.org.uk Patrick Eley workpack are not necessarily Lisa Johnson those of the National Theatre Caroline, or Change CAST Director GEORGE C WOLFE Caroline Thibodeaux TONYA PINKINS Choreographer HOPE CLARKE The Washing Machine MALINDA PARRIS Set Designer RICCARDO HERNANDEZ The Radio RAMONA KELLER, Costume Designer PAUL TAZEWELL JOY MALCOLM, NATAYLIA RONI Lighting
    [Show full text]
  • Alvin Ailey's Embodiment of African American Culture
    DeFrantz.00 FM 10/20/03 2:50 PM Page ii Alvin Ailey’s Embodiment of African American Culture 1 2004 DeFrantz.00 FM 10/20/03 2:50 PM Page iii DANCING REVELATIONS THOMAS F. DEFRANTZ DeFrantz.00 FM 10/20/03 2:50 PM Page iv 1 Oxford New York Auckland Bangkok Bogotá Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data DeFrantz, Thomas Dancing revelations : Alvin Ailey’s embodiment of African American culture / Thomas F. DeFrantz. p. cm. Includes bibliographical references and index. ISBN 0-19-515419-3 1.Ailey, Alivn. 2. Dancers—United States—Biography. 3.Choreographers— United States—Biography. 4.Alvin Ailey American Dance Theater. 5.African American dance. I. Title. GV1785.A38 D44 2003 792.8'028'092—dc21 2002156670 Credits: Photographs: frontispiece and pages 5, 8, 19, 47, 63, 95, 101 courtesy and copyright by Jack Mitchell; cover illustration and pages 11, 12,courtesy and copyright by J.
    [Show full text]
  • Ira Gershwin 6 December 1896-17 August 1983 100 Years Bruce D
    Volume 14 Kurt Weill Number 2 Newsletter Fall 1996 Ira Gershwin 6 December 1896-17 August 1983 100 Years bruce d. mcclung and miles kreuger examine the weill-gershwin collaboration Volume 14 In this issue Kurt Weill Number 2 Newsletter Fall 1996 Ira Gershwin—100 Years Life after George: The Genesis of Lady in the Dark’s Circus Dream 4 bruce d. mcclung ISSN 0899-6407 Some Words About © 1996 Kurt Weill Foundation for Music Where Do We Go From Here? 10 7 East 20th Street Miles Kreuger New York, NY 10003-1106 tel. (212) 505-5240 Books fax (212) 353-9663 Die Dreigroschenoper: A Facsimile of the Holograph Full Score (Kurt Weill Edition) 13 The Newsletter is published to provide an open forum Hermann Danuser wherein interested readers may express a variety of opin- The American Musical Theatre Song Encyclopedia ions. The opinions expressed do not necessarily represent by Thomas S. Hischak 14 the publisher’s official viewpoint. The editor encourages the Celso Loureiro Chaves submission of articles, reviews, and news items for inclusion in future issues. Ira Gershwin: The Art of the Lyricist by Philip Furia 16 David Anthony Fox Teaching New Classicality: Ferruccio Busoni’s Master Staff Class in Composition by Tamara Levitz 17 David Farneth, Editor Lys Symonette, Translator Stephen Hinton Edward Harsh, Associate Editor Dave Stein, Production Performances Joanna Lee, Associate Editor Brian Butcher, Production One Touch of Venus in New York 18 Kurt Weill Foundation Trustees Jon Alan Conrad Kim Kowalke, President Paul Epstein Der Protagonist in New
    [Show full text]
  • A CULTURAL EXTRAVAGANZA to TOUCH YOUR SOUL! the Impact of Inspiration
    15TH ANNIVERSARY CELEBRATION VIRTUAL 7:00 PM CDT / 8:00 PM EDT A CULTURAL EXTRAVAGANZA TO TOUCH YOUR SOUL! The impact of inspiration Thank you for your efforts and commitment to making a true difference. At MUFG, we salute all those who are helping to change lives in our community for the better. WE’RE PROUD TO SUPPORT THE DANCEAFRICA PROGRAM MUFG Union Bank, N.A. A member of MUFG, a global financial group ©2020 Mitsubishi UFJ Financial Group, Inc. All rights reserved. The MUFG logo and name is a service mark of Mitsubishi UFJ Financial Group, Inc., and is used by MUFG Union Bank, N.A., with permission. Member FDIC. mufgamericas.com DANCEAFRICA 2020 CO-SPONSORS DANCEAFRICA 2020 SUPPORTER LEGACY SPONSOR SEASON SPONSORS SEASON SUPPORTERS COVID RESILIENCE SPONSORS Anonymous Wells Fargo LKS Foundation Anonymous Mid-America Arts Alliance United States Communities Foundation of Texas/North Texas Regional Arts Resilience Fund Giving Day Office of Arts and Culture–City of Dallas Chase Coronavirus Relief Fund Deedie Rose National Endowment for the Arts CARES Act TACA Emergency Arts Relief Fund Dallas Black Dance Theatre Board of Directors Sally Pian & Ira Silverman Henry C. Beck, Jr. Donor Advised Fund at Texas Lucy and Henry Billingsley Fund at Texas Women’s Foundation Women’s Foundation Kate Wilson Davis Fund at Texas Women’s Ford Reynolds Fund of the Southwest Foundation Community Foundation The Eugene McDermott Foundation Keron Wright PNC DR. CHARLES “CHUCK” DAVIS January 1, 1937 – May 14, 2017 Founder and Artistic Director, African American Dance Ensemble and DanceAfrica America Spanning 4 decades of Dance was the incomparable Dr.
    [Show full text]
  • V-DAY's 2005 PRESS KIT Thank You for Taking the First Step in Helping To
    WELCOME TO V-DAY’S 2005 PRESS KIT Thank you for taking the first step in helping to stop violence against women and girls. V-Day relies on the media to help get the word out about the global reach and long-lasting effects of violence. With your assistance, we hope your audience is compelled to take action to stop the violence, rape, domestic battery, incest, female genital mutilation, sexual slavery—that many women and girls face every day around the world. Our goal is to provide media with everything you need to present the most interesting and meaningful story possible. If you require additional information or interviews, please contact Susan Celia Swan at [email protected]. In addition, you can find all of our press releases (including the most recent) posted at our site in the Press Release section. Thank you again for joining V-Day in our fight to end violence against women and girls. Susan Celia Swan Jerri Lynn Fields Media & Communications Executive Director 212-253-1823 914-835-6740 CONTENTS OF THIS KIT Page 1: Welcome To V-Day’s 2005 Press Kit Page 2: V-Day 2005 Overview Press Release Page 5: About V-Day and Mission Statement Page 6: Star Support: The Vulva Choir Page 9: Quote Sheet Page 10: Biography of V-Day Founder and Artistic Director/Playwright Eve Ensler Page 11: Take Action to Stop Violence Page 12: V-Day College and Worldwide Campaigns Page 13: Selected Media Coverage Page 48: Selected Press Releases FOR IMMEDIATE RELEASE Contact: Susan Celia Swan (212) 253-1823 [email protected] V-DAY 2005: VAGINA WARRIORS LEAD THE WAY FIRST BOOK - VAGINA WARRIORS - FEATURING CELEBRITIES AND ACTIVISTS TO BE RELEASED BY BULFINCH PRESS FEBRUARY 2005 V-DAY’S EMMY AWARD WINNING DOCUMENTARY UNTIL THE VIOLENCE STOPS TO BE RELEASED FOR RENTAL BY NETFLIX AND FOR PURCHASE BY DOCURAMA IN EARLY 2005 V-DAY 2005 SPOTLIGHT ON WOMEN OF IRAQ: UNDER SIEGE MORE COLLEGE V-DAY BENEFITS THAN EVER! Thousands of community-based V-Day benefit events of The Vagina Monologues to take place February - March 2005 in the U.S.
    [Show full text]
  • Porgy and Bess Page 1 of 3 Opera Assn
    San Francisco War Memorial 1995 Porgy and Bess Page 1 of 3 Opera Assn. Opera House Summer SAN FRANCISCO OPERA presents The Houston Grand Opera Production of The Gershwins' Porgy and Bess (in English) Opera in two acts by George Gershwin Libretto by DuBose Heyward Lyrics by DuBose Heyward and Ira Gershwin (See assorted notes) Conductor and Music Director CAST John DeMain Porgy, a crippled beggar Terry Cook (5/25,27m,28m,31;6/2,3) Assistant conductor Alvy Powell (5/24,26,27,30;6/1,3m) Douglas Fisher Bess Roberta Laws (5/25,27m,28m,31;6/2,3) Director and Choreographer Marquita Lister (5/24,26,27,30;6/1,3m) Hope Clarke Crown, a stevedore Stacey Robinson (5/24,26,27,30;6/1,3m) Assistant choreographer Jeffrey LaVar (5/25,27m,28m,31;6/2,3) Tanya Gibson Serena, Robbins's wife Luvenia Garner (5/25,27m,28m,31;6/2,3) Assistant Director Angela Simpson (5/24,26,27,30;6/1,3m) Ken Foy Clara, Jake's wife Kimberly Jones Costume Designer Maria, keeper of the cookshop Ann Duquesnay Judy Dearing Jake, a fisherman Elex Lee Vann Lighting Designer Sportin' Life, a dope peddler Larry Marshall Ken Billington Mingo Barron Coleman Sound Designer Robbins Richard Taylor Steven Canyon Kennedy Peter, the honey man Stanley Jackson Wig and Makeup Realizer Frazier, a "lawyer" Keith Crawford Dotti Staker Annie Sabrina Carten Chorus Preparation Lily, Peter's wife Lou Ann Pickett Richard Bado Strawberry Woman Hope Briggs Company Manager Jim, a cotton picker Matthew J. Minor Veronica Claypool Undertaker Henry Jones Technical/Lighting Supervisor Nelson John Lesane Marie Barrett Crab Man David Lee Brewer Production Stage Manager Theresa Ganley Detective Charles Sanders Coroner Russell Johnson Casting Consultant Wayne Sanders African Drummer Richard Taylor *Role debut †U.S.
    [Show full text]
  • BALANCHINE to BR OADWAY: L STYLES of CONTEMPORARY CHOREOGRAPHY
    BALANCHINE TO BR_OADWAY: l STYLES OF CONTEMPORARY CHOREOGRAPHY [ APRJL 26- 30, 1995 BOB 1-IOPE THEATR.E J BALANCHINE TO BROADWAY: STYLES OF CONTEMPORARY CHOREOGRAPHY Artistic Director MARK BORCHELT Lighting Designer RoN BuRNs April 26 - 30, 1995 Wednesday - Saturday, 8:00p.m. Sunday, 2:15p.m. Bob Hope Theatre Partial proceeds fmm these performances will benefit the Meadows Great Dancers Scholarship Fund. SEASON SPONSOR Qassical llll WRJllOllfm MEADOWS SCHOOL OF THE ARTS DIVISION OF DANCE PROGRAM CoNCERTO BARocco Music Concerto in D minor for Two Violins, BWV 1043 Composer J.S. Bach Choreographer George Balanchine Restaged by Jillana Rehearsal Directors Mark Borchelt, Karen Kriete Soloists April Alvis, Allison Young, Jason Lacayo Corps Virginia Boehm, Cindy Davis, Kelley Calhoon, Stephanie Matera, Melissa Moran, Siobhain Mosley, Leeanna Smith, Amy Wolf Alternates Erin Flanigan, Dana Gavin, James Kiger BALLA DE Music selections from Op. 1 I, 15, 32, 42, 59 Composer Alexander Scriabin Choreographer Anna Sokolow Restaged by Jill Beck and Scott Warren Pianist Diego Tornelli Ensemble Tues, Thurs. Sat Cari Murray, Joe Gallerizzo Susan Dodge, Robert Santana Wed, Fri, Sun Jasmine Bates, Chad Peters Joy Kennamer, M ichacl Trusnovcc 15 MJNU1E iNTERMISSION Prisms Music Composed and Performed by Jamal Mohamed Choreographer Robert Beard Ensemble Genevieve Boulanger, Lina Gaviria, Tyler Gilstrap, Cynthia Anne Krempetz, Tonya Pix ton, Stacy Pottinger, John Chapman, Joe Gallerizzo, Robert Santana, Christopher Soler PAUSE MEADOWS SCHOOL OF THE ARTS THE
    [Show full text]
  • Alvin Ailey American Dance Theater
    CAL PERFORMANCES PRESENTS PROGRAM A Tuesday, March 9, 2010, 8pm Tuesday, March 9, 2010, 8pm Wednesday, March 10, 2010, 8pm Saturday, March 13, 2010, 2pm Thursday, March 11, 2010, 8pm Sunday, March 14, 2010, 3pm Friday, March 12, 2010, 8pm Zellerbach Hall Saturday, March 13, 2010, 2pm & 8pm Sunday, March 14, 2010, 3pm PROGRAM A Zellerbach Hall Alvin Ailey American Dance Theater Uptown intermission Alvin Ailey, Founder Dancing Spirit JUDITH JAMISON, Artistic Director intermission Masazumi Chaya, Assistant Artistic Director Revelations Company Members Uptown Guillermo Asca Megan Jakel Jamar Roberts (2009) Kirven James Boyd Josh Johnson Samuel Lee Roberts Hope Boykin Yannick Lebrun Renee Robinson Choreography Matthew Rushing Clifton Brown Amos J. Machanic, Jr. Matthew Rushing Assistants to the Choreographer Renee Robinson and Samuel Deshauteurs Rosalyn Deshauteurs Michael Francis McBride Glenn Allen Sims Script Matthew Rushing and Gregor L. Gibson Khilea Douglass Rachael McLaren Linda Celeste Sims Music Various Artists Original Composition Ted Rosenthal Antonio Douthit Aisha Mitchell Yusha-Marie Sorzano Costume Concept & Design Matthew Rushing Vernard J. Gilmore Constance Stamatiou Akua Parker Costume Consultants & Design Jon Taylor and Dante Baylor Abdur-Rahim Jackson Briana Reed Tina Monica Williams Lighting & Scenic Design Al Crawford Olivia Bowman Jackson Marcus Jarrell Willis Photographs Various Artists Dramatic Coaching Hope Clarke Sharon Gersten Luckman, Executive Director Swing Dance Consultant Clyde Wilder Major funding is provided by the National Endowment for the Arts, the New York State Council on the Arts, cast - tuesday evening a state agency, the New York City Department of Cultural Affairs, American Express, Carnegie Corporation of New York, Diageo, Ford Foundation, J.
    [Show full text]
  • Austintheaterallianceposters.Pdf
    Archives > Collections > Fine Arts Library Posters held by the Fine Arts Library's archive of the State and Paramount theatres collection. We are in the process of uploading and linking to images of many of these posters. If you would like to see a particular image online that we have not linked, please contact Ellen Gibbs. Event Creators Event Event Additional ID Event Title Event Venue Event Type Height Width Poster Designer Copyright Date(s) Producer/Promoter Information Michael Palin, Max Wall, Harry H. Corbett, John Le Mystic Cove 1001 Jabberwocky Film 39.5 27 - 2001 Mesurier, Warren Mitchell. Entertainment Director, Terry Gilliam. Clark Gable, Vivien Leigh, Selznick International Leslie Howard, Olivia de Production, re- 50th Anniversary 1002 Gone with the Wind Havilland. Director Victor Film 41 27 1939 released by Metro- Screening Fleming. Author, Margaret Goldwyn-Mayer Inc. Mitchell. Sarah White, Eric Johnson, Erik Markegard, Signature: Neil Ben Keith, Pegi Young, Young, Elizabeth 1003 Greendale James Mazzeo, Elizabeth Film 36 24 Shakey Pictures Keith, Ben Keith, Keith. Bernard Shakey, Pegi Young, and Director. Neil Young, others. Screenplay. No performers listed. Green House Pictures Occupation: 1004 Garrett Scott and Ian Film 36 24 and Subdivision Dreamland Olds, Directors. Productions Tom Hanks, Denzel 1005 Philadelphia Washington. Jonathan Film 39.75 26.75 TriStar Pictures 1993 Demme, Director. Annette Bening, Jeremy 1006 Being Julia Film 40 27 Sony Pictures Classics 2004 Irons The Best Little Burt Reynolds, Dolly Universal-RKO 1007 Whorehouse in Film 40.75 27 1982 Parton Pictures Texas Opens The Lord of the 1008 December Film 40 27 New Line Cinema 2003 Rings 17th Keir Dullea, Gary Lockwood.
    [Show full text]
  • The Strange Career of Porgy and Bess the Strange Career Of
    The Strange Career of Porgy and Bess The Strange Career of University of North Carolina PressChapel Hill Porgy and Bess Race, Culture, and America’s Most Famous Opera Ellen Noonan Publication of this book was supported in part by a generous gift from Eric Papenfuse and Catherine Lawrence. © 2012 Ellen Noonan All rights reserved Designed by Jacquline Johnson Set in Adobe Caslon Pro by Tseng Information Systems, Inc. Manufactured in the United States of America The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. The University of North Carolina Press has been a member of the Green Press Initiative since 2003. Library of Congress Cataloging-in- Publication Data Noonan, Ellen, 1966– The strange career of Porgy and Bess : race, culture, and America’s most famous opera / Ellen Noonan. pages cm Includes bibliographical references and index. ISBN 978-0-8078-3716-0 (cloth : alk. paper) 1. Gershwin, George, 1898–1937. Porgy and Bess. 2. Heyward, DuBose, 1885–1940. Porgy and Bess. 3. Music and race. 4. Race in opera. 5. African Americans in popular culture—20th century. 6. Charleston (S.C.)—Race relations. I. Title. ML410.G288N66 2012 782.1—dc23 2012016635 16 15 14 13 125 4 3 2 1 For Isabelle and Susannah This page intentionally left blank Contents Acknowledgments xi Introduction 1 Chapter One. A Romance of Negro Life: Porgy, 1925 13 INTERLUDE. Charleston, 1680–1900 53 Chapter Two. A Chocolate- Covered Lithograph Strip: Porgy, 1927 73 INTERLUDE. Charleston, 1920–1940 125 Chapter Three.
    [Show full text]