Kyle Abraham / Grupo Corpo / Kidd Pivot/ Electric Company Theatre - White Bird Dnace

2015-16

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DISCOVER A WORLD OF DANCE

KYLE ABRAHAM/ABRAHAM.IN.MOTION March 10 - 12, 2016 | Newmark Theatre

GRUPO CORPO

March 30, 2016 | Arlene Schnitzer Concert Hall

KIDD PIVOT/ELECTRIC COMPANY THEATRE March 31 - April 2, 2016 | Newmark Theatre

PHOTO BY JENNIFER ALYSE

WELCOME

THREE COMPANIES—THREE COUNTRIES—A DIVERSITY OF MOVEMENT In March our world of dance embraces New York, Brazil and Canada, with movement that is bold, colorful and theatrical. Kyle Abraham and his company Abraham.In.Motion are performing a wide-ranging program inspired by Kyle’s personal history and themes of racial violence and liberation. Music is a vital aspect of the three pieces, drawing from Leonard Bernstein, rap and hip hop artists Kanye West and Kendrick Lamar, and jazz drummer Max Roach.

Two weeks later we have another extremely busy week of performances. The White Bird Dance Series resumes on Wednesday, March 30, at the Schnitzer with the return of Brazil’s Grupo Corpo, one of White Bird’s most beloved companies. Two new works will be on the program, Suite Branca, with dancers and set design all in dazzling white, and Danca Sinfonica, celebrating the 40th anniversary of this world-acclaimed company. The dancing and music will be thrilling—rhythmic and sensual.

Immediately following, on the next three days, we are excited to bring back Crystal Pite’s Kidd Pivot, with a startlingly theatrical work Betroffenheit, in collaboration with Vancouver’s critically acclaimed Electric Company Theatre, whose Artistic Director Jonathon Young will perform alongside Crystal’s multi-talented dancers. Betroffenheit (meaning “bewilderment” in German) has been receiving rave reviews since its premiere in Toronto last July. Crystal Pite’s mesmerizing work is long familiar to White Bird audiences— her beautiful and snowy “Solo Echo” was just recently performed by Ballet BC in November.

Your comments are extremely valuable. We have question/answer sessions scheduled for the Friday evenings of both Kyle Abraham and Betroffenheit. Please stay after the show so you can share your questions and observations with the companies. We and the White Bird staff would love to chat with at our lobby table before or after the show, or during intermission.

Paul King

Walter Jaffe

KYLE ABRAHAM/ABRAHAM.IN.MOTION ACTIVITIES AT REED COLLEGE FREE TO THE PUBLIC–For info/reservations, email minh@reed.edu 1. Workshop for Dance Students (Intermediate/Advanced Level) Monday, March 14, 2016, 3:10–4:30 pm in the PAB Dance Studio Free! Students from regional and local colleges, and community dance places are invited to participate (PSU, Lewis & Clark, Pacific University, PCC, Western Oregon University, Conduit, NWDP, BodyVox, etc.)

2. A Lecture Demonstration on Kyle Abraham Choreographic Work with Company Tuesday, March 15, 2016, 4:10–5:30 pm, PAB Dance Studio 3. Workshop for Students in All Arts Discipline (Dance/Theater/Music/Visual Arts/Creative Writing) Tuesday, March 15, 2016, 4:10–5:30 pm, PAB Dance Studio Students from regional and local colleges, and community dance places are invited to participate (PSU, Lewis & Clark, Pacific University, PCC, PNCA, Western Oregon University, Conduit, NWDP, BodyVox, etc.)

White Bird is proud to belong to Dance/USA, the national service and advocacy organization for the dance field. For more information, please visit danceusa.org WHITE BIRD DANCE | P1

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IF YOU ARE NOT YET CONTRIBUTING, PLEASE CONSIDER A GENEROUS GIFT TO WHITE BIRD. IF YOU ARE CONTRIBUTING, WE ENCOURAGE YOU TO GO HIGHER! Our Flock List is current as of February 12, 2016. Contributions after this date will be reflected in the next program. Any questions, please contact Walter Jaffe, wjaffe@whitebird.org , (503) 245-1600, Ext. 202.

Generous contributors to the White Bird /MKG New Works Fund since September 2008.

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ACKNOWLEDGMENTS White Bird extends great thanks to the following foundations and government agencies for their support of the 2015–16 eighteenth season.

THE JAMES F. & MARION L. MILLER FOUNDATION

The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County and the Arts Education & Access Fund, Work for Art, including contributions from more than 75 companies and 2,000 employees; Starseed Foundation, Herbert A. Templeton Foundation, Multnomah County Cultural Coalition, Oregon Cultural Trust, Harold & Arlene Schnitzer CARE Foundation

COMMUNITY PARTNERS artistic directors jamey hampton + ashley roland

artistic directors jamey hampton + ashley roland

BOARD OF DIRECTORS Paul King, President Nancy & George Thorn, Co-Vice Presidents Walter Jaffe, Secretary/Treasurer

Kendall Acheson Sheryl Acheson Mark Gaskill Sandra Holmes Carol Ihlenburg

Gary Nelson Darci Swindells Charles Swindells Minh Tran

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Tuesday, April 26, 2016 | Noon - 1:30pm Kridel Grand Ballroom | Portland Art Museum COMMUNITY EXCELLENCE AWARD p:ear

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WHITE BIRD IN OUR COMMUNITY La Compagnie Hervé Koubi, January 2016

Compagnie Hervé Koubi with their Oregon Ducks t-shirts and Uncaged sponsor Willakenzie Estate wine

Compagnie Hervé Koubi demonstrate and teach dance at St. Mary’s Home for Boys

Compagnie Hervé Koubi at Paramount Hotel

Compagnie Hervé Koubi workshop at Jefferson High School

Photo by Jerry and Lois Photography

PRESENTS

P6 | WHITE BIRD DANCE KYLE ABRAHAM/ABRAHAM.IN.MOTION

MARCH 10–12, 2016 NEWMARK THEATRE

ARTISTIC DIRECTOR Kyle Abraham TOUR & PRODUCTION MANAGER Dan Stearns COMPANY MANAGER Hillary Kooistra

THE COMPANY Kyle Abraham Matthew Baker Vinson Fraley Jr. Tamisha Guy Catherine Ellis Kirk Penda N’diaye Jeremy “Jae” Neal Connie Shiau White Bird’s presentation of Kyle Abraham/Abraham.In.Motion is supported by WESTAF, the National Endowment for the Arts, and Oregon Arts Commission

White Bird Uncaged 2015–16 is made possible by generous support from

SPONSORS

MEDIA SPONSOR

MAIR & HUGH LEWIS

The use of photography is prohibited. Please silence your cell phones.

WHITE BIRD DANCE KYLE ABRAHAM/ABRAHAM.IN.MOTION | P7

TONIGHT’S PROGRAM

ABOUT THE COMPANY The mission of Kyle Abraham/Abraham.

In.Motion is to create an evocative interdisciplinary body of work. Born into hip-hop culture in the late 1970s and grounded in Abraham’s artistic upbringing in classical cello, piano, and the visual arts, the goal of the movement is to delve into identity in relation to a personal history.

The work entwines a sensual and provocative vocabulary with a strong emphasis on sound, human behavior and all things visual in an effort to create an avenue for personal investigation and exposing that on stage.

A.I.M. is a representation of dancers from various disciplines and diverse personal backgrounds.

Combined together, these individualities create movement that is manipulated and molded into something fresh and unique.

THE QUIET DANCE

THE GETTIN’

CHOREOGRAPHY Kyle Abraham

CHOREOGRAPHY Kyle Abraham in collaboration with Abraham.In.Motion

MUSIC “Some Other Time”, composed by Leonard Bernstein LIGHTING DESIGN Dan Scully COSTUME DESIGN Kristi Wood COSTUME SUPERVISOR Karen Young DANCERS (3/10/16) Connie Shiau (soloist), Matthew Baker, Tamisha Guy, Catherine Ellis Kirk, Penda N'diaye DANCERS (3/11/16) Connie Shiau (soloist), Matthew Baker, Vinson Fraley Jr., Tamisha Guy, Penda N'diaye DANCERS (3/12/16) Connie Shiau (soloist), Matthew Baker, Tamisha Guy, Catherine Ellis Kirk, Penda N'diaye PAUSE

ABSENT MATTER CHOREOGRAPHY: Kyle Abraham in collaboration with Abraham.In.Motion MUSIC COMPOSED & ARRANGED Kris Bowers and Otis Brown III, including segments by Kendrick Lamar and Kanye West SET AND LIGHTING DESIGN Dan Scully COSTUME DESIGN Karen Young VIDEO DESIGN Naima Ramos Chapman DANCERS (3/10/16) Tamisha Guy (soloist),Kyle Abraham, Penda N'diaye, Jeremy "Jae" Neal, Connie Shiau DANCERS (3/11/16) Tamisha Guy (soloist), Kyle Abraham, Catherine Ellis Kirk, Jeremy "Jae" Neal, Connie Shiau DANCERS (3/12/16): Tamisha Guy (soloist), Kyle Abraham, Matthew Baker, Vinson Fraley Jr., Penda N'diaye INTERMISSION

P8 | WHITE BIRD DANCE KYLE ABRAHAM/ABRAHAM.IN.MOTION

MUSIC Robert Glasper’s interpretation of We Insist!

Max Roach’s Freedom Now Suite SET DESIGN Glenn Ligon LIGHTING AND VIDEO DESIGN Dan Scully COSTUME DESIGN Karen Young DANCERS (3/10/16 & 3/12/16) Matthew Baker, Vinson Fraley Jr., Tamisha Guy, Catherine Ellis Kirk, Jeremy "Jae" Neal, Connie Shiau DANCERS (3/11/16) Matthew Baker, Vinson Fraley Jr., Catherine Ellis Kirk, Penda N'diaye, Jeremy "Jae" Neal, Connie Shiau PROJECT SUPPORT The Gettin’ was commissioned and produced

by New York Live Arts through its Resident Commissioned Artist Program, with lead support from The Andrew W. Mellon Foundation. The Gettin’ is supported, in part, by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.

The Gettin’ was developed, in part, through a production residency at On the Boards with support from the National Dance Project, with funding from The Andrew W. Mellon Foundation. Support for The Gettin’ was also provided to New York Live Arts for the commissioning of this work by MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.

Absent Matter was commissioned in part by Rick Beyer with additional support from a Princess Grace Foundation-USA Special Project grant

THE COMPANY KYLE ABRAHAM/ABRAHAM.IN.MOTION KYLE ABRAHAM

ARTISTIC DIRECTOR A current City Center Fellow and 2013 MacArthur Fellow, Kyle began his dance training at the Civic Light Opera Academy and the Creative and Performing Arts High School in Pittsburgh, Pennsylvania. He continued his dance studies in New York, receiving a BFA from SUNY Purchase and an MFA from NYU Tisch School of the Arts.

In November 2012, Abraham was named the newly appointed New York Live Arts Resident Commissioned Artist for 2012–2014. Just one month later, Alvin Ailey American Dance Theater premiered Abraham’s newest work, Another Night, at New York’s City Center to rave reviews.

Rebecca Bengal of Vogue writes, “What Abraham brings to Ailey is an avantgarde aesthetic, a original and politically minded downtown sensibility that doesn’t distinguish between genres but freely draws on a vocabulary that is as much Merce and Martha as it is Eadweard Muybridge and Michael Jackson.”

That same year, Abraham was named the 2012 Jacob’s Pillow Dance Award recipient and 2012 USA Ford Fellow.

Abraham received a prestigious Bessie Award for Outstanding Performance in Dance for his work in The Radio Show, and a Princess Grace Award for Choreography in 2010. The previous year, he was selected as one of Dance Magazine’s 25 To Watch for 2009, and received a Jerome Travel and Study Grant in 2008.

His choreography has been presented throughout the United States and abroad, most recently at On The Boards, South Miami-Dade Cultural Arts Center, REDCAT, Philly Live Arts, Portland’s Time Based Arts Festival, Jacob’s Pillow Dance Festival, Danspace Project, Dance Theater Workshop, Bates Dance Festival, Harlem Stage, Fall for Dance Festival at New York’s City Center, Montreal, Germany, Jordan, Ecuador, Dublin’s Project Arts Center, The Okinawa Prefectural Museum & Art Museum

located in Okinawa Japan, The Andy Warhol Museum and Kelly Strayhorn Theater in his hometown of Pittsburgh, PA. In addition to performing and developing new works for his company, Abraham.In.Motion, Abraham recently finished touring The Serpent and The Smoke, a new pas de deux for himself and acclaimed Bessie Award-winning and former New York City Ballet Principal Dancer Wendy Whelan as part of Restless Creature and choreographed a new commissioned work entitled Counterpoint, for Hubbard Street Dance Chicago and the Chicago Dancing Festival. Abraham is currently working on his second commission for the Alvin Ailey American Dance Theater set to premiere in December 2015.

In 2011, OUT Magazine labeled Abraham as the “best and brightest creative talent to emerge in New York City in the age of Obama”.

MATTHEW BAKER (DANCER) hails from Ann Arbor, Michigan, where he began movement exploration as a gymnast and soccer player. He crossed state to receive his BFA in dance from Western Michigan University. Once in NYC he worked with Keith Thompson, and as creative assistant to Mark Dendy, before joining Keigwin + Company (K+C) in 2009. In 2012 he coupled with Kyle Abraham/ Abraham.in.Motion for “Pavement” and enjoyed creating and performing for both AIM & K+C through 2014 when he began working as Choreographic Associate. Matthew was the recipient of a Distinguished Alumni Award from his Alma Mater 2014. He continues to love performing with cherished colleagues; love to friends, family.

VINSON FRALEY JR.

(DANCER) hails from Atlanta, Georgia. He began his training at the age of 14 under the direction of Lynise and Denise Heard. He also was immersed in a wide range of art crafts while attending DeKalb School of

the Arts. In 2015 he graduated from Tisch School of the Arts at New York University. Vinson has been fortunate enough to work with many choreographers and instructors such as Bill T. Jones, Rashaun Mitchell, Cora Bos Kroese, Gus Solomons Jr., Cindy Salgado, Sean Curran and many more.

He is extremely thrilled to be performing with Abraham.In.Motion.

TAMISHA GUY

(DANCER), a native of Trinidad and Tobago, began her formal dance training at Ballet Tech, the New York City Public School for Dance under the direction of Eliot Feld. Later she attended Fiorello H. LaGuardia High School, and SUNY Purchase College as a double major in dance and arts management. Guy has completed summer programs with Complexions Contemporary Ballet, Springboard Danse Montreal and Nathan Trice. She has performed works by William Forsythe, Pam Tanowitz, Mark Morris and Martha Graham etc. Upon graduating Guy danced with the Martha Graham Dance Company and later joined Kyle Abraham/ Abraham.In. Motion in 2014.

CATHERINE ELLIS KIRK (DANCER) was born and raised in Dallas, Texas. She studied dance at Booker T. Washington High School for the Performing and Visual Arts and received her BFA from NYU Tisch School of the Arts. Kirk has completed summer programs with Movement Invention Project, San Francisco Conservatory of Dance, the Gaga Intensive in Tel Aviv, and Springboard Danse Montreal, and holds a yoga certification through Mind Body DancerTM Training. Catherine has had the opportunity to perform works by Fernando Melo, Ohad Naharin, Sharon Eyal, Peter Chu, Andrea Miller, Robert Battle, Alex Ketley, and Helen Simoneau.

She has had the pleasure of working with Danaka Dance, Chihiro Shimizu and Artists, and Sidra Bell Dance New York, and is currently dancing for UNA Projects, and Kyle Abraham/Abraham.

In.Motion.

WHITE BIRD DANCE KYLE ABRAHAM/ABRAHAM.IN.MOTION | P9

THE COMPANY KYLE ABRAHAM/ABRAHAM.IN.MOTION PENDA N’DIAYE

(DANCER), a native of Denver, Colorado, began her dance training at Cleo Parker Robinson Dance and later became an apprentice with the company. N’diaye continued her studies at NYU Tisch School of the Arts where she received her BFA in Dance in 2010.

There, she worked with Solomons Jr., Robert Battle, Doug Varone, Ron K. Brown and Kyle Abraham among others.

N’diaye has studied at the Alvin Ailey School, Deeply Rooted Productions, Springboard Danse Montreal and the Salzburg Experimental Academy of Dance in Salzburg, Austria. N’diaye apprenticed with David Dorfman Dance and later joined DanceIquail! and Forces of Nature Dance Theatre. This is N’diaye’s second season with Kyle Abraham/Abraham.in.Motion.

JEREMY “JAE” NEAL

(DANCER) was born and raised in Michigan and received his training from Western Michigan University. There, he performed in professional works such as Strict Love by Doug Varone, Temporal Trance by Frank Chavez and Harrison McEldowney’s Dance Sport. Since relocating to New York Jeremy has had the privilege of working with SYREN Modern Dance, Christina Noel Reaves, Catapult Entertainment, Katherine Helen Fisher Dance, Nathan Trice and now Abraham.

In.Motion. Neal would like to thank his family and friends for their consistent encouragement and support.

CONNIE SHIAU

(DANCER) grew up in Tainan, Taiwan. She was accepted into the dance conservatory at SUNY Purchase college in 2008, after training at the high school program at Taipei National University of the Arts. She has had the privilege to work with Gallim Dance, Kevin Wynn Collective and Adam Burrach Dance. Shiau is a recipient of the 2014 Reverb Dance Festival Best Dancer Award. She was also given the title of Honorable Mention for the 2014

Jadin Wong Award for Emerging Asian American Dancer. Shiau joined Kyle Abraham/ Abraham.In.Motion in May, 2013 and has assisted Kyle Abraham in setting new repertory work on Princeton University and Point Park University.

NAIMA RAMOS CHAPMAN

(VIDEO DESIGN, Absent Matter) is an emerging interdisciplinary performing artist and writer born and raised in Brooklyn, New York. She trained at the Alvin Ailey School for dance on scholarship. Afterward she spent some time in Washington, DC studying at Howard University before transferring and getting her Bachelor’s at Brooklyn College (CUNY). She spent some time proliferating her musings on politics, pop culture, race and intersectionality and her work has appeared in no particular order on Huffington Post, The Nation, NPR, Colorlines, Generation Progress, Postbourgie, Racialicious, Saint Heron, and other digitally circulated publications.

ROBERT GLASPER

(COMPOSER, The Gettin’) grew up in Houston, Texas, playing piano in church at the age of 12 to accompany his mother who was a gospel, jazz and R&B singer. He went on to sharpen his prodigal chops at the Houston High School for the Performing Arts and New School University in NYC, allowing his developing affinity for pop, hip-hop and rock to inform his musical sensibilities.

Glasper has released two acclaimed acoustic jazz trio albums on Blue Note Records before he captured his unique duality with 2009’s Double-Booked, which juxtaposed his acoustic trio and hip hop-infused Experiment band.

RGX’s 2012 breakout Black Radio, won Best R&B Album at the 2013 GRAMMY Awards. RGX upped the ante with Black Radio 2 (2013).

GLENN LIGON

(SET DESIGN, The Gettin’) lives and works in New York. Ligon received a Bachelor of Arts from Wesleyan University in 1982 and attended the Whitney Museum Independent Study Program in 1985. His text-based, conceptual works have been featured in solo shows at the Hirshhorn Museum and Sculpture Garden, Washington, DC; the San Francisco

P10 | WHITE BIRD DANCE KYLE ABRAHAM/ABRAHAM.IN.MOTION

Museum of Modern Art; the Walker Art Center, Minneapolis; the Studio Museum in Harlem; and the Power Plant, Toronto. A major retrospective of his work, Glenn Ligon: AMERICA, opened at the Whitney Museum of American Art in New York in 2011 and travelled nationally.

DAN SCULLY

(LIGHTING DESIGN, The Quiet Dance; SET & LIGHTING & VIDEO DESIGN, Absent Matter; LIGHTING & VIDEO DESIGN, The Gettin’) is a New York based lighting and projection designer, and has been designing for Kyle Abraham/Abraham.

In.Motion for over ten years, including the full-length evening works Pavement, Live! The Realest M.C., and the Bessie Award winning The Radio Show. Recent work includes Rocky (Broadway), Jedermann (Salzburger Festspeile), The Orchestra Rocks! (Carnegie Hall), and Another Night (Alvin Ailey). Regional: Trinity Rep., GEVA, Asolo Rep., Cleveland Playhouse, Hudson Valley Shakespeare Festival and Two River Theater Company. MFA-NYU/Tisch.

DAN STEARNS

(PRODUCTION MANAGER) is a lighting designer, scenic designer, and production manager interested in the intersections of dance, theater, music, and video. In addition to Abraham.In.Motion, recent collaborations include Jane Comfort and Company, Pavel Zuštiak/Palissimo, LeeSaar The Company, Scott Ebersold, Paul H. Bedard/Theater in Asylum, Tara Ahmadinejad/Piehole, and Tami Stronach. He has worked in venues such as BAM, The Joyce, New York Live Arts, La MaMa, Abrons Arts Center, HERE, Dixon Place, and 3LD in New York; and internationally from France to Korea and many places in between. He is a graduate of NYU’s Tisch School of the Arts.

KRISTI WOOD

(COSTUME DESIGN, The Quiet Dance) Design credits: David Dorfman Dance Come, and Back Again, Kyle Abraham/ Abraham.In.Motion Live! The Realist MC, How We Process with Camille A. Brown, August Wilson Dance Ensemble Time Stands Still (concert), The Way of Water (film) and Peel (film). Costume Production: The Metropolitan Opera (current Assistant Costume Production Supervisor for New Operas). Broadway:

THE COMPANY KYLE ABRAHAM/ABRAHAM.IN.MOTION War Horse (original Broadway cast Principal Dresser), A Chorus Line (Broadway Revival Production Wardrobe Supervisor). Dance: Jacob’s Pillow (Wardrobe Supervisor), Les Ballet Trockadero de Monte Carlo (Wardrobe Supervisor and Diva Specialist). TV: America’s Next Top Model (Set Dresser), All My Children (Set Continuity) and Damages (Set Continuity). Ms. Wood also designs and tailors couture gowns for elite drag queens. She would like to dedicate her work to her father, Joseph Earnest Wood (1956-2007).

KAREN YOUNG

(COSTUME DESIGN, Absent Matter, The Gettin’) creates costumes for dance, performance and contemporary art that have been seen in theaters and museums internationally. Recent projects include Wendy Whelan’s Restless Creature, Third Rail Projects highly acclaimed immersive show Then She Fell, and teaching at the Rhode Island School of Design. Design work for dance includes: the Martha Graham Dance Company, Brian Brooks, Armitage Gone! Dance, American Ballet Theater, Morphoses, Dusan Tynek, Pam Tanowitz, and Keigwin & Company, among many others. Design for video art includes: David Michalek’s Slow Dancing, Matthew Barney’s Cremaster 5 and Cremaster 1, Toni Dove’s Lucid Possession, and Eve Sussman’s 89 Seconds at Alcazar. karenyoungcostume.com

ABRAHAM.IN.MOTION STAFF Artistic Director: Kyle Abraham Tour & Production Manager: Dan Stearns Company Manager: Hillary Kooistra Finance Manager: Lucy Mallett Choreographic Associate: Matthew Baker Rehearsal Director: Tamisha Guy Rehearsal Assistant: Jeremy “Jae” Neal Education Assistant: Connie Shiau Marketing and Development Associate: Catherine Ellis Kirk Marketing Assistant: Penda N’diaye Development Assistant: Vinson Fraley Jr.

ABRAHAM.IN.MOTION BOARD OF DIRECTORS Kyle Abraham, Stephen Simcock (chair), Cheryl Bergenfeld, Chris Calkins, Glenn Ligon, Bebe Neuwirth, Carrie Schneider, Eric Shiner, Gilda Squire For more information and to get involved please visit www.abrahaminmotion.org.

Get your AIM merchandise at mkt.com/abrahaminmotion.

Abraham.In.Motion is a proud supporter of Dancers Responding to AIDS, which helps ensure that those most in need receive the care and comfort they would otherwise do without. Founded in 1991 by former Paul Taylor Dance Company members Denise Roberts Hurlin and Hernando Cortez, DRA relies on the extraordinary compassion and efforts of the performing arts community to fund a safety net of social services for those in need. Together, we can make a difference for those less fortunate than us. Donate at www.dradance.org/donate.

Support the creation of new work and community outreach! Contributions in support of Kyle Abraham/Abraham.

In.Motion’s work are greatly appreciated and may be made payable to “Kyle Abraham/Abraham.In.Motion,” and sent to P.O.Box 986, New York, NY 10113.

Kyle Abraham/Abraham.In.Motion is a non-profit tax-exempt organization, and all contributions are fully deductible to the extent allowed by law.

For booking information, contact Sophie Myrtil-McCourty, President, Lotus Arts Management at Tel: 1-347-721–8724, Email: sophie@lotusartsmgmt.com, Website: www.lotusartsmgmt.com.

Photos by Jerry and Lois Photography

Heashot photos by Carrie Schneider

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Photo by Jose Luiz Pederneiras

MARCH 30, 2016 ARLENE SCHNITZER CONCERT HALL

presents

ARTISTIC DIRECTOR Paulo Pederneiras

CHOREOGRAPHER Rodrigo Pederneiras REHEARSAL DIRECTOR Carmen Purri TECHNICAL DIRECTOR Pedro Pederneiras DANCERS Andressa Corso, Bianca Victal, Carol Rasslan, Dayanne Amaral, Edmárcio Júnior, Edson Hayzer, Elias Bouza, Filipe Bruschi, Gabriela Junqueira, Grey Araújo, Helbert Pimenta, Janaina Castro, Lucas Saraiva, Malu Figueirôa, Mariana do Rosário, Rafael Bittar, Rafaela Fernandes, Sílvia Gaspar, Victor Vargas, Williene Sampaio, Yasmin Almeida

SPONSORS

MEDIA SPONSOR

The use of photography is prohibited. Please silence your cell phones.

WHITE BIRD DANCE GRUPO CORPO | P13

TONIGHT’S PROGRAM

ARTISTIC DIRECTOR: PAULO PEDERNEIRAS [2015] CHOREOGRAPHY Cassi Abranches MUSIC Samuel Rosa SET DESIGN Paulo Pederneiras

ARTISTIC DIRECTOR: PAULO PEDERNEIRAS

COSTUME DESIGN Freusa Zechmeister

[2015]

LIGHTING Paulo Pederneiras and Gabriel Pederneiras

CHOREOGRAPHY Rodrigo Pederneiras

[32 minutes]

SET DESIGN Paulo Pederneiras

When the first guitar chords and the sinuous silhouette of a ballerina strike the air, there is a hint of mystery on stage. Soon, the aridity of an eerily white landscape emphasizes the enigmatic atmosphere.

Dressed in white from the start of the ballet to the finish, moving across the linoleum —which is also white—and against the backdrop panel that gradually reveals the peaks and valleys of a structure that resembles a giant glacier, the GRUPO CORPO dancers drift through the intriguing web of themes composed by Samuel Rosa for the White Suite score.

Idealized as the old Roman blank slates or a blank page, on which a new story begins to be written, White Suite marks the first collaboration between the young choreographer from São Paulo, Cassi Abranches, and the dance company from Minas Gerais. Among undulating arms and hips, pendular movements, suspensions, and considerable floorwork, the score suggests an interaction with the law of gravity, where it is possible to see the distinctive traits of GRUPO CORPO that for so long have inhabited our imagination, and at the same time, to glimpse the strength of an unequivocal otherness.

INTERMISSION

MUSIC Marco Antônio Guimarães COSTUME DESIGN Freusa Zechmeister LIGHTING Paulo Pederneiras and Gabriel Pederneiras [42 minutes] Created to celebrate GRUPO CORPO’s 40th anniversary, Symphonic Dance is built on the memorialist theme proposed by Artistic Director, Paulo Pederneiras. In this first symphony created especially for the Minas Gerais dance company, Marco Antônio Guimarães, the author of anthological works such as 21 (1992) and Bach (1996), combines a sophisticated plot with original pieces and evocative musical passages from ballets recently produced

by GRUPO CORPO. The set of themes, written masterfully for the 90-member Philharmonic Orchestra of Minas Gerais, and interconnected by ingenious musical bridges performed by the Uakti group, allows Rodrigo Pederneiras to revisit the best works from the group’s entire repertoire, and also to process, with the experience accumulated through decades of working on detachment of form, a kind of synthesis of a choreographic scripture assembled over 34 years of residence at the company.Taken from the private collections of professionals who have collaborated with or had an influence on the trajectory of GRUPO CORPO over these 40 years— from dancers and maîtres de ballet to technicians and stewards—over a thousand informal photographic snapshots make up the 8m x 16m backdrop panel, establishing the mood for the show.In contrast to the everyday character of the situations represented in the photographs, wine-red velvet curtains cover the base of the theater while the legs of the dancers are covered in tights of the same color, giving the performance a discrete air of solemnity.

THE COMPANY

GRUPO CORPO RODRIGO PEDERNEIRAS

As general and artistic director of the company, which was founded prompted by him in 1975, Paulo is also responsible for the lighting of the ballets and ,since Bach [1996], he’s also been participating of the creation of stage setting. The light as a strong presence, which both illuminates as serves as a space for dancing: “ I think of the space the same way I think of the lighting. Sometimes the light is the space.”

As in the piece O Corpo [2000], where the distinction between stage setting and lighting virtually disappears and the dancers dance in red. Or, in 21 [1992], where a spot light serves as a mobile tunnel for a block of bodies.

Or in Sete ou oito peças para um ballet [1994] where, at the end, each dancer individualize themselves in a vertical column of color. Or in so many other moments when light, itself, seem to direct the counterpoint of the bodies on stage, which it makes be seen and understood.

Besides his work with Grupo Corpo, Paulo has done lighting projects for several operas, such as: Don Giovanni, Suor Angelica, Lucia de Lammermoor, La Voix Humaine, Salomé and Orfeo, to mention a few. He has also done the set designing for exhibits such as the section for “Indigenous and Anthropologic Art” at the Brazil 500 years Exhibit, at the “Oca” (Hut)—at the Ibirapuera Park, São Paulo, 2000).

“A Brazilian company has great physical diversity. Each dancer’s movement is different, and yet the idea of being a group is not lost. That’s where the dance draws its strength from.” The words describe what happens with the bodies, but equally serve to describe the company. Under the direction of Paulo, Grupo Corpo made a virtue out of its diversities. And it continues making this virtue the principle of creation: a way of knowing and not knowing, a bet on the unknown, in order to always reach a new dance, which will always be its own dance.

Jose Luiz Pederneiras

Jose Luiz Pederneiras

PAULO PEDERNEIRAS

Artistic director, set and lighting designer “Grupo Corpo is under nobody’s name: we were able to get an identity as a group”. It’s a fact: dance, music, lighting, costumes, stage setting, everything is integrated as one in Grupo Corpo’s creations. But someone must direct the group—and this was always Paulo Pederneiras’s job.

Choreographer “It was only in 1988, when working in Uakti, that I started thinking about what it would be like to make a dance which would be more inside our body”.

Rodrigo’s words define a crucial moment not only for his career but also for Grupo Corpo as well. His work, since, can be seen in a variety of exploration of this “dance inside our body”—which is the dance of Corpo.

“Our body” learned how to dance on the street and the language of Rodrigo is essentially a modern one. In his own way he harbors the xaxado, the samba, the ball room dance, the celebrations, the capoeira. Everything is translated into a private world, where, dynamics and balance, have even more meaning than movement.

Everything with a certain amount of joy and humor, which, even though joyous and good humored, does not hide the violence and the ambiguity of our condition.

Always guided by music, Rodrigo “breaks” the classical movements in an intensely brazilian way, however, entirely free from the exotic, from boastful and from easy identities.

As Corpo’s choreographer since 1978, Rodrigo’s work is now known and recognized nationally and internationally.

He has choreographed for Ballet do Theatro Municipal do Rio de Janeiro, Ballet do Teatro Guaíra, Ballet da Cidade de São Paulo and Companhia de Dança de Minas Gerais. Outside Brazil: Deutsche Oper Berlin Company (Germany), Gulbenkian (Portugal), Les Ballets Jazz Montréal (Canada), Stadttheater Saint Gallen (Switzerland), and Opéra du Rhin (France).

But creating for Grupo Corpo , however, remains his main interest. “ O Grupo Corpo today has it’s own language, which is something hard to achieve.” Which does not mean that things become easier. Much on the contrary. “I may make a mistake one thousand times while creating, until I find that which I want. This is not possible with other dance companies. There are pressures for time.”

Creation, almost by definition, means anguish; but the support of the choreography assistants, Carmen Purri and Miriam Pederneiras, help minimize the efforts to see the dance being slowly created on stage. Grupo Corpo’s dancers learn from them what this body of ours this, as imagined by Rodrigo during the creation phase. They are like tuned up instrument ready to be played.

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ABOUT THE COMPANY They are from Minas Gerais, Brazil, but their ballet crosses borders. Brazil as a whole, with all its cultural diversity, can see itself in GRUPO CORPO, the dance company founded in 1975 in Belo Horizonte. In a world where the speed of information is producing an increasingly homogeneous landscape, they stand out for having developed a signature of their own.

There are three basic reasons for the uniqueness of the company in the contemporary dance scene. First, there is Rodrigo Pederneiras, the house choreographer: one of the few able to mix classic ballet and folk dances and then set to motion bodies that push the limits of technical rigor. Second, the wisdom with which Paulo Pederneiras transforms choreography into a dance artwork. Besides directing the company, he signs the scenography and lighting designs that customize the scenic elements for each production with a kind of quality that continues to introduce new references. Part of those are the costumes by Freusa Zechmeisteir, result of a skill capable of translating clothing into movement. And third, there is a balanced cast of dancers, stars in their own right, fine-tuning each other with exquisite precision.

When one sees GRUPO CORPO dance on stage it is as if all questions concerning the transition between nature and culture were being fully answered.

All facets of Brazil, past and future, erudite and popular, foreign influence and local color, and the urban and the suburban come to being as art. Brazilian art. World art.

DANCERS GRUPO CORPO ANDRESSA CORSO joined Grupo Corpo in 2008 having previously danced with Grupo Free Dance and Kleine Szene.

She began her dance studies in 1999.

BIANCA VICTAL began her dance studies in September 2006. Before joining Grupo Corpo in June 2014, she danced with Companhia Jovem de Ballet do Rio de Janeiro and Companhia de Dança do Sesc.

CAROL RASSLAN began her dance studies in 1999 and has danced with Ballet Jovem do Palácio das Artes. She joined Grupo Corpo in 2013.

DAYANNE AMARAL joined Grupo Corpo in 2012 having previously danced with Cia Sesiminas de Dança. She began her dance studies in 2001.

EDMÁRCIO JUNIOR began his dance studies in 2002 and danced with Ballet Jovem do Palácio das Artes before joining Grupo Corpo in 2014.

EDSON HAYZER before joining Grupo Corpo in 2001 worked with Ballet do Teatro Guaira and began his dance studies in 1997.

-Helena Katz ELIAS BOUZA started his dance studies in 1989.

He danced with Ballet Nacional de Cuba, Companhia de Dança de Minas Gerais, Ballet do Teatro Castro Alves and Cia Deborah Colker before joining Grupo Corpo in 2009.

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DANCERS

GRUPO CORPO

FILIPE BRUSCHI joined Grupo Corpo in 2005 having previously danced with Raça Companhia de Dança and Ballet do Teatro Castro Alves. He began his dance studies in 1993.

GABRIELA JUNQUEIRA after beggining her dance studies in 1993, danced with Grupo Camaleão.

She joined Grupo Corpo in 2005.

GREY ARAÚJO started his dance studies in 2000. He worked with Ballet Jovem do Rio de Janeiro, Ballet Contemporaneo de Caracas , Moinho Cultural Sul-Americano, Ballet de la Provincia and São Paulo Cia de Dança before joining Grupo Corpo in 2008.

HELBERT PIMENTA joined Grupo Corpo in 2004 having previously danced with Companhia de Dança de Minas Gerais, Grupo Camaleão and Quik Companhia de Dança . He began his studies in 1996.

JANAINA CASTRO began her dance studies in 1981 and danced with Companhia de Dança de Minas Gerais before joining Grupo Corpo in 2000.

LUCAS SARAIVA after beginning his dance studies in 2006, danced with Cia de Teatro e Dança Ivaldo Bertazzo, Bienal de Dança Contemporânea de Veneza and Cia de Dança Deborah Colker. He joined Grupo Corpo in December 2013.

MALU FIGUEIROA began her dance studies in 1990. She danced with Grupo Camaleão, Ballet do Teatro Castro Alves and Ballet Jovem do Palácio das Artes before joining Grupo Corpo in 2011.

MARIANA DO ROSÁRIO before joining Grupo Corpo in 2005 danced with Ballet do Teatro Guaira and Balé da Cidade de São Paulo.

She began her dance studies in 1989.

RAFAEL BITTAR started his dance studies in 2002 and danced with Cia Mario Nascimento before joining Grupo Corpo in 2012.

RAFAELA FERNANDES started her dance studies in 1998 and joined Grupo Corpo in 2011.

SILVIA GASPAR, after beginning her dance studies in 1981, danced with Ballet da Cidade de São Paulo and Companhia de Dança de Minas Gerais. She joined Grupo Corpo in 2001.

VICTOR VARGAS began his dance studies in 1999 and has danced with Ballet da Cidade de Niterói. He joined Grupo Corpo in 2007.

WILLIENE SAMPAIO before joining Grupo Corpo in 2012 worked with Washington Ballet and São Paulo Cia de Dança. She began his dance studies in 1990.

YASMIN ALMEIDA started his dance studies in 1999 and joined Grupo Corpo in 2012.

GRUPO CORPO Artistic Director: Paulo Pederneiras Choreographer: Rodrigo Pederneiras Rehearsal Director: Carmen Purri Technical Director: Pedro Pederneiras Choreographic Assistants: Ana Paula Cançado, Carmen Purri, Miriam Pederneiras Ballet Mistress: Bettina Bellomo Pianist: Anna Maria Ferreira Technical Coordinator: Gabriel Pederneiras Technicians: André Pederneiras, Átilla Gomes, Eustáquio Bento, Stefan Bottcher Wardrobe Assistants: Alexandre Vasconcelos, Maria Luiza Magalhães Administrator: Marcelo Cláudio Teixeira Administrative Manager: Kênia Marques Administrative Assistant: Marcel Gordon Firing Secretary: Flávia Labbate Documentation: Cândida Braz Communication: Cristina Castilho Communication Assistant: Mateus Castilho Programme Coordinator: Cláudia Ribeiro Production: Michelle Deslandes

GRUPO CORPO Av. Bandeirantes, 866 30315-000 Belo Horizonte - Brazil Tel: +55-31-32217701 www.grupocorpo.com.br US Representation Cathy Pruzan Artist Representative 4709 Paradise Drive Tiburon, CA 94920 USA T: (415)789-5051, F: (415)789-5055 email: cpruzan@aol.com

WHITE BIRD DANCE GRUPO CORPO | P17

Photo by Wendy D Photography

PRESENTS

P18 | WHITE BIRD DANCE KIDD PIVOT

MARCH 31–APRIL 2, 2016 NEWMARK THEATRE

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 *

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.

White Bird Uncaged 2015–16 is made possible by generous support from

SPONSORS

MEDIA SPONSOR

NANCY & GEORGE THORN

The use of photography is prohibited. Please silence your cell phones. * Appears with the permission of Canadian Actors’ Equity Association WHITE BIRD DANCE KIDD PIVOT P19

TONIGHT’S PROGRAM BETROFFENHEIT World Premiere: July 23, 2015 Bluma Appel Theatre, Toronto, Canada 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 PRODUCTION MANAGER AND TECHNICAL DIRECTOR Jeremy Collie-Holmes AUDIO TECHNICIAN/SHOW CONTROL Eric Chad STAGE MANAGER Jan Hodgson* STAGE CARPENTER Isaac Robinson APPROXIMATELY 120 MINUTES, INCLUDING INTERMISSION. This performance contains strobe-like effects, non-toxic theatrical haze, and coarse language. * Appears with the permission of Canadian Actors’ Equity Association

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NOTES FROM CRYSTAL PITE “Simply translated, Betroffenheit means shock, bewilderment, or impact. The root of the word is treffen ‘to meet’ and betroffen ‘to be met’, and Betroffenheit is the state of having been met, stopped, struck or perplexed in the face of a particular event … a space and time where language ceases. We are left only with an awareness of the limits of language and the limits of what can be taken in. In this gap definitions disappear and certainty vanishes. Anything is possible—any response, any action or inaction.

Nothing is prescribed. Everything is up for grabs in this fertile and palpable silence.”

–From “And Then, We Act” by Ann Bogart “What a daunting task transforming a troubled mind is, when what you’re looking for is what you’re looking with.”

–From “In the Realm of Hungry Ghosts-Close Encounters with Addiction.” by Gabor Maté Jonathon Young’s personal story of trauma and loss—his own betroffenheit—is at the heart of this venture. Jonathon has challenged me to use our art form to grapple with the question of suffering, and he has steadied me with his courage. I am so grateful for this opportunity to stand beside him for a while, to look out at this difficult territory, and to navigate it with this earnest act of creating.

I’ve been surprised by the joy within our process, and profoundly moved by Jonathon’s curiosity and open heart. Throughout his deeply sought effort, Jonathon has made room for us to catch glimpses of grace.

Jonathon and I want to acknowledge and thank the brilliant team of dancers - Bryan, Cindy, David, Tiffany and Jermaine—for their countless artistic contributions, which have been utterly essential to creating both the form and content of this production. A huge thank you also goes out to our extraordinary design team—AJ, Meg, Owen, Jay, Nancy, and Tom—for their vision, hard work, attention to detail, and collaborative spirit. Thank you as well to Blake Brooker and Kevin Kerr for inspiration and guidance. And finally, our eternal gratitude for the technical team and production support staff—Eric B, Jan, Jeremy, Eric C, Jim, Jessie, and our teams at Kidd Pivot and Electric Company Theatre—whose ingenuity, foresight, patience and problem solving have been instrumental in getting this production here tonight.

This production is dedicated to Kim Collier, Stuart Collier and Elaine Conway.

THE COMPANY

ABOUT THE COMPANIES

Kidd Pivot tours extensively around the world with productions that include The Tempest Replica (2011), The You Show (2010), Dark Matters (2009), Lost Action 2006), and Double Story (2004), created with Richard Siegal. Kidd Pivot received the 2006 Rio Tinto Alcan Performing Arts Award, and was resident company at Künstlerhaus Mousonturm, with the support of Kulturfonds Frankfurt RheinMain, in Frankfurt, Germany from 2010 to 2012. kiddpivot.org ELECTRIC COMPANY THEATRE Electric Company Theatre is one of Canada’s leading creators of live theatre, rich in spectacle and adventurous in form, challenging theatrical conventions while preserving a strong sense of story. Electric Company Theatre was originally formed as a collective in 1996

by Siminovitch Prize-winning director Kim Collier, David Hudgins, Jonathon Young and Governor General’s Awardwinning writer Kevin Kerr, who met while training at Studio 58. Jonathon Young currently leads the company as Artistic Director. The company has created 21 original productions including Tear the Curtain!, No Exit, Studies in Motion, Brilliant!, and the feature film The Score.

Electric Company Theatre has toured throughout Canada, to the US and the UK. and co-founded Progress Lab 1422, a 6,000 sq ft theatre creation space in Vancouver BC, with Rumble Theatre, Neworld Theatre and Boca del Lupo. electriccompanytheatre.com

CRYSTAL PITE

Michael Slobodian

KIDD PIVOT Integrating movement, original music, text, and rich visual design, Kidd Pivot’s performance work is assembled with recklessness and rigour, balancing sharp exactitude with irreverence and risk.

Under the direction of internationally renowned Canadian choreographer Crystal Pite, the company’s distinct choreographic language—a breadth of movement fusing classical elements and the complexity and freedom of structured improvisation —is marked by a strong theatrical sensibility and a keen sense of wit and invention.

Co-creator, Choreographer, Director Canadian choreographer and performer Crystal Pite is a former company member of Ballet British Columbia and William Forsythe’s Ballett Frankfurt. Pite’s professional choreographic debut was in 1990, at Ballet British Columbia. Since then, she has created over 40 works for companies such as Nederlands Dans Theater I, Cullberg Ballet, Ballett Frankfurt, The National Ballet of Canada, Les Ballets Jazz de Montréal (Resident Choreographer, 2001–2004), Cedar Lake Contemporary Ballet, Ballet British Columbia, and Louise Lecavalier/Fou Glorieux. She has also collaborated with Electric Company Theatre and Robert Lepage. Crystal is an Associate Choreographer of Nederlands Dans Theater, Associate Dance Artist of Canada’s National Arts Centre, and Associate Artist at Sadler’s Wells, London.

In 2002, she formed her own company Kidd Pivot in Vancouver. Kidd Pivot tours nationally and internationally, performing works such as Dark Matters and Lost Action. Kidd Pivot’s residency at the Künstlerhaus Mousonturm in Frankfurt (2010–2012) provided Pite the opportunity to create and tour The You Show and The Tempest Replica.

Currently touring is the Kidd Pivot / Electric Company Theatre production of Betroffenheit, cocreated by Pite and Jonathon Young.

JONATHON YOUNG

Co-creator, Writer, Performer Jonathon Young is co-founder and current Artistic Director of Electric Company Theatre. He has collaborated on the making of over a dozen original productions since the company began creating work together in 1996, including: Tear the Curtain! (a film/theatre hybrid for Arts Club Theatre and Canadian Stage), No Exit (a conceptual re-working of Jean-Paul Sartre’s play performed in Vancouver, Calgary, Toronto, and San Francisco) and Studies in Motion (Vancouver Playhouse, Edmonton’s Citadel Theatre, Theatre Calgary, and at Canadian Stage in Toronto). In addition, Jonathon works across the country on stage and screen as a freelance actor. Some recent productions include: The Waiting Room (Arts Club Theatre), The Great Gatsby (Theatre Calgary), Hamlet (Bard on the Beach Festival), This (Canadian Stage), and All the Way Home (Electric Company Theatre. He is the recipient of numerous Jessie Richardson awards for acting and writing.

WHITE BIRD DANCE KIDD PIVOT P21

THE COMPANY KIDD PIVOT School in 2005 with the Princess Grace Award, she began freelancing in New York. She danced for Aszure Barton & Artists most memorably on tour with Mikhail Baryshnikov, assisted Andy Blankenbuehler in preproduction for Hamilton and other Broadway shows, and assisted and performed for Mia Michaels. She is on faculty with New York City Dance Alliance and was Assistant Rehearsal Director for Cedar Lake Contemporary Ballet. Cindy was a cofounder and teacher for Artists Striving To End Poverty. She co-started a multimedia dance theatre company called Shook Ones in 2014. Cindy has been a proud member of Kidd Pivot since 2009.

JERMAINE SPIVEY

Allison Schultz

Joris Jan Bos

BRYAN ARIAS

Performer Born in Ponce, Puerto Rico, and raised in New York City, Bryan Arias is a former company member with Complexions Contemporary Ballet and Nederlands Dans Theater. He has originated roles in and performed works by notable choreographers including Jirí Kylián, Ohad Naharin and Crystal Pite. As a choreographer, Bryan is the recipient of the First Place and Audience Choice awards for his work Without Notice at the Sixth Copenhagen International Choreography Competition (CICC), and winner of the Hubbard Street Dance International Commission Project.

He has choreographed for dancers at the Juilliard School, Hubbard Street 2, NDT’s “Switch”, Ballet Vorpommern (Germany) and The Scottish Ballet.

Bryan is the founder of the ARIAS Company, and has been performing with Kidd Pivot since 2012.

Allison Schultz

CINDY SALGADO

Performer Born in Sunnyvale, CA, Cindy Salgado began her training at the age of 3.

After graduating from the Juilliard

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TIFFANY TREGARTHEN

Allison Schultz

Wendy D

DAVID RAYMOND

Performer Born and raised in Penticton, BC, David Raymond began as a tap dancer and continued to train in classical and other forms of dance, forming Over the Influence with four street dancers. In 2004 he entered a two-year creative residency with Tiffany Tregarthen in Antwerp, Belgium. Upon returning to Vancouver in 2007, they founded Out Innerspace Dance Theatre to serve as the home for their creative work, and Modus Operandi as a platform to develop and share their practice with young artists.

David has performed with The 605 Collective, Wen Wei Dance, Response Dance, Dana Gingras, Simone Orlando, Beijing Modern Dance, Vancouver Opera, and Move: The Company.

Performer Jermaine Maurice Spivey was born in Baltimore, Maryland where he began his dance training and later attended performing arts high school at the Baltimore School for the Arts. After graduating with a BFA in dance from The Juilliard School in 2002, he moved to Lisbon, Portugal where he danced with Ballet Gulbenkian from 2002 to 2005. In 2005, Jermaine joined the Cullberg Ballet, where he met Crystal Pite, and performed with the company until Summer 2008. Jermaine has received several awards in dance including the National Foundation for Advancement in the Arts 1st Level Scholarship and the Princess Grace Award. Jermaine has been performing with Kidd Pivot since August 2008.

Performer Born in Prince George, BC, Tiffany Tregarthen’s early mentors include Margo Hartley, Rosemarie Harris, Linda Klassen, Rachael Poirier and Yaming Li. Her professional career began with Mia Michaels RAW and Wes Veldink in New York and POZ Dance Theatre in Seoul.

She spent two years of professional development centred in Antwerp with her partner David Raymond before

returning to co-create Out Innerspace Dance Theatre and its associated post-secondary dance program Modus Operandi. Additionally, Tiffany created a work for Les Grands Ballets Canadiens through their National Young Choreographer Competition, has danced with The Turning Point Ensemble, Radix Theatre, The Beijing Modern Dance Company, The Vancouver Opera, The 605 Collective, Wen Wei Dance, and Justine Chambers among others, and joined Kidd Pivot in 2013.

OWEN BELTON

Composer, Sound Designer Owen Belton, who is based in Vancouver, Canada, graduated from Simon Fraser University in 1993 with a degree in Fine and Performing Arts (concentration, Music), and studied acoustic and computer music composition with Owen Underhill and Barry Truax. He has been writing music for dance since 1994 when he created the music for Shapes Of A Passing, for choreographer Crystal Pite’s piece for Toronto-based Ballet Jorgen. Since then, he has created many scores for dance companies including Kidd Pivot, The National Ballet of Canada, Nederlands Dans Theatre, Cullberg Ballet in Stockholm, Ballet Nuremberg, Oregon Ballet Theatre and 420 People in Prague. Since 2008, Owen has also been creating sound design and composing for theatre, working mainly for theatre companies in Vancouver. Additionally, he has also scored several short films.

ALESSANDRO JULIANI AND MEG ROE

Composer, Sound Designer Alessandro Juliani and Meg Roe are Canadian theatre artists based in Vancouver. Their work has been seen and heard across Canada and internationally in conjunction with: The Shaw Festival, Canadian Stage, Factory Theatre, Centaur Theatre, Bard on the Beach, Ruby Slippers Theatre, Electric Company Theatre, Blackbird Theatre, Arts Club, The Vancouver Playhouse, Pi Theatre, Rumble Theatre, The National Arts Centre, Theatre Calgary, Alberta Theatre Projects, Theatre Junction, Citadel Theatre, Belfry, Intrepid Theatre, Theatre SKAM, Theatre Aquarius, Manitoba Theatre Centre, Western Canada Theatre,

THE COMPANY KIDD PIVOT

JAY GOWER TAYLOR

Set Designer Jay Gower Taylor started out in theatre as a professional dancer where he enjoyed an international career spanning more than twenty years. Parallel to his dance career, Jay developed his skills as a designer. Some of his first opportunities designing for theatre were with Serge Bennathan collaborating on Absences, The Invisible Life of Joseph Finch, Conversations and Elles. More recently, Jay designed The Virtual Stage and Electric Company Theatre’s live-cinematic interpretation of JeanPaul Sartre’s NO EXIT. In the works of Crystal Pite, Jay has designed Plot Point, Solo Echo, Parade, Frontier and In the Event for Nederlands Dans Theater; Emergence for the National Ballet of Canada; Dark Matters and The Tempest Replica for Kidd Pivot.

NANCY BRYANT

Costume Designer Nancy Bryant lives in Vancouver, BC and designs costumes for dance, theatre, opera and film. Works with Crystal Pite include Parade and Plot Point (Nederlands Dance Theater) and The Tempest Replica (Kidd Pivot). Costume designs for theatre include Helen Lawrence (Stan Douglas Inc.), The Overcoat (Canadian Stage) and Tear the Curtain (Arts Club/Electric Company Theatre). Designs for opera include Das Rheingold, The Flying Dutchman, Rodelinda (The Pacific Opera), and Sweeney Todd (Vancouver Opera). Nancy has received a Leo (film) Award for Legend of Earthsea, a dozen Jessie Richardson Theatre Awards and most recently, the 2014 Mayor’s Arts Award for Vancouver Theatre.

TOM VISSER

Lighting Designer Tom Visser grew up in the countryside of west Ireland. At the age of 18 he started working in music theatre through his theatrical family. After 6 years he started working in dance through the Nederlands Dans Theater. Since 2005 he has created original designs for

choreographers: Crystal Pite, Alexander Ekman, Johan Inger, Stijn Celis, Lukas Timulak, Sharon Eyal and Joeri Dubbe just to name a few. Recently Tom has been creating his own projects through art installations and interactive media.

ERIC BEAUCHESNE

Rehearsal Director Born in Québec, Eric grew up fishing and hunting before discovering dance at the age of 16. He has been on stage with Les Grands Ballets Canadiens, the Badisches Staatstheater Karlsruhe, and Les Ballets Jazz de Montréal as well as with Canadian contemporary dance icons such as La Fondation Jean-Pierre Perrault, PaulAndré Fortier, Louise Lecavalier and Crystal Pite. Performing with Kidd Pivot since 2004, Eric currently collaborates with the company as rehearsal director, and stages Pite’s work on companies worldwide including Ballet British Columbia, Cullberg Ballet, Staatstheater Nürnberg, Royal Swedish Ballet and Hubbard Street Dance Chicago. In 2013, he was appointed rehearsal director for Nederlands Dans Theater and since then has been based in the Netherlands.

Eric devotes most of his spare time conducting improvisation workshops and advocating for climate justice and sustainable practices in the dance world.

Allison Schultz

Orlando Shakespeare Festival, American Conservatory Theatre (San Francisco), Center Theater Group (LA), and the Britten/Pears Festival (UK). They are thrilled to be working with Kidd Pivot.

JEREMY COLLIE-HOLMES

Production Manager Jeremy hails from Wellington, New Zealand, where he graduated from Victoria University with a Bachelor of Arts in Theatre and Film and a Bachelor of Commerce and Administration in Management. Since then he has combined his love of travel with his career. He has worked as a Production Manager, Technical Director, Lighting Director and Stage Manager for festivals, venues and companies in New Zealand, Australia, the United Kingdom and Europe, on cruise ships and now in Canada. In addition to his role at Kidd Pivot he is currently involved as Technical Director with Vancouverbased companies Out InnerSpace Dance Theatre and Tara Cheyenne Performance. He has recently worked with the Auckland International Arts

Festival, New Zealand (Venue Manager), Push International Arts Festival, (Venue Technical Director). Vancouver Folk Music Festival, Aeriosa Dance Society, Squamish Valley Music Festival, Holy Body Tattoo, Green Thumb Theatre and Wen Wei Dance. Yes, he does often import New Zealand Marmite and will happily go Bungy Jumping at a moment’s notice.

JAN HODGSON

Stage Manager Jan is a Vancouver based Stage Manager whose career has included many unique, individual and site-specific projects. Her history with The Electric Company Theatre includes Tear the Curtain, Studies in Motion, Palace Grand, No Exit, Brilliant! The Blinding Enlightenment of Nicola Tesla, The One That Got Away and Dona Flor and Her Two Husbands. Other Favourites: thirteen summers with the Caravan Farm Theatre; three consecutive holiday seasons’ of An East Van Panto (Theatre Replacement/The Cultch); seventeen years with the Vancouver Playhouse; as well as extensive National and International touring with both theatre and dance.

CREDITS

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.

THANK-YOU

Artemis Gordon and Arts Umbrella, Barry Kootchin, Pamela Taylor, Carey Dodge, Kristina Lemieux, Vancouver Creative Space Society and Progress Lab 1422.

WHITE BIRD DANCE KIDD PIVOT P23

MANAGEMENT ELECTRIC COMPANY THEATRE Jonathon Young, Artistic Director &Co-Founder Kim Collier, Artistic Associate & Co-Founder Kevin Kerr, Artistic Associate & Co-Founder David Hudgins, Artistic Associate & Co-Founder Jessie van Rijn, Managing Producer Jennifer Swan, Company & Financial Manager Christine Quintana, Artistic Apprentice KIDD PIVOT Jim Smith, Producer** Heather McDermid, Marketing and Communications Manager** Francesca Piscopo, Artist and Tour Manager** Josef Chung, Production Administrator** Ann Hepper, Accounts** Sharon Simpson, Administrative Assistant** Brent Belsher, Fundraising Associate and Company Manager on Tour Agents for Kidd Pivot Menno Plukker Theatre Agent Inc. (except Canada, France, Luxembourg, Switzerland) mennoplukker.com Le Trait d’Union (France, Luxembourg, Switzerland) ltddanse.com Eponymous (Canada) eponymous.ca ** Eponymous

BOARD OF DIRECTORS: KIDD PIVOT Ainslie Cyopik (Treasurer), Dory Dynna (Secretary), Barry McKinnon (Vice President), Derek Porter, Guy Riecken (President)

Photos by ©Michael-Slobodian

ELECTRIC COMPANY THEATRE Mavis Dixon (President), Michael Fergusson, John Mackenzie (Treasurer), Julia Mackey, Arthur Maughan, Veronica S.C. Rossos (Secretary), Robin Turnill

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