In Good Company - NW Dance Project by Artslandia

“SOME OF THE BEST DANCERS YOU WILL EVER SEE” -CALGARY HERALD

DEC 8 -10 / 7:30PM

IN GOOD COMPANY

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Photo / Christopher Peddecord Dancers / Company

WELCOME TO IN GOOD COMPANY Thank you so much for joining us for our latest, dancer-made In Good Company show! Each year, we turn our winter show over to our incredibly talented and creative company members to set every step, pick the music, costumes and staging, and to craft a charming and clever show for you to experience and enjoy.

ENVISIONED, CREATED, AND LED BY SARAH SLIPPER, WE REMAIN DEDICATED TO PROVIDING CHOREOGRAPHERS THE OPPORTUNITY TO BRING THEIR ARTISTIC DRIVES AND DREAMS TO FRUITION FROM THE STUDIO TO THE STAGE AND CHARTING THE FUTURE OF CONTEMPORARY DANCE.

“... ONE OF THE HOTTEST DANCE COMPANIES IN AMERICA.” –Portland Stage Reviews

While this may seem like just a fun idea — which it certainly is — giving dancers chances to make new work and produce an entire show is an incredibly important learning and growing opportunity. By throwing themselves (sometimes literally) into the work on both sides of the stage, they continue to fill their artistic cups and gain valuable professional experience they will carry with them for the rest of their careers and lives — wherever their futures may take them. Which is why we need you to join us in taking the best possible care of these amazing and dedicated artists. The company is bigger than ever with eleven dancers, and we are committed to providing living-wage salaries and the best possible working conditions. But nothing makes us more proud than the fact that we are now providing them with full, 100% paid medical, dental, and vision insurance. This benefit and safety net has been a goal of ours for years, and we could not be happier to be rewarding, protecting, and nurturing “our family” in this way. However, this significant step comes at a time when operating support funding from many sources is declining significantly and vanishing altogether. And that’s where you come in… We hope you will support our dancers with your generous year-end tax-deductible contribution. Better yet, show your love for these incredible artists year-round by joining our Sustaining Circle with easy monthly donations! As a special thank you for giving big, donate $300 or more (either as a single gift or a monthly donation of $25 or more) and we will give you our new 2017 NW Dance Project Calendar autographed by all the dancers along with heaps of gratitude and deep appreciation. Thank you for again being here and thank you for supporting NW Dance Project! Enjoy the show and we will see you in the lobby.

Sarah Slipper | Artistic Director

Scott Lewis | Executive Director

IN GOOD COMPANY • NW DANCE PROJECT

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PRESENTS

IN GOOD COMPANY ARTISTIC DIRECTOR Sarah Slipper

EXECUTIVE DIRECTOR Scott Lewis

DANCERS Tatiana Barber Kody Jauron Franco Nieto Charbel Rohayem

Samantha Campbell Elijah Labay Andrea Parson Ching Ching Wong

William Couture Lindsey McGill Julia Radick

MAJOR SUPPORT FOR IN GOOD COMPANY PROVIDED BY

MEDIA SPONSORS

The Autzen Foundation

The use of photography or other recording equipment is prohibited. Please silence your cell phones. PLEASE NOTE: Food, beverages, cameras, and recording devices are not permitted in Lincoln

Performance Hall. Smoking is not permitted in the theater or in the building.

NW DANCE PROJECT

Photo / Christopher Peddecord Dancer / Franco Nieto

2016–17 SEASON

NW DANCE PROJECT WAS FOUNDED IN PORTLAND IN 2004 BY PRINCIPAL DANCER, AWARD-WINNING CHOREOGRAPHER, AND ACCLAIMED DANCE MENTOR SARAH SLIPPER, AND IMMEDIATELY BEGAN MAKING A SPLASH AND A NAME FOR ITSELF BY DOING THINGS A BIT DIFFERENTLY IN DANCE.

We are so proud that four of our talented company dancers have been awarded the most prestigious award in dance — The Princess Grace Award: Andrea Parson in 2010; Franco Nieto in 2012; Viktor Usov in 2014; and most recently Ching Ching Wong in 2015.

Our dedication to providing dancers and dance makers the resources and artistic freedom needed to create and take new, inspired dance works to the stage led Dance International Magazine to proclaim that we are “changing the way dance is created” and established NW Dance Project as “a laboratory, factory and repository for risk-taking new works from the next generation of choreographers from Europe, and North America.”

Audiences in Oregon, New York, Seattle, Arizona, St. Louis, Salt Lake City, Colorado, Los Angeles, Houston, London, throughout Canada and Germany, and even Mongolia have been similarly wowed by the company’s touring performances. NW Dance Project is proud to represent Portland and further our city’s glowing and growing reputation as a destination for dance and inspired new works of art.

NW Dance Project has grown into a world-class contemporary dance company and an international leader in the creation and premiere of significant new contemporary dance works. We commission gifted choreographers from around the world to create on our classically trained yet daring and fearless professional company, giving them full artistic freedom and all the resources needed to bring their artistic drives, inspirations and dreams to fruition and to the stage. With over 200 new dance works created and premiered in Portland to date — more than any other company in the country — NW Dance Project truly is “the ‘it’ company…one of the most dynamic dance troupes in the country” (Oregon Public Broadcasting) and “an essential part of the city’s arts scene” (The Oregonian), with “some of the best dancers you will ever see.” (Calgary Herald)

We are equally proud of the work we do in our cherished local community that occurs off the theater stage.

And while Portland gets to experience our works first, the world is watching. NW Dance Project took the Audience Award at the prestigious 25th annual Hannover Choreographic Competition in Germany in April 2011. Later the same year, we were picked the winner, out of nearly 200 entrants from around the world, of the 2011 Sadler’s Wells Global Dance Contest, and as the winner, enjoyed two sold-out, standing ovation London performances in June 2012 as part of the Cultural Olympiad.

NW DANCE PROJECT • IN GOOD COMPANY

Our innovative and interactive Dance Moves outreach program brings free dance classes and workshops to thousands of at-risk and low-income young members of our community each season. Our Arts Access initiative provides numerous fully accessible, professional dance performances locally each season, even drawing a record breaking, 4000-strong crowd to the Washington Park Rose Garden Amphitheater to experience the company perform select works from our all-original-repertoire. NW Dance Project is also an extraordinary and comprehensive training center for all dancers. We hold open community classes for adults and youth seven days a week in our beautiful Creative Center at 211 NE 10 th Avenue, as well as special opportunities for professional and pre-professional dancers such as our signature LAUNCH project and our esteemed Summer Dance Intensive. NW Dance Project believes in dance. We believe everyone can dance and anyone can appreciate the beauty and power of human movement. We believe that dance can, and should, touch and enrich each and every person’s life. And with tonight’s special performance, we believe you’ll agree.

“SARAH SLIPPER IS TRULY GIFTED. THIS IS WHAT DANCE SHOULD BE ... SHE FOUND THE POINT AT WHICH THE FORM OF DANCE (STEPS, TECHNIQUE, FEET, PERFORMANCE) COMBINE TO CREATE A WORK OF ART.” —The News Record

Photo / Christopher Peddecord Dancers / Franco Nieto + Andrea Parson

ARTISTIC DIRECTOR / SARAH SLIPPER Sarah Slipper was born and raised in Vancouver, British Columbia, and received her professional training at the Royal Ballet School in London, England and the Royal Winnipeg Ballet School. In 1980, she made her professional debut with the Royal Winnipeg Ballet as a corps de ballet member, and became one of the company’s leading dramatic ballerinas. Sarah worked closely with many internationally renowned directors, choreographers and teachers, including Arnold Spohr, Rudi van Dantzig, Hans van Manen, Jirí Kylián, Agnes de Mille, Galina Yordanova, and Alla Savchenko. Sarah was noted for her classical line and dramatic abilities, dancing the principal roles in classical ballets such as Swan Lake, Les Sylphides, Giselle, and The Nutcracker. In addition to the classical repertoire, she received worldwide acclaim for her performances of contemporary ballets, most notably Nobert Vesak’s The Ecstasy of Rita Joe and the award winning Belong pas de deux. After Sarah left the stage, she continued her passion for music and drama, studying theatre at the honours level at

the University of Winnipeg, and in Oxford, England. During the 1996/97 season, she served as ballet mistress of Alberta Ballet, and from 1997/99 as ballet mistress of Oregon Ballet Theatre. Sarah’s command of classical and contemporary styles is demonstrated in her active role of teaching and coaching younger dancers. As a guest master teacher, Sarah has worked with the Royal Winnipeg Ballet, Washington Ballet, Ballet Austin, Hubbard Street Dance Chicago, The Jefferson Dancers and the Dance Departments of the University of Utah, Cornish College of the Arts, and the University of Iowa. An award winning independent choreographer, Sarah is presently based in Portland, Oregon, creating dance worldwide. She has worked with prominent dance companies including the Royal Winnipeg Ballet, Cincinnati Ballet, Oregon Ballet Theatre, Nashville Ballet, Washington Ballet, Ballet Jorgen, Louisville Ballet, BalletNY, Alberta Ballet, Ballet Pacifica, Cornish Dance Theater, NW Dance Project and The Jefferson Dancers. She was awarded the Grand Prize for Choreography at the International Choreographic

Competition Saint Sauveur 2000 for her ballet Shattered Night, which was created on the Royal Winnipeg Ballet. During her choreographic residency at Festival des Arts in Quebec, Canada, her ballet A River In A Dry Land, was described by the Montreal Gazette as “one of the finest choreographies produced in residency.” Sarah’s works have been described as “absolutely remarkable... grippingly pits breezy romanticism against a sinister undercurrent.” (The Oregonian) and “...a complete, enclosed world, a somber yet hopeful winter landscape across which the three couples thread in a long, smoothly unfolding skein of dance” (The New York Times). A Fine Balance, her pas de deux created during NW Dance Project’s inaugural season, was a finalist for the prestigious Benois de la Danse award in 2006 and was performed at the Bolshoi Theatre as part of the award’s gala celebration. Sarah is currently working on several new creations and serves as the Artistic Director of NW Dance Project.

IN GOOD COMPANY • NW DANCE PROJECT

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DANCER BIOGRAPHIES TATIANA BARBER is from Los Angeles, California. She began studying dance at age five in the styles of ballet, tap, and jazz techniques and received her training at the Debbie Allen Dance Academy (DADA) until she graduated in 2012. Tatiana graduated from Alonzo King Lines Ballet BFA program at Dominican University in May 2016 where she was awarded two Dizzy Feet Foundation scholarships for her 2014–2015 and 2015–2016 years of college. Tatiana has performed works by acclaimed artist such as Ohad Naharin, Aszure Barton, Debbie Allen, Desmond Richardson, Maurya Kerr, and Sidra Bell. She has also performed with Alvin Ailey American Dance Theater. In July 2016 she participated in NW Dance Project’s LAUNCH: 11 project where she worked with choreographers Luca Signoretti and Anton Rudakov.

SAMANTHA CAMPBELL is from Salt Lake City, Utah. She attended the University of Utah as a Ballet major and graduated with a B.F.A. in May 2007. She was a member of Utah Ballet for three years while at the University, danced with Alabama Ballet and danced on scholarship at the Lou Conte Dance Studio (Hubbard Street Dance Chicago). Samantha has danced original roles in NW Dance Project works by Didy Veldman, Lucas Crandall, Sarah Slipper, Donald McKayle, James Canfield, Patrick Delcroix, Wen Wei Wang, Andrea Miller, Pedro Dias, Loni Landon, BenoitSwan Pouffer, Noam Gagnon, Edgar Zendejas, Maurice Causey, Lauren Edson, Carla Mann and Minh Tran.

WILLIAM COUTURE was born and raised in St. Paul Minnesota, where he attended the Saint Paul Conservatory for Performing Arts, and from there went to San Francisco to study at Dominican University of California with LINES ballet. While in college Will traveled as a guest artist to perform with the Southern California Ballet, Santa Rosa

Ballet, and LINES ballet. In 2013 Will received a scholarship with the Dizzy Feet Foundation and was invited to perform a solo at their gala event. After graduating in 2015 Will returned to Minnesota to dance with Shapiro and Smith Dance and teach.

KODY JAURON hails from Phoenix, Arizona where he began his formal dance instruction at age 15 with Andrew Needhammer. Shortly after, Kody furthered his preprofessional studies with the Miami City Ballet School and Ballet Austin’s Professional Division Trainee Program where he was honored to become a recipient of the Sarah & Ernest Butler Scholarship. After one year at Ballet Austin, Kody was promoted to an apprentice to the company where he danced for two additional seasons. Kody has supplemented his training at Lou Conte Dance Studio’s scholarship program, Hubbard Street Dance Chicago, The School at Jacob’s Pillow, Springboard Danse Montréal, and most recently at NW Dance Project’s LAUNCH:10. Prior to joining NW Dance Project, Kody danced with DanceWorks Chicago under the tutelage of Julie Nakagawa and has been a featured guest artist with the Ruth Page Civic Ballet, Evansville Ballet, and Salt Creek Ballet. He has had the opportunity to perform works by Aszure Barton, Nelly van Bommel, Thang Dao, James Gregg, Felix Landerer, Joshua Manculich, Jirí Pokorný, Ihsan Rustem, and Yin Yue.

ELIJAH LABAY was born in Victoria, British Columbia, Canada, and started training at Ballet Arts Academy in Spokane, Washington. In 2004, Elijah joined Canada’s Royal Winnipeg Ballet Professional Division and then attended the Fellowship Program at The Ailey School on full scholarship. He received a Professional Advancement Award at Jacob’s Pillow to work with Aszure Barton, Helen Pickett, and Tero Saarinen. In 2009, Elijah joined Florida Dance Theatre directed by Carol Erkes and had the opportunity to

choreograph Kaos in Wonderland. Elijah attended NW Dance Project’s LAUNCH:4 project where he worked with choreographers Loni Landon and James Gregg. He was featured in NW Dance Project’s premiere of André Mesquita’s duet, A Short History of Walking, and in other original NW Dance Project works created by Patrick Delcroix, Ihsan Rustem, Lucas Crandall, Pedro Dias, Loni Landon, Sarah Slipper, Noam Gagnon, Olivier Wevers, Carla Mann and Minh Tran.

LINDSEY MCGILL was born in Houston, Texas. She began her formal dance training under Elizabeth and Rosemary Molak in Orange County, California and continued training at the Houston Ballet Academy under the direction of Ben Stevenson, Clara Cravey and Priscilla Nathan Murphy. Since graduating from Houston Ballet Academy, Lindsey has worked with Jane Weiner’s Hope Stone Dance, Michele Brangwen Dance Ensemble, iMEE, Dominic Walsh Dance Theater, O Dance, NobleMotion Dance, The Next Stage Project, KDNY and Dayton Contemporary Dance Company 2. She has also had opportunities to dance in projects by a number of independent artists including Jhon R. Stronks, Paola Georgudis, Teresa Chapman, Amy Ell’s Vault and Freneticore. Lindsey participated in NW Dance Project’s LAUNCH:5 project.

FRANCO NIETO — 2012 PRINCESS GRACE AWARD WINNER was born and raised in Vancouver, Washington. Franco was an athlete playing football for seven years before making his choice to dance. Franco began his training at Vancouver School of Arts and Academics, and Columbia Dance, later studying under Tracey Durbin as a student and an assistant in Portland. Franco graduated from Point Park University in Pittsburgh, Pennsylvania, with a B.F.A. in Jazz in 2009. Franco has danced original roles in NW Dance Project works by Didy Veldman, James Canfield, Sarah Slipper, Luca Veggetti, Pedro Dias, Maurice Causey, Wen Wei Wang, Andrea Miller, Noam Gagnon, Loni Landon and Lauren Edson. In August 2012, Franco was one of only six dancers in the U.S. to win a Princess Grace Award for Dance. Franco received a full page feature in the February 2014 issue of Dance Magazine.

IN GOOD COMPANY • NW DANCE PROJECT

DANCER BIOGRAPHIES dance training in Hillsboro, Oregon, at NW Conservatory of Dance under the direction of Anita Mitchell. She received her B.A. from Loyola Marymount University in Los Angeles in 2008. Andrea has taught dance throughout Oregon and Washington and has participated in workshops with the Joffrey Ballet, San Francisco Conservatory of Dance, anoukvandijk dc and the NW Dance Project. She has danced original roles in NW Dance Project works by Patrick Delcroix, Sarah Slipper, James Canfield, Luca Veggetti, Pedro Dias, Ihsan Rustem, Andrea Miller, Aszure Barton, Noam Gagnon, BenoitSwan Pouffer, Maurice Causey, Lucas Crandall, Wen Wei Wang, Alejandro Cerrudo, Cayetano Soto, Loni Landon, Edgar Zendejas, Carla Mann and Minh Tran. In June 2010, Dance Magazine named Andrea their dancer “On the Rise.” The following month, Andrea received her biggest career honor to date, winning a 2010 Princess Grace Award for Dance and she appeared on the cover of Dance Spirit Magazine in February 2011, which did a feature on her and another on the company.

JULIA RADICK was born and raised in New York City. She graduated from LaGuardia Arts High School and earned her BFA in Dance from the Tisch School of the Arts at New

York University. She has also trained at North Carolina School of the Arts, Boston Ballet, Alonzo King LINES Ballet, and with Batsheva. Julia has danced original works by Nathan Trice, Brunilda Ruiz, James Sutton, Cherylyn Lavagnino, Aszure Barton, and Kate Weare. She was a member of the Yomoco and has performed with Classical Contemporary Ballet Theatre. Julia is a certified Mind Body Dancer™ yoga instructor. Julia took part in NW Dance Project’s LAUNCH:7 project.

CHARBEL ROHAYEM began his training at the age of 16 under the direction of Teresa Felix and Trina Araby in Hercules, California. He has participated in summer programs and workshops with the California State Summer School for the Arts, The San Francisco Conservatory of Dance, BODYTRAFFIC, Sidra Bell Dance New York’s winter|module, Springboard Danse Montreal (2015–2016), and NW Dance Project’s LAUNCH:11. Charbel attended the Lines Ballet BFA program, where he graduated with a BFA in Dance and a minor in Arts Management in the Spring of 2016. He is a 2011 Herb Alpert Emerging Young Artist, as well as a 2015– 2016 Dizzy Feet Foundation scholarship recipient. Charbel has had the privilege of performing the works of Gregory Dawson, Alex Ketley, Ohad Naharin, Sidra Bell, Anton Rudakov, Arturo Fernandez, Maurya Kerr, Roy Assaf, Luca Signoretti, and Fernando Melo.

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NW DANCE PROJECT • IN GOOD COMPANY

CHING CHING WONG — 2015 PRINCESS GRACE AWARD WINNER was born in Manila, Philippines, but since the age of three calls southern California her home. She began her dance training at Allegria Dance Theater under the direction of Alia Harlan. She received her B.F.A. in Dance Performance and minor in Education and Psychology & Social Behavior from the University of California, Irvine. During her UCI days, she was a member of Donald McKayle’s Etude Ensemble and also performed works by Jodie Gates, Molly Lynch, Lisa Naugle, Rennie Harris and William Forsythe’s Artifact Suite. Ching Ching participated in NW Dance Project’s LAUNCH:3 & LAUNCH:4 projects, and has danced original roles in new NW Dance Project works by Didy Veldman, Patrick Delcroix, Wen Wei Wang, Ihsan Rustem, Pedro Dias, Lucas Crandall, Loni Landon, Noam Gagnon, James Gregg, Lauren Edson, Tracey Durbin and Minh Tran. Ching Ching has been awarded a 2015 Princess Grace Award in Dance, making her the fourth member in NW Dance Project to receive this coveted honor.

Company Portraits / Paul Thacker ©

ANDREA PARSON — 2010 PRINCESS GRACE AWARD WINNER began her early

EVERYONE CAN DANCE PORTLAND’S “BEST DANCE STUDIO” - Willamette Week Reader’s Poll 2015 + 2016

YOUTH DANCE PROGRAM

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503.421.7434 / nwdanceproject.org NW Dance Project is a 501(c)(3) not-for-profit organization

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NW DANCE PROJECT

STAFF ARTISTIC DIRECTOR Sarah Slipper EXECUTIVE DIRECTOR Scott Lewis COMPANY MANAGER Katie Holliday EDUCATION & OUTREACH COORDINATOR Caitlin Warren STUDIO STAFF Victoria Lauder + Lindsay Spoonmore LIGHTING DESIGNER & TECHNICAL DIRECTOR Jeff Forbes STAGE MANAGER Thyra Hartshorn COSTUME & WARDROBE MANAGEMENT Alexandra Harris + Cassie Ridgway ACCOMPANISTS Tiffany Barclay + Ray McKean + Jon Roberts + Susan Schroeder GRAPHIC & WEB DESIGN Rachel Beckwith + Christopher Peddecord WEB SUPPORT Christopher Peddecord PHOTOGRAPHY Blaine Truitt Covert + Christopher Peddecord VIDEOGRAPHY Ralph Davis, Action Video + Christopher Peddecord HEALTH & WELLNESS Dr. Katharine Zeller PHYSICAL THERAPY West Portland Physical Therapy Clinic ACUPUNCTURE Anna Brook ACCOUNTING Richard Winkel, CPA BOOKKEEPING Susan Matlack Jones & Associates PRINTING & MAILING ProGraphics + MetroPresort STUDIO SUPPORT Olivia Camfield + Madeleine Chow + Caitlin Edwards + Caleb Leitch + Kasandra Martinez + Amelia Roque + Raelynn Webb Company Portraits Donated By Paul Thacker Flowers Donated By La Vie Flowers

BOARD OF DIRECTORS

DANCE TEACHERS

Pierre-Laurent Baudey Jacqueline Cape Alan Jones Gary Leavitt Scott Lewis Mark MacDonald Missy MacDonald Steven C. Neighorn Sarah Slipper Jane Tighe John Tracy Peter van Bever Serena Zilliacus

Renee Adams Tatiana Barber Diana Bustos Samantha Campbell James Canfield Kim Choeychan William Couture Lucas Crandall Jason Davis Michelle Davis Mariecella Devine Selina Dipronio Tracey Durbin Izzy Holmes Kody Jauron Tracy Julias Victoria Lauder Lindsey Matheis Lindsey McGill Franco Nieto Andrea Parson Nicholas Petrich Julia Radick Michelle Russ Ihsan Rustem Rachel Slater Sarah Slipper Vanessa Thiessen Gerard Theoret Viktor Usov Caitlin Warren Ching Ching Wong

ARTISTIC DIRECTOR Sarah Slipper

EXECUTIVE DIRECTOR Scott Lewis

COMPANY MEMBERS Tatiana Barber Samantha Campbell William Couture Kody Jauron Elijah Labay Lindsey McGill Franco Nieto Andrea Parson Julia Radick Charbel Rohayem Ching Ching Wong

CONTACT Studio

503.421.7434

Ticket Info

503.828.8285

Website

nwdanceproject.org

NW Dance Project PO Box 42488 Portland, OR 97242

Creative Center

211 NE 10TH Ave Portland, OR 97232

info@nwdanceproject.org Program Photo / Christopher Peddecord Dancer / Lindsey McGill

NW DANCE PROJECT

THANK YOU PATRON $10,000+ Fred W. Fields Fund of the Oregon Community Foundation Gary S. Leavitt Alan & Sharon Jones – North Country Productions James F. & Marion L. Miller Foundation M.J. Murdock Charitable Trust Nike Community Impact Fund of the Oregon Community Foundation Christopher Peddecord Oregon Arts Commission The Regional Arts & Culture Council, including support from the City of Portland and Multnomah County The Shubert Foundation Peter & Ann van Bever West Portland Physical Therapy Associates

Charles & Kyle Fuchs Roger Griffith David Hill & Katharine Zeller Frank Hilton & A. Davey Coogan Intel Corporation Paul King & Walter Jaffe La Vie Flowers Gary LeClaire & Janice Friend Dick & Carole Lewis Bill & Jenny-Lyn Marais Carole Montarou Dr. Charles A. Murphy & Paul T. Jones Nel Centro Kaelin & Frank Nieto Dennis Nolan & Lucinda Welch Lesley Otto & Alex Nicoloff ProGraphics Dean Richardson Jaymi & Francis Sladen The Valspar Corporation Richard Wasserman & Ann CoskeyWasserman

BENEFACTOR $5,000–$9,999

DIRECTOR $500–$999

Craig Aalseth Peter Blundell & Anna Brook The Boeing Company Gregory & Betsy Hatton Missy & Mark MacDonald Al Solheim Richard Tracy Work for Art, including contributions from more than 75 companies and 2,000 employees Juan Young Trust Serena Zilliacus & Pierre-Laurent Baudey

CHAMPION $2,500–$4,999 The Autzen Foundation Jacqueline R. Cape & Arnie Perlstein The Jackson Foundation Patti Koehler & Kate Krider Scott Lewis Steven Neighorn Sarah Slipper John Tracy Jane & Steven Tighe The Rose E. Tucker Charitable Trust

PRODUCER $1,000–$2,499 Scott & Rachael Anderson Chris Balo Nita Brueggeman & Kevin Hoover Jim & Kris Campbell Ms. Ann E. Carr Beth Caruso & Pat Clancy Tom Cramer Tom Creamer Sloane Elman & Barry Radick Meredith English & Jim Thompson

Albina Community Bank Bob & Kathy Block-Brown Rosalie & Amador Bustos Deborah Correa & Mark Wilson Tracy Julias & Michael Shields Norm Kalbfleisch & Neil Matteuci David & Bambii Kanekoa Tom Kilbane & Lauren Holden Kilbane Sarah & Stephen Schwarz Jenny & Sam Shiley Kyle Smoot & Win Hall George & Nancy Thorn Evelyn Whitlock

PARTNER $250–$499 Ancient Heritage Dairy Bergström Wines Peter J. Bilotta & Shannon M. Bromenschenkel Christine D’Arcy Matt Darcy Martin Eichinger & Diane Dutton Mark Erickson Nick Fish & Patricia Schechter Rebecca Fleischman John Gadon G. Randolph Grout Paul & Julie Hansen Katie Holliday Ava & Charlie Hoover Robert Sam Hopkins & Suzanne Chi Mark Huey & Wayne Wiegand Daniel & Carol Kincaid John Light & Happy Barnes-Light Michael & Michele Linn Demian Lucas

NW DANCE PROJECT

NW DANCE PROJECT DONATIONS: NW Dance Project would like to thank the following individuals, foundations, corporations and government agencies for their generous support. Listing reflects gifts received from November 10, 2015 through November 10, 2016. If you have a question or a correction to the listing, or would like to add or deepen your support, please contact Executive Director Scott Lewis at 503.756.1912 or info@nwdanceproject.org.

McCall House Bed & Breakfast Maria McCandless Katherine McCoy Mary Naman Robert J. Nystrom Gabrielle & Greg Parson Persephone Farms Renee & Brad Ramey Ihsan Rustem Mary & Ronald Seymour John Shipley Shannon Swartley Minh Tran & Gary Nelson Mary & Jacques Vaillancourt Veritable Quandary WillaKenzie Estate David Willis

FRIEND $100–$249 Altabira City Tavern Tomas Ancona & Laura Tarrish ArborBrook Vineyards Nicole & Matthew Bangs Bar Avignon Kyle Bolger Todd & Susan Bradley Bud’s Lites Mary Carr Michael & Susan Carr Cynthia Chilton & Ed Abrahamson ClarkLewis Anne Clark Cliff Creek Cellars Ralph & Cheryl Davis Marvin & Abby Dawson Leslie Dolence Domaine Drouhin Domaine Serene Winery Valarie Grudier Edwards & Richard Langdon Rylen Feeney Jennifer Foster Laraine Gladstone Molly Gloss Michael L. Glover Molly Gloss Dave Goldman & Merilee Karr Cruz Gomez Beth Gregory Grey Line Tours Regina & Douglas Hansen Hastings House, a Relias & Chateaux Henry V Productions Kate Holland Robert Holub C. Ivy Inn at Laurel Point Ivan & Jeri Inger Pam Jacobson Kevin Johnson Key Bank Anneliese Knapp Kramer Vineyards Dolly Lemelson Frank Kanekoa Key Bank Dan & Carey MacNaughton Lucia A. Markovic Jennifer Mashburn Jim McGinn & Jamie Bluhm Tim McNichol Renee Meiffren

Susan Mikota & Arthur Glasfeld Carie Mitchell & Matt Larson Samir Mokashi John Morrison Martin C. Muller Nicole Nelson David Nijhawan Noble Rot Oaks Park Roller Skating Rink Oregon Shakespeare Festival Natalia Poida Brandy Poirier Popina Swimwear ¿Por Que No? Portland General Electric Portland Opera Dennis & Suzie Ott Mark Prescott & Lisa Stringfield Russell Ramsey Random Order Bakery Ed Reid Martha & David Richards Cassie Ridgway Debbie Rischitelli John & Jill Rissi David Row Susan Russell Tim Sercomb Michelle Slayton Jesse Smith & Maryann Yelnosky Marti & Kyle Smith Sokol Blosser Winery Michael Stocks Mike & Judy Stoner Teote David Tillett Marie Tripp Laura Van Houten Mary Vander Linden Tara Vargas Peter Vennewitz Caitlin Warren Pat & Norma Weathersby Barbara Wexler Richard Winkel, CPA Kathy Wolff Robert Woods & Jeff Pittman Cynthia Yee Maryann Yelnosky & Jesse Smith Cathy Zaerr Pat & John Zagelow Jeanie Zamparripa-lee

HELPING HAND UP TO $99 Carrie Anderson Ryan Azorr Sukari Babaei Phillip Baca Raymond Becich Vince & Kerri Blaney Joe Blount Marie Blue Emily Bottjen Dennis Buehler Alan Brickley Lori Brown Stephanie Camfield Kelly A. Cannard Celia Carlson Tessa Carter Jake Casey Nancy Childs

Robyn Cordan Eliza Crockett Colby Damon Carol Dennis Roberta Deppe & Andrew Gibson Barbara Drinka Kathy Eaton Elm Movement Julia Epstein Laura Fay Erin Flasher Karen Fogg Friends of Chamber Music Cruz Gomez Helen Goodwin Robert Grossnickel Deanna Haley Brooke Harrison Helen Hatch Jennifer Heilbronner Roy Hemmingway Rachel Hettinger Kamali Hill Kay Hutchinson Donald Jans Cel Jarvis Sysko & John Kiggins John & Linda Koser Eryn Kirshbaum Andrea Klein Stephanie Knight Teresa Koberstein Paula Koeller John & Linda Koser Joni Kutner Jennifer & Zach Laney Michael LaPeter Matthew Latterell Cel Jarvis Lauretta Jean’s Tiffany LeClair Lee Leighton Fuchsia Lin Henry Louderbough Carey MacNaughton Magnum Opus Ralph Makar Carla Mann Market of Choice Shirley Mason Krystine McCants Patrick McDonough & Cory Niedfeldt Linda Meng Matt Meskill Kathleen Millett Linda Milne Micheline Mosher Robert Moyer Sharon Mueller Thuy Nguyen OMSI Paula Orkin E. P. Jean Parson Vicki Perrett Judy Posey Jo Riemenschneider Maxwell Rush Anna Ryan Charles Sax Judith Schramm Julie Sheppard SLO Swim Shannon Smith The Standard Elizabeth Stoessl Misty Thomas Simon Thompson Ashley Trimble Amber Turner Barbara Walton

Amy Werner What’s the Scoop? Marsha White Bob & Karen Williams Levi Winkler Sara Wiseman Gwendolyn Wong Nick & Karen Wutzke Yin Yue

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The visually opulent exhibition of Andy Warhol prints at the Portland Art Museum through January 1 isn’t the only place you can see a Warhol these days. Through December 11, Open This End is occupying the Ronna and Eric Hoffman Gallery of Contemporary Art, a small survey from the large collection of Blake Byrne of some of the important currents in art, from the emergence of Pop Art to the present. And the name comes from the single, small Warhol painting in the show. Open This End arrived soon after Warhol’s famous soup can series and was among his first series of shipping and handling label paintings that used the silkscreen process. Soon after, he learned that photographs could be reproduced that way, too. The rest, as they say, is history, from the Marilyn Monroe images forward. Open This End is a tiny painting, 8-by-11 inches, and though it has some visual interest—the bright red, the elongated sans serif typeface, the imperfect transfer (some of the red bleeds into the letters), even the weave of the canvas—the potential conceptual pleasures lurking inside those three words are more important. Maybe we simply contemplate the times we had already started opening a package before noticing those three words on the other side, and the mess we made of it by failing to obey the instruction. Or maybe we become a bit more political—I will open whatever end I want. Or metaphorical: What could lurk behind those three words? The rest of life? Open This End drives home the idea that art can be thought of as a form of communication, and though the generator of the message is important, so are the medium and the receiver. In this case, the medium (an acrylic painting) lifts a common instruction to the level of art, and the receivers, you and I, generate the possible meanings it can have. Another example: Attracted by a wall of parking lot photos by Los Angeles artist Ed Ruscha, I nearly tripped over a small granite rectangular slab on the floor. The dark slab,

made of Absolute Black granite, was only 2 inches high, and I caught myself before I stumbled over it—or stepped on it. The artist, Bruce Nauman, had handcarved two words on the granite, using a classical Roman script: PARTIAL TRUTH

Great concerts for the holidays HOLIDAY POPS

The catalog for the show suggested that the words were slightly off-center. The catalog also said that it was “a solid communication of uncertainty,” which maybe isn’t quite so oxymoronic as it sounds. “I just don’t know” would also be a solid communication of uncertainty, after all. At first I simply took the words literally, or at least what I thought was literally: We are only ever dealing with part of the truth. Or as philosopher Alfred North Whitehead succinctly observed: “There are no whole truths: all truths are half-truths. It is trying to treat them as whole truths that plays to the devil.”

NOVEMBER 26 & 27 Jeff Tyzik, conductor Doug LaBrecque, baritone Pacific Youth Choir Pops Conductor Jeff Tyzik, the Oregon Symphony, and the Pacific Youth Choir get the festive season off to a magical start with all your favorite carols and beloved holiday melodies.

GOSPEL CHRISTMAS DECEMBER 9–11 Charles Floyd, conductor Gary Hemenway, music director Northwest Community Gospel Choir This 18-year tradition keeps getting bigger and better. The region’s premier gospel singers and the Oregon Symphony orchestra will have you on your feet, clapping and shouting, celebrating the true spirit of the season. Don’t miss out on this exhilarating experience!

“THE ART IS A PROMPT, A WAY TO BEGIN AN INDEPENDENT THOUGHT PROCESS IN THE VIEWER.” Then I decided Nauman might have meant something slightly different: The opposite of “partial truth” isn’t necessarily the “whole truth.” Couldn’t it also be “impartial truth,” something like “objective truth”? Our partial truths—the truths that work their way to positions we favored in the first place—so neatly justify our desires and fit our ideologies. I happen to believe that we can try to discipline our thinking so that we get closer to “impartial truth”—but following Whitehead, we have to admit that our discipline can never supply the “whole truth.” Art has taught us by now that it supports various readings (various partial truths!), and we tend to chase down the one that is most useful to us, if we have time. We could also meditate on how much Partial Truth resembles a gravestone, and how that tugs at the meaning. Much of the contemporary art that finds its way into galleries these days plays similar sorts of games with viewers, even if they are not always word games. The art is a prompt, a way to begin an independent thought pro-

IT’S A WONDERFUL LIFE DECEMBER 17 Norman Huynh, conductor Oregon Repertory Singers Everyone’s favorite feel-good holiday classic! Jimmy Stewart and Donna Reed star in the timeless tale of a discouraged businessman whose guardian angel helps him discover the far-reaching influence of everyday kindness. In original black and white, with the orchestra performing the uplifting soundtrack in real time.

COMFORT AND JOY: A CLASSICAL CHRISTMAS DECEMBER 18 Norman Huynh, conductor A frothy holiday mix of light classical works along with your favorite seasonal songs, all capped with a traditional sing-along that will put you in the finest of Yuletide spirits.

ODE TO JOY: NEW YEAR’S CELEBRATION DECEMBER 30 & 31 Carlos Kalmar, conductor Portland Symphonic Choir Amber Wagner, soprano Kelley O’Connor, mezzo-soprano Anthony Dean Griffey, tenor Dashon Burton, bass-baritone What better way to start the New Year than this celebration of triumph and joy! Beethoven’s Ninth and the full-throated glory of its soaring Ode to Joy will have you ready to pop the cork and welcome in an exhilarating New Year.

OrSymphony.org | 503-228-1353 A R L E N E

S C H N I T Z E R

C O N C E R T

H A L L

CONTINUED ON PAGE 36

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

“SOME OF THE BEST DANCERS YOU WILL EVER SEE” -CALGARY HERALD

andy warhol likes boring things ANDY WARHOL: PRINTS FROM THE COLLECTIONS OF JORDAN D. SCHNITZER AND HIS FAMILY FOUNDATION OCT 8 – JAN 1

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portlandartmuseum.org Andy Warhol (American, 1928–1987). Space Fruit: Still Lifes, Cantaloupes II (II.198), 1979. Screenprint. 30 x 40 in. Courtesy of Jordan D. Schnitzer and His Family Foundation. © 2016 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

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N O I T I B I H X SE ʼ M U E S U F M O T R R E A T S D A N A M THE PORTL PRINTS REVEALS A SSIVIT Y. L A O P H F R O A S W E F U O RT I V E H T D IMAGES AN

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es and Gentlemen, 1975. Screenprints, each 43½ x 28½ in.

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“

If you want to know all about Andy Warhol, just look at the surface: of my paintings, films, and me, and there I am. There’s nothing behind it.

T 119

oward the end of our interview, I asked Sara Krajewski, the Portland Art Museum’s Curator of Modern and Contemporary Art, about Andy Warhol’s greatest strength as an artist. She thought only for a moment before she answered. “He understood images—including his own,” Krajewski said. “They are still very powerful to us today.”

The exhibition at the Portland Art Museum of Warhol’s prints from the collections of Jordan D. Schnitzer and his Family Foundation, provides us with more than enough examples to test both of those propositions. More than 250 of those images present themselves for consideration, many of them among the most famous of the 20th century. There are sets of Warhol’s Mao prints, his Marilyn prints, the legendary Campbell’s soup cans, and portraits of Warhol himself, a media superstar in his own right. Even the ones that aren’t quite so famous now were famous when they were made—the set of electric chair prints, his Sunsets, the Mick Jaggers, skulls, hammer and sickles, the endangered species prints, and his selection of American celebrities.

Krajewski is right: They display an insight into image-making that graphic designers have borrowed ever since Warhol started showing them in 1962. Shepard Fairey’s Barack Obama “HOPE” poster follows the Warhol formula: appropriate a straightforward image of a famous person and drench it in color to increase its visual interest. And in Fairey’s case, add that critical word “HOPE” and the Obama campaign’s logo, something Warhol would never have done. Yes, we live in the visual world that Warhol did a great deal to create, even though it has been nearly 30 years since his death. A world of images, representations, visual interpretations of reality. Warhol’s centrality to that visual world suggests that maybe he understood more than just the image, though. He also understood the universe of images, how in the ‘50s and ‘60s images drenched the culture, maybe even drowned it in television, movie, and celebrity magazine images. He had a knack for probing our weakest spots—our intense but essentially empty curiosity about celebrities. Understanding that desire, he promoted the most common of them into the realm of art, the most vivid of communication systems. He did it by playing it cool and at a remove, which was easy for him because that was his own personality. “Warhol’s gesture is always the same,” art critic Carter Ratcliff wrote, “nonchalant to the point of iciness, whether he serves up a supermarket product or a a superstar presence.” And his gift as a colorist injected intense visual interest in his images. Ratcliff again: “Warhol is forever reminding us of the eye’s promiscuity, its attraction to imagery of every sort—informative, shocking, or simply pretty.” Ratcliff ’s critique of Warhol is a particularly biting example of an evaluation shared by many Warhol critics: “His extreme permissiveness leads to an aesthetic of seeming indifference to values, meanings,

”

and consequences. There is nothing redemptive about his art.” And no, there is no “HOPE” in Warhol’s work.

“I thought Kennedy was great,” he told a young journalist named Gretchen Berg in 1966, “but I wasn’t shocked at his death: It was just something that happened.”

Warhol was a particularly difficult interview subject, dancing around questions, playing around with the poor journalist who had drawn the assignment to talk to him. But sometimes he seemed to reveal something about himself, and one of his responses to Berg is perhaps the most frequently quoted Warhol line: “If you want to know all about Andy Warhol, just look at the surface: of my paintings, films, and me, and there I am. There’s nothing behind it.” In a 1963 radio interview, he was asked the emperor’s new clothes question in a radio interview. “Do you think pop art could survive, let’s say, without PR people?” “Oh, yeah.” “You do?” “Well, because I think people who come to the exhibition understand it more. They don’t have to think. And they just sort of see things and they like them and they understand them easier. And I think people are getting to a point where they don’t want to think, and this is easier.” Warhol’s prints are easy. Easy like a magazine. That makes sense, because before he became a pop art icon, Warhol was an awardwinning illustrator and art director on Madison Avenue in the ‘50s. That doesn’t mean they don’t have the ability to generate friction, tension, an edge that accompanies those beautiful colors—the green curving horn on the bighorn ram in the Endangered Species set, for example, popping against his purple body and orange snout. There’s a visual thrill involved and then a realization that this beautiful creature is on the brink of extinction. Warhol might stipulate to his critics’ primary argument against him—that he doesn’t care or, at least, not care enough. “It’s really nothing,” he said about his art in the same 1963 radio show, “so it really has nothing to say.” Collector Jordan Schnitzer sees Warhol as a mirror of his time. “Artists are always chroniclers of their times,” he said in his downtown office, surrounded by great Northwest art. “They’re the ones who reflect the social mores, attitudes, and political issues of their time. Their ultimate job is to help us see and make us see.” A mirror counts on the observer to provide the interpretation, and what Ratcliff calls Warhol’s “hypersensitive passivity in the face of art and life,” can reveal a lot. Including our guilty pleasure in front of Marilyn or Elvis, say. Or that endangered ram. Or that series of electric chair prints, the color combinations screaming around the black outline of a state-constructed death delivery system. CONTINUED ON PAGE 26

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

re the soup cans art? Not the cans, exactly, the image of the cans, part of the ubiquitous network of design that permeated American culture. The bright red top sets off the script Campbell’s logo, and the bottom white section reveals the identity of the soup within—chicken noodle, cream of mushroom, green pea. We pass by them even today in the supermarket, swiftly, without a glance, unless we toeachwant Campbell’s Soup happen I, 1968. Screenprints, 35 x 23 in. soup. Hanging on the wall? We are encouraged to consider…well, all sorts of things. Just as we do 82 when we gaze into the mirror at our own refl ection. How the neck PRE-RELEASE PROOF FOR MEDIA REVIEW — Not for Distribution connects head and shoulders, just like it does on a bighorn ram, say. How far will your reverie go? How much time do you have? How easy are you on yourself? I wonder how Warhol would have accommodated himself and his art to the internet, to Photoshop, to social media. It’s so easy to achieve the visual effects that Warhol did, not that they were all that difficult back in the day—a technical process and a gift for color.

But what we don’t know is what images Warhol would have chosen to emblazon across our retinal fields, what he would have directed us toeach consider, without us knowing we were being directed in any mpbell’s Soup I, 1968. Screenprints, 35 x 23 in. direction at all. .

PRE-RELEASE PROOF FOR MEDIA REVIEW — Not for Distribution

EXHIBITION INFO Andy Warhol: Prints from the Collections of Jordan D. Schnitzer and His Family Foundation October 8–January 1, 2017 Portland Art Museum, 1219 SW Park Ave.

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THE OREGON TRAIL By Bekah Brunstetter On the U.S. Bank Main Stage Oct. 29 – Nov. 20, 2016

THE SANTALAND DIARIES By David Sedaris; adapted for the stage by Joe Mantello | In the Ellyn Bye Studio Nov. 26 – Dec. 24, 2016

HERSHEY FELDER AS IRVING BERLIN

REVIEW — Not for Distribution

By Hershey Felder On the U.S. Bank Main Stage Nov. 30 – Dec. 30, 2016

ASTORIA: Part One By Chris Coleman; based on the book ASTORIA: John Jacob Astor and Thomas Jefferson’s Lost Pacific Empire, A Story of Wealth, Ambition, and Survival by Peter Stark | On the U.S. Bank Main Stage Jan. 14 – Feb. 12, 2017

Visit www.pcs.org for tickets! Katie deBuys in Stupid F***ing Bird. Photo by Patrick Weishampel/blankeye.tv.

HIS EYE IS ON THE SPARROW

A musical biography of Ethel Waters By Larry Parr | In the Ellyn Bye Studio Feb. 4 – Mar. 19, 2017

MARY’S WEDDING By Stephen Massicotte In the Ellyn Bye Studio Apr. 15 – May 28, 2017

CONSTELLATIONS WILD AND RECKLESS A new musical event from Blitzen Trapper

On the U.S. Bank Main Stage Mar. 16 – Apr. 30, 2017

LAUREN WEEDMAN DOESN’T LIVE HERE ANYMORE By Lauren Weedman On the U.S. Bank Main Stage Mar. 17 – Apr. 30, 2017

By Nick Payne On the U.S. Bank Main Stage May 13 – June 11, 2017

WHAT’S YOUR

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WE INTERVIEWED 50 OF OUR FAVORITE ARTISTS ABOUT THEIR FAVORITE PORTLAND PLACES. .

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GEORGE BALANCHINE’S

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SUZANNE NANCE Program director at All Classical Portland

www.obt.org | 503-222-5538 Peter Franc | Photo by James McGrew

FAVORITE PLACE All Classical Portland Observatory

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WHY IS THIS YOUR FAVORITE PLACE? “All Classical Portland is the biggest reason I moved to this amazing city from Chicago. When I first visited Portland and walked into the All Classical “observatory” (which is where our broadcasts originate), I was blown away by the beauty of the city, the warmth of its people, and the power (and reach) of the station. I feel connected to Portland when I’m sharing music in this magical space.”

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Suzanne Nance is All Classical’s Program Director and On-Air Host. Hear Suzanne weekdays 2 pm to 6 pm, and Sunday 3 pm to 6 pm.

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NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

Photo by Kyle Delamarter

AN ARTSLANDIA FEATURE

ARTSL ANDIA AT THE PERFORMANCE â&#x20AC;¢ NOV | DEC 2016

Imago Theatre’s

LOST IN THE WORLD OF THE AUTOMATO N by Brett Campbell

mago Theatre is at a tur ning point. For 35 years, Portland’s most original theater company has specialized in making something beautiful out of not much: some masks, some movement, some music, often using no words or sets at all. The result: the long running, enor mously popular mask shows Frogz and ZooZoo, and dozens of other magical theatrical creations. But after more than three decades, Imago founders Carol Triffle and Jerry Mouawad decided the time had come to retire those warhorses. This summer, the couple announced they were selling the former Southeast Portland Masonic lodge that has long served as Imago’s headquarters, performing and rehearsal space, and prop and costume shop. And in December, Imago opens its biggest, riskiest venture ever. Given Imago’s flair for dazzling visual imagery and movement, La Belle: Lost in the World of the Automaton, which runs December 9–January 8, promises to be a beauty.

looking for a new form that we could dabble in for family audiences after working in mask theater since the inception of the company in the late ‘70s,” says Mouawad. “We found that in La Belle.”

feel like an Imago show. “We were quite ambitious,” Mouawad remembers. “It had grown into this big Shakespeare production with eight to 10 characters. Reality set in after we realized how complex the execution was going to be.” They threw out the script, postponed the originally scheduled 2014 premiere, and started over with a new outline involving just two characters. In summer 2014, the team banged out the framing story of Sam Stoker (played by Jim Vadala), who works in a 1920s steamship engine room and Lady Rose (Justine Davis), whose romance proceeds in parallel with the original La Belle story. The rest of the characters would be portrayed by puppets, and Imago would create a magical environment for their story to unfold.

NEW TERRITORY

They knew the great French writer/director Jean Cocteau’s classic 1946 film of Beauty and the Beast boasted that rare universal appeal to both children and adults—a story with Frogz’s family-friendly mix of sophistication and simplicity. Mouawad and Triffle based their adaptation not on Cocteau’s movie nor the Disney production nor the many other movie, TV, and literary versions of Beauty and the Beast. Instead, they returned to French writer Gabrielle-Suzanne Barbot de Villeneuve’s original 1740 novel.

“Intertwining two different worlds that become one was a bit Imago-esque,” Mouawad explains. “Design has always been in the forefront of what Carol and I do. All the design elements should have an Imago-esque flavor. Every design element should support the story and have a physical connection with the audience.”

Without their old standbys, Triffle and Mouawad knew that promoters and presenters needed a new production that could draw the large audiences that financed the couple’s more experimental work. “We were

In 2013, they began working with writer Devin Stinson, who had a background in hip-hop, and trip-hop composers Elissa and Amanda Payne. After nine months, they realized that what they’d wrought didn’t

It sounds a bit Terry Gilliam-esque as well, and in creating La Belle’s two intersecting worlds, the team soon confronted the artistic ambitiousness that sometimes drove that great film director over his budget.

But for its creators, it’s been a bit of a beast.

CONTINUED ON PAGE 32

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

Baroque, Classical, Romantic

BUILDING THE PERFECT BEAST Construction commenced in January 2015. Building La Belle turned into a project of unprecedented (for Imago) complexity and expense—over a quarter million dollars, some of it crowd-sourced. La Belle sports a lot more moving parts and more collaboration than Triffle and Mouawad had ever experienced: Stinson, three composers (the Paynes and songwriter Lydia Ooghe), engineers, fabricators, illustrators, painters, some with experience in other Portland creative ventures that combine adult and kid-friendly appeal like Laika’s animation studio and Lion King puppet master Michael Curry’s workshop.

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“This is a big challenge for Imago,” Mouawad frets. “After so many years of working on Frogz and ZooZoo, we knew that if things started looking too complex we shouldn’t go there—and we led ourselves right there. Terry Gilliam gets so complex in his rich

“

The complexity might not be evident when you see it. Every little effect takes forever to make, but it goes by so quickly.

”

use of intricacy that it becomes a gigantic challenge. I’m trying to work our way out of that challenge.” After 21 months of production and two-anda-half years of development, Imago’s new world neared completion by fall 2016. The set—“a kinetic playground”—is a giant ship with revolving water wheels, pumps, steam whistles, and automata/robots—clockwork 32

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

puppets. A steamer trunk transforms into a giant music box. Fabrication director Lance Woolen and mechanical engineer Roger Nelson crafted complex gear systems. Think Willy Wonka and the Chocolate Factory. “It’s like an animation,” Mouawad says. “The complexity might not be evident when you see it. Every little effect takes forever to make, but it goes by so quickly.”

With the theater likely to sell soon, it’s easy to see La Belle as a production as a culmination of Imago’s rich, three-decade history. “I don’t think we’ve left any genre behind that we have not romped in—comedic and dramatic theater, movement, mask, puppetry, shadow theater, song and experimentation,” Mouawad wrote in a press release. “Our goal is to create a moment-by-moment visual

playground, keeping the young ones engaged while taking older ones and adults on a visceral and romantic journey.”

Imago Theatre’s La Belle: Lost in the World of the Automaton runs December 9–January 8 at Imago Theatre, 17 SE 8th | Tickets: 503.231.9581 or TicketsWest.com, 503.224.8499.

A TUNA CHRISTMAS by joe sears ed howard jaston williams

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No Fees. Seating in Price Level 3.

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

Theater for All Ages with Song, Dance & Story

NOVEM

BER 30 – DECEMBER 30

A CHRISTMAS CAROL By Charles Dickens Adaptation and original lyrics by Rick Lombardo Original Music by Anna Lackaff and Rick Lombardo Music Arrangements by Anna Lackaff` We’re bringing back our award-winning community lovefest for the holidays! If you were lucky enough to score a ticket to last season’s production, you know that this is a holiday tradition not to be missed.

Portland Revels Presents

Commedia Italiana

TICKETS ON SALE NOW AT PORTLANDPLAYHOUSE.ORG

A Venetian Celebration of the Winter Solstice St. Mary’s Academy, 1615 SW 5th Ave., Ptld

Tickets:

www.portlandrevels.org or 503-274-4654

Dec. 16-21, 2016 - Matinees & Evenings

Experience the secret season in Cannon Beach

Ornament Your Holidays HANDEL’S MESSIAH DEC 9 | 10 | 11 | 12 FIRST BAPTIST CHURCH

Visit CannonBeach.org to plan your trip @ExperienceCannonBeach

pbo.org 503.222.6000 NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

EDITOR-AT-L ARGE CONTINUED FROM PAGE 21

January 19-29

Portland’s 9th artist-generated NEW WORK FESTIVAL Theatre, Dance & Multidisciplinary Arts

Fertile Ground Dozens of Acts of Creation $50 Festival Pass On Sale Starting

Creative Adventures for 11 Days in January

December 1

www.fertilegroundpdx.org

cess in the viewer. The art may evince strong feelings and powerful insights, but we will consider it, interpret it, complete it. Open This End includes the work of many of the best artists working in this vein: Mike Kelley, Sherrie Levine, Kehinde Wiley, Ruscha, Nauman, and Warhol. Some of them are minimalists, some pop-related, some very political. An Agnes Martin stripe painting is there and provides a meditative release, while a Martin Kippenberger painting might stir us back up. If I were pushed to say something about what they all mean together? I’d look past their cleverness, their sense of humor, their technique, and suggest that they are primarily examples of Crisis Art. Artists live in the same world we live in, and they respond to the numbing flood of commercial images that surround us, the emptiness that dogs our activities, our reluctance to consider the consequences of our actions, and...worse. Since the last century, they’ve started sounding the alarm in various ways. Even Warhol. Especially Warhol. I think of Open This End as a ticket to board the many thought trains that leave the Hoffman Gallery. And the best thing is, no one knows where they will lead. Which is also the scary thing. .

presents Mark O’Connor’s

St. John the Baptist II, by Kehinde Wiley.

An Appalachian Christmas

Featuring the O’COnnOr Band with SpeCial gueSt nanCy iveS

EXHIBITION INFO Open This End: Contemporary Art from the Collection of Blake Byrne

wedneSday, deCemBer 14, 7:30pm The Arlene Schnitzer Concert Hall Tickets $18 – $105, at www.portland5.com

Through December 11 Ronna and Eric Hoffman Gallery, Lewis & Clark College, 0615 SW Palatine Hill Road.

Discounts for All Classical Portland donors and Oregon Trail Card holders. Call (503)943-5828 for details.