Friday and Saturday, March 10 –11, 2017, 8pm Zellerbach Hall Kidd Pivot and Electric Company Theatre Betroffenheit Created by Crystal Pite and Jonathon Young Written by Jonathon Young Choreographed and Directed by Crystal Pite Performers Bryan Arias David Raymond Cindy Salgado Jermaine Spivey Tiffany Tregarthen Jonathon Young* Apprentice Haley Heckethorn Composition and Sound Design Owen Belton Alessandro Juliani Meg Roe Set Design Jay Gower Taylor Lighting Design Tom Visser Costume Design Nancy Bryant Rehearsal Direction Eric Beauchesne Additional Choreography Bryan Arias (salsa) Cindy Salgado (salsa) David Raymond (tap) Set Construction Scene Ideas Scenic Painters Patrick Spavor, Daniel Dumitriu Puppets Heidi Wilkinson, Omanie Elias Costume Assistant and Builder Nicola Ryall Costume Cutter Linda Chow Stitcher Patrice Yapp Stitcher and Builder Wendy Dallian 15 Production Manager and Technical Director Jeremy Collie-Holmes Audio Technician/Show Control Eric Chad Stage Manager Jaimie Tait* Stage Carpenter Isaac Robinson * Appears with the permission of Canadian Actors’ Equity Association. The participation of these artists is arranged by permission of the Canadian Actors’ Equity Association under the provisions of the Dance Opera Theatre Policy (DOT). World Premiere: July 23, 2015 Bluma Appel Theatre, Toronto, Canada Co-produced by PANAMANIA Arts and Culture Program of the TORONTO 2015 Pan Am and Parapan Am Games, Sadler’s Wells (London, UK), The Banff Centre as part of the 2015 Performing Arts Residency Program through the support of The Stollery Family and Andrea Brussa, On the Boards and Seattle Theatre Group through the support of Glenn Kawasaki, National Arts Centre (Ottawa), the CanDance Network, Canadian Stage (Toronto), L’Agora de la Danse (Montreal), Brian Webb Dance Company (Edmonton), and Dance Victoria (Victoria). Music commissioned by the Charles and Joan Gross Family Foundation. Stage makeup provided by M.A.C. Cosmetics. Electric Company Theatre and Kidd Pivot gratefully acknowledge the support of the Canada Council for the Arts, the Province of British Columbia, British Columbia Arts Council, BC Gaming, the City of Vancouver, the Vancouver Foundation, and countless individual and business supporters. Eponymous gratefully acknowledges the support of the Canada Council for the Arts. This performance will include one intermission and last approximately two hours; it also contains strobe-like effects, non-toxic theatrical haze, and coarse language. The performance on Friday evening, March 10, will be followed by an onstage talk with the artists. Berkeley RADICAL INCLUSION, INNOVATION , AND IMMERSION Betroffenheit concludes the 2016/17 Berkeley RADICAL Innovation strand, a selection of performances and related activities that focused a spotlight on a group of artistic trailblazers, some celebrating key mile - stones, who ask us to perceive, to think, and to understand in new ways. is season, the Innovation strand has celebrated the work of theater and visual artist Robert Wilson and performer Mikhail Barysh - nikov, choreographers Deborah Hay and Lucinda Childs, Sweden’s cutting-edge Cullberg Ballet, con - temporary American composers Steve Reich and John Adams, and architect/set designer Frank O. Gehry. For complete details of all performances and related activities, please visit calperformances.org. Opposite: Tiffany Tregarthen in Betroffenheit . Photo by Michael-Slobodian. ABOUT THE ARTISTS Notes from Crystal Pite for the technical team and production support “Simply translated, Betroffenheit means ‘shock,’ staff—Eric B, Jan, Jeremy, Eric C, Jim, Jessie, and ‘bewilderment,’ or ‘impact.’ The root of the our teams at Kidd Pivot and Electric Com pany word is treffen, ‘to meet,’ and betroffen, ‘to be Theatre—whose ingenuity, foresight, patience, met,’ and Betroffenheit is the state of having been and problem-solving have been instru mental in met, stopped, struck, or perplexed in the face getting Betroffenheit here tonight. of a particular event… a space and time where This production is dedicated to Kim Collier, language ceases. We are left only with an aware - Stuart Collier, and Elaine Conway. ness of the limits of language and the limits of what can be taken in. In this gap, definitions Kidd Pivot disappear and certainty vanishes. Anything is Integrating movement, original music, text, and possible—any response, any action or inaction. rich visual design, Kidd Pivot’s performance Nothing is prescribed. Everything is up for work is assembled with recklessness and rigor, grabs in this fertile and palpable silence.” balancing sharp exactitude with irreverence and —from And Then, We Act risk. Under the direction of the internationally by Ann Bogart renowned Canadian choreographer Crys tal Pite, the company’s distinct choreographic lan - “What a daunting task transforming a troubled guage—a breadth of movement fusing classical mind is, when what you’re looking for is what elements and the complexity and freedom of you’re looking with.” structured improvisation—is marked by a strong —from In the Realm of Hungry Ghosts— theatrical sensibility and a keen sense of wit and Close Encounters with Addiction invention. by Gabor Maté Kidd Pivot tours extensively around the world with productions that include The Tem - Jonathon Young’s personal story of trauma and pest Replica (2011), The You Show (2010), Dark loss—his own Betroffenheit— is at the heart of Matters (2009), Lost Action (2006), and Double this venture. Jonathon has challenged me to use Story (2004), created with Richard Siegal. Kidd our art form to grapple with the question of suf - Pivot received the 2006 Rio Tinto Alcan Per - fering, and he has steadied me with his courage. forming Arts Award, and was resident company I am so grateful for this opportunity to stand at Künstlerhaus Mousonturm, with the support beside him for a while, to look out at this diffi - of Kulturfonds Frankfurt RheinMain, in Frank - cult territory, and to navigate it with this earnest furt, Germany from 2010 to 2012. act of creating. I’ve been surprised by the joy For more information, please visit the com - within our process, and profoundly moved by pany’s website at kiddpivot.org. Jonat hon’s curiosity and open heart. Through - out this deeply sought effort, Jonathon has made Electric Company Theatre room for us to catch glimpses of grace. Electric Company Theatre is one of Canada’s Jonathon and I want to acknowledge and leading creators of live theater that is rich in thank the brilliant team of dancers—Bryan, spectacle and adventurous in form, challenging Cindy, David, Tiffany, and Jermaine—for their theatrical conventions while preserving a strong countless artistic contributions, which have sense of story. The company was originally been utterly essential to creating both the form formed as a collective in 1996 by Siminovitch and content of this production. A huge thank Prize-winning director Kim Collier, David you also goes out to our extraordinary design Hudgins, Jonathon Young, and Governor Gen - team—AJ, Meg, Owen, Jay, Nancy, and Tom— eral’s Award-winning writer Kevin Kerr, who met for their vision, hard work, attention to detail, while training at Studio 58 in Vancouver. and collaborative spirit. Thank you as well to Electric Company Theatre has created over Blake Brooker and Kevin Kerr for inspiration 20 original productions including the film/ and guidance. And finally, our eternal gratitude theater hybrid Tear the Curtain! (Arts Club PLAYBILL ABOUT THE ARTISTS Theatre), a live-cinematic adaptation of Jean Jonathon Young Paul Sartre’s No Exit (American Conservatory (co-creator, writer, performer) Theater), Studies in Motion (Canadian Stage) and Jonathon Young is co-artistic director of Elec - Brilliant! (Edinburgh Fringe, San Jose Stage). tric Company Theatre. In 2015 he was com - In 2005 the company wrote and directed The missioned by Nederlands Dans Theater to write Score , a feature film for CBC Television that The Statement, a one-act play directed by Crys - played in festivals in Canada, the United States, tal Pite. The play was performed at New York Mexico, Taiwan, and Japan. The company has City Center in November 2016. With Electric received numerous industry awards across Company Theatre he has collaborated on the Canada including the first Rio Tinto Alcan making of over 20 original productions includ - Performing Arts Award for Theatre (2001). ing Tear the Curtain! (a film/theater hybrid for In 2009 Electric Company Theatre co-founded Arts Club Theatre and Canadian Stage), No Progress Lab 1422, a 6,000-square-foot theater Exit (a re-working of Jean-Paul Sartre’s play, creation space in Vancouver, with Rumble performed in San Francisco at the American Theatre, Neworld Theatre, and Boca del Lupo. Conservatory Theater), and Studies in Mo - For more information, please visit the com - tion (Vancouver Playhouse, Edmonton Citadel, pany’s website at electriccompanytheatre.com. Theatre Calgary, and Canadian Stage in Tor - onto). In addition, Young works across Canada Crystal Pite as a freelance actor. Some recent productions (co-creator, choreographer, director) include All But Gone (Necessary Angel, Tor - Canadian choreographer and performer Crys - onto) The Waiting Room (Arts Club Theatre, tal Pite is a former company member of Vancouver), The Great Gats by (Theatre Cal - Ballet British Columbia and William Forsythe’s gary), and Hamlet (Bard on the Beach Festival, Ballett Frankfurt. Her professional choreo - Vancouver). Recent television projects include graphic debut