“SOME OF THE BEST DANCERS YOU WILL EVER SEE” -CALGARY HERALD
OCT 13 - 15 / 7:30PM BOLERO +
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Photo / Christopher Peddecord Dancers / Ching Ching Wong + Charbel Rohayem
WELCOME TO BOLERO + Thank you so much for joining us as we kick-off NW Dance Project’s exciting 13th season, and to experience the three incredible world premiere works on tonight’s program. This show is truly special and marks friendships old and new.
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
Bolero is the sixth work from our “soul mate” and Resident Choreographer, Ihsan Rustem, and we are always so happy to have him with us and are amazed by his inspired creations. We are also premiering our second work from German-based dance maker Felix Landerer, a uniquely gifted choreographer representing the future of contemporary dance. Rounding out the evening is a new work from one of our oldest and dearest friends, Lucas Crandall, who took some time off from his work with Hubbard Street Dance Chicago to create his fourth captivating work for our company. You’ll see three new dancers featured tonight. We are thrilled to have new company members Charbel Rohayem, Will Couture, and Tatiana Barber making their NW Dance Project debuts tonight and we are sure you will recognize their talents and artistry. NW Dance Project remains dedicated to commissioning, creating, and premiering signifi cant new contemporary dance works in Portland — over 200 since our inception in 2004 — while celebrating the creativity and invention of exceptional dancers and dance makers. We believe tonight’s performance will “knock your socks off” — as The Oregonian has noted our shows will do, and I think you’ll agree with the Calgary Herald that we have “some of the best dancers you will ever see.” We hope you will join us for the remainder of our 2016–17 season. If you are not a subscriber yet, you can get your special three-show subscription for just $150 and enjoy all the subscriber perks such as priority seating at the lowest price, ticket exchanges, and invites to our opening night artists’ receptions and other special events through the season. We are excited to see how Ihsan reimagines opera’s most cherished story, Carmen, a spring premiere marking our first full-length work and most extravagant and detailed production to date with the original Bizet score, sets from Spanish designer Luis Crespo, lavish lighting from Jeff Forbes, and costumes from Portland fashion star Michelle Lesniak. We will again turn the creative duties over to our immensely talented company dancers for In Good Company — now a Portland holiday tradition and happening here at Lincoln Performance Hall. Our Summer Splendors show will feature a new work from Sarah and will also revive our popular four-part Chopin Project with the beloved 24 Preludes played live by acclaimed Portland pianist Hunter Noack. It’s going to be an inspired and inspiring year of dance. We hope you will be with us to experience each stunning step. Thank you again for being here. We hope you enjoy the show, and we so appreciate your support of great original dance made in Portland and of NW Dance Project!
Sarah Slipper | Artistic Director 4
NW DANCE PROJECT • BOLERO +
Scott Lewis | Executive Director
PRESENTS
BOLERO + 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 BOLERO+ 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 the Lincoln
Performance Hall. Smoking is not permitted in the theater or in the building.
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NW DANCE PROJECT
Photo / Christopher Peddecord Dancers / Lindsey McGill + Elijah Labay
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. 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.” NW Dance Project has grown into a world-class contemporary dance company and an international leader in the creation and premiere of signifi cant 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) 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 soldout, standing ovation London performances in June 2012 as part of the Cultural Olympiad.
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NW DANCE PROJECT • BOLERO +
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. 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. We are equally proud of the work we do in our cherished local community that occurs off the theater stage. 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.
BOLERO + • NW DANCE PROJECT
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YOUTH DANCE PROGRAM
WINTER DANCE WEEK DEC 19 TO 23 WINTER SESSION JAN 9 TO MAR 26 Our Youth Professional Training Programs for dancers 4 to 18, offer exceptional and comprehensive training at our world-class Creative Center.
PORTLAND’S “BEST DANCE STUDIO” + “BEST DANCE COMPANY” - WILLAMETTE WEEK READER’S POLL 2015 + 2016
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GUEST CHOREOGRAPHER BIOGRAPHIES RESIDENT CHOREOGRAPHER IHSAN RUSTEM was born in
London and studied from 1998–2000 at the Rambert School of Ballet and Contemporary Dance, during in which time he was a member of the National Youth Dance Company. His professional performance career began in the UK with Matthew Bourne’s Adventures in Motion Pictures; in Germany at Ballet Theater Munich (Staatstheater am Gärtnerplatz); Introdans in the Netherlands; and in Switzerland as a founding member of both the Stadttheater Bern Ballett (Cathy Marston) and the Tanz Luzerner Theater. Ihsan has worked with many of today’s leading choreographers including Mats Ek, Jirˇí Kylián, Hans van Manen and Paul Lightfoot and Sol León; has originated roles in works by Hofesh Shechter, Alexander Ekman, Wayne McGregor, Matthew Bourne, Stijn Celis, Cayetano Soto, Felix Landerer; and has performed further works by William Forsythe & Twyla Tharp, amongst others. He works extensively with and regularly assists choreographer Patrick Delcroix. In 2010, Sarah Slipper invited Ihsan to Portland to create his first commission for a company. The resulting work, State of Matter, went on to receive international success, winning both the Sadler’s Wells Global Dance Contest in 2011 and the Audience Choice Award at the 25th International Competition for Choreographers in Hannover, Germany. Rustem has since gone on to choreograph for Hubbard Street Dance Chicago 2, Istanbul State Ballet MDT, Lucerne Dance Theater Switzerland, BYU Contemporary Dance Theater & Theater Ballet Utah USA, Würzburg Ballet Germany, DSC Company Italy, Akbank Sanat Istanbul, Interdans Festival Belgium, Palucca Schule Dresden and Holland’s ArtEz Dansacademie. He has choreographed four original for works for NW Dance Project to date, his first work State of Matter in 2010, and in 2012 he returned to Portland to create Mother Tongue. In March 2015 he premiered his third work for NW Dance Project Yidam, and was also appointed NW Dance Project’s Resident Choreographer. Most recently, in March 2016, Ihsan premiered his fourth original creation, Le Fil Rouge, for NW Dance Project, which will be toured nationally and internationally. Bolero + will be Ihsan’s fi fth original creation for NW Dance Project. Ihsan was the 2014 recipi-
ent of Hubbard Street Dance Chicago’s International Commissioning Project and Whim W’Him’s inaugural Choreographic Shindig, in 2015.
LUCAS CRANDALL began train-
ing in dance at the age of 14. In 1980 he obtained his first professional contract with the Ballet du Grand Theatre de Geneve. In 1985, he joined Nederlands Dans Theater where he first worked with HSDC’s Artistic Director, Jim Vincent. After performing with the Nederlands Dans Theater for two years, Crandall returned to the Ballet du Grand Theatre, working with choreographers including Ohad Naharin, Jirí Kylián, Mats Ek and Christopher Bruce. In 1996 he became the company’s Rehearsal Director. Lucas then went to Hubbard Street Dance Chicago in 2000 to serve as the renowned company’s Artistic Associate. Lucas Crandall has also served on faculty with the Lou Conte Dance Studio, as well as ballet and repertory instructor for master classes throughout the country. Creating works since 1982, his pieces have been performed in the US and abroad. Lucas has led master classes and workshops for the NW Dance Project and created Triptych for the company in 2006 and Blue in 2008. In 2010, Lucas returned to Nederlands Dans Theater 1 where he served as Repetitor through 2012. Since then, Lucas has served as a guest teacher for the Ballet du Grand Theatre de Geneve, guest Ballet Master for Les Ballets Jazz de Montreal and Rehearsal Director for NW Dance Project. Lucas returned to Hubbard Street Dance Chicago in April 2013 to serve as the company’s Ballet Master. In 2015 Lucas was one of the four choreographers in the NW Dance Project, Chopin Project collaboration with international award-winning pianist, Yekwon Sunwoo, marking his third original creation for the company. The upcoming Bolero + performances will feature Lucas’ fourth original creation for NW Dance Project.
FELIX LANDERER began cho-
reographing during his career, first for the company of Stephan Thoss in the Opera of Hannover and the Balé Teatro Guaira in Curitiba, Brasil. In 2006 Felix began to work as a freelance choreographer in Hannover and in 2007 beside his own productions began to work for the Commedia Futura, Theater in der Eisfabrik.
Since then he has created various featurelength dance theatre productions for and in the Commedia Futura. Within this period Landerer continuously created a repertoire with two or three productions a year and established his work in Hannover. Since 2010 he receives conceptional support of the City of Hannover. In April 2010 Felix won the first prize in the International Competition for choreographers in Hannover and the production-prize from Ed Wubbe for the Scapino Ballet in Rotterdam.
Recently Felix has been guest choreographing for Luzerner Theater in Switzerland, for Norrdans in Sweden and for Scapino Ballet Rotterdam, where he has been appointed as choreographer in residence from 2013. Felix’s first creation for NW Dance Project, What We’ve Lost on the Way, premiered in Portland in 2015, this will be his second original creation for NW Dance Project.
DANCER BIOGRAPHIES TATIANA BARBER is from Los Angeles, Califor-
nia. 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, Benoit-Swan 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. BOLERO + • NW DANCE PROJECT
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DANCER BIOGRAPHIES nix, Arizona where he began his formal dance instruction at age 15 with Andrew Needhammer. Shortly after, Kody fur thered his pre-professional 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, Christian Denice, James Gregg, Felix Landerer, Joshua Manculich, Jirí Pokorný, Ihsan Rustem, and Yin Yue.
ELIJAH LABAY was born in Vic-
toria, 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
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NW DANCE PROJECT • BOLERO +
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.
ANDREA PARSON — 2010 PRINCESS GRACE AWARD WINNER began her early
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, Benoit-Swan 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.
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 ©
KODY JAURON hails from Phoe-
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 Cassie Ridgway + Alexandra Harris 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 + Olivia Hasencamp + Caleb Leitch + Kasandra Martinez + Michelle Russ + 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
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 Mari Kai Juras Victoria Lauder Lindsey McGill Franco Nieto Andrea Parson Julia Radick Breeanne Saxton Rachel Slater Sarah Slipper Vanessa Thiessen Gerard Theoret Viktor Usov Sarah Ward-Brown 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 Cover Photo / Christopher Peddecord Dancers / Ching Ching Wong + Elijah Labay Art / Mona Jones Cordell
NW DANCE PROJECT
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THANK YOU PATRON $10,000+ Fred W. Fields Fund of the Oregon Community Foundation 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 Oregon Cultural Trust Princess Grace Foundation-USA 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
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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 Jane & Steven Tighe The Rose E. Tucker Charitable Trust Serena Zilliacus & Pierre-Laurent Baudey
PRODUCER $1,000–$2,499 Scott & Rachael Anderson Chris Balo Nita Brueggeman & Kevin Hoover Ann Marie Carr Beth Caruso & Pat Clancy Tom Cramer Tom Creamer Sloane Elman & Barry Radick
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PARTNER $250–$499 Ancient Heritage Dairy Bergström Wines Peter J. Bilotta & Shannon M. Bromenschenkel Jim & Kris Campbell Julie Chapman 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
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 September 20, 2015 through September 21, 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.
Daniel & Carol Kincaid John Light & Happy Barnes-Light Michael & Michele Linn McCall House Bed & Breakfast Maria McCandless Katherine McCoy Mary Naman Robert J. Nystrom Gabrielle & Greg Parson Persephone Farms Portland General Electric Renee & Brad Ramey Ihsan Rustem Sarah & Stephen Schwarz 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 Bergström Wines 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 Feldenkrais Center of Portland 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
The Jankovic Family 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 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 Karen Schneider & Lou Perretta 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 David Willis 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 Celia Carlson Jake Casey Nancy Childs Robyn Cordan Eliza Crockett Colby Damon Carol Dennis Roberta Deppe & Andrew Gibson 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 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 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 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 Stephen Schwarz Julie Sheppard SLO Swim Shannon Smith
Elizabeth Stoessl Misty Thomas Simon Thompson Ashley Trimble Amber Turner Barbara Walton Amy Werner What’s the Scoop? Marsha White Bob & Karen Williams Gwendolyn Wong Nick & Karen Wutzke Yin Yue
VERY SPECIAL THANKS TO Frank Blanchard / La Vie Flowers Boora Architects Nita Brueggeman Bob Bucker Anna Burnette James Canfield Mona Cordell Blaine Truitt Covert Lucas Crandall Tom Creamer / ProGraphics Michelle & Jason Davis Ralph Davis / Action Video Dobbes Family Estate Wines Tracey Durbin Nick Fish John Gardner Michelle Glass Hank the Dog Bob Hicks HostBaby Hoyt & LuLu Barry Johnson Tom Kilbane Alexis Kurland Patricia Koehler Matthew Larson Dick & Carole Lewis Katie Holliday James Kalvelage Jim Lykins David Machado Carla Mann Marisa Mutchler Nel Centro Restaurant Opsis Architecture Christopher Peddecord John Plueard PSU College of the Arts Cassie Ridgway Ihsan Rustem Aaron Scott Al Solheim Tony Starlight Lisa Stringfield Paul Thacker George Thorn Minh Tran & Gary Nelson Don Vallaster Julie Vigeland Jason Vondersmith Caitlin Warren Jamie Watson Scott & Ann Weaver White Bird Richard Winkel, CPA
JOIN US in applauding the following corporations, foundations, agencies and government institutions for their commitment to enriching the cultural fabric of our community by supporting the arts and NW Dance Project.
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NOV. 30 – DEC. 30
TWO HOLIDAY CLASSICS! Portland Center Stage at
Tickets at pcs.org, by phone at 503.445.3700 or drop by at 128 NW Eleventh Avenue. Above: Hershey Felder in Hershey Felder as Irving Berlin. Photo by Eighty Eight Entertainment; Below: Darius Pierce in The Santaland Diaries. Photo by Patrick Weishampel/blankeye.tv.
NOV. 26 – DEC. 24
®
AT TH E P E R FO R M A N C E A CIT Y PL AYBILL AND PERFORMING ARTS MAGA ZINE
ROLE OF A LIFETIME
One-of-a-kind actor Lauren Modica steels her nerve for a solo show.
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andy warhol likes boring things
FEATURES EDITOR-AT-LARGE 22 by Barry Johnson
ANDY WARHOL: PRINTS FROM THE COLLECTIONS OF JORDAN D. SCHNITZER AND HIS FAMILY FOUNDATION
EVENT CALENDAR 26 Be in the know.
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29 FAVORITE PLACES Featuring Vin Shambry
30 ARTIST PROFILE
Featuring Lauren Modica
OCT 8 – JAN 1
35 ARTIST PROFILE
Featuring XX Digitus Duo
38 DAY JOBS
Featuring Margo Yohner
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portlandartmuseum.org SEP T E MB ER/O C TO B ER 2016
A RT S L A N D I A .COM
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.
SEPT | OCT 2016 • ARTSL ANDIA AT THE PERFORMANCE
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FROM THE EDITOR-AT-LARGE What I like best about Shakespeare is the way his plays, even the minor ones, can suddenly reflect a shard of my own experience, my own feeling, my own attempts to understand my world. In this bitter election year, I found “Timon of Athens” just about perfect when I spent a few days at the Oregon Shakespeare Festival in Ashland. Who is more bitter than Anthony Heald’s Timon, so gentle and generous at the beginning of the play and so savage toward humankind by the end? Here is the crucial moment, Timon at full rant, sputtering and spitting against the Athenians who had accepted his gifts and wallowed in the luxury of his table: Most smiling, smooth, detested parasites, Courteous destroyers, affable wolves, meek bears, You fools of fortune, trencher-friends, time’s flies, Cap-and-knee slaves, vapours, and minute-jacks!
I had to fetch my glossary, “Shakespeare’s Words,” to discover that a “minute-jack” was a “mind-changing villain, fickle lout,” though I got the idea without a precise definition. Oh, and a “cap-and-knee slave” is a sycophant (who removes his cap, descends to one knee and flatters a great man or lady). But that was just the beginning for Timon. Sure, he abandons the precincts of Athens for the wild countryside. (And maybe you’ve threatened to the do the same if one particular candidate emerges triumphant in November.) But he goes beyond that. The general Alcibiades, who hates Athens, too, asks the hermit his name. “I am Misanthropos and hate mankind,” Timon answers. And nothing in the rest of the play proves any different. Timon is done with us. Strangely, presented with this picture of Timon, I found my own bitterness about the state of things abate a little. Shakespeare does that. He does it in the festival’s production of “Richard II” as well, another play for our times. Richard is surrounded by flatterers and bad advisers, and England is suffering for it: “A thousand flatterers sit within thy crown,” the dying John of Gaunt tells Richard. And
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before long Richard has created the enemy, Henry Bolingbroke, who will depose him and then assume the crown himself as Henry IV. Shakespeare doesn’t abandon Richard II, though, even if history destroys him. Instead, he gives Richard the beginning of wisdom, too late for his crown, but the peace of understanding is its own reward. On this trip, the plays were constantly speaking directly to this time and our politics, which have managed to corrupt our democracy. Qui Nguyen’s Vietgone spoke directly, sympathetically and surprisingly to the immigrant experience in America just as the very word “immigrant” has become ensnared in the worst kind of politics. And by the time “Hamlet” rolled around, the words of Marcellus to Horatio—“Something is rotten in the state of Denmark”—made heads nod in affirmation all over the outdoor Elizabethan Theatre in the festival’s Doom Metal version of Shakespeare’s play. So, I really needed Twelfth Night and Viola’s optimism, though she’s caught in a tangle of love and duty: “O Time, thou must untangle this not I;/It is too hard a knot for me t’ untie.” Her prayer is even answered! For the next couple of months, we’ll conclude a hundred times that something is rotten in our body politic. We’ll watch a hundred ads attempt to ignite our most reflexive, least human responses. We’ll be tempted, like Timon, to turn our backs on all of it, because none of it makes sense. In “The Long Revolution”, British culture critic Raymond Williams writes, “Democracy and community have again and again been made over into the old kind of restriction and direction. Individualism has passed into selfishness and indifference by the facts of its own incompleteness.” The complexity of things in the modern era, he suggests, have led to a general sense of insecurity. But despite the failures of democracy, his thinking leads back to it: “If man is essentially a learning, creating and communicating being, the only social organization adequate to his nature is a participatory democracy, in which all of us, as unique individuals, learn, communicate and control.” In his argument Williams quotes The Brothers Karamazov. Dostoyevsky says that when a man seeks the greatest possible “fulness of life” for himself, “all his efforts result...in arriving at complete solitude.” At Timon, in short. We figure out a way to work together or we die alone. The arts lead us to a vast amount of human wisdom, but maybe this is the most important. At least for the here and now. .
“SOME OF THE BEST DANCERS YOU WILL EVER SEE” – CALGARY HERALD
TICKETS OCT 13 - 15 / 7:30PM
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AT TH E P E R FO R M A N C E
PUBLISHER & FOUNDER Misty Tompoles EDITOR-AT-LARGE Barry Johnson COPY EDITOR Kristen Seidman DESIGNERS Megan C. Cutler Lisa Johnston-Smith MEDIA DIRECTOR Chris Porras PUBLISHERS REPRESENTATIVE Lindsey Ferguson PUBLISHING COORDINATOR Bella Showerman SPECIAL PROJECTS Ahnyah Krummenacker CONTRIBUTING WRITERS A.L. Adams Barry Johnson PHOTOGRAPHER Will Nielsen EDITORIAL INTERNS Lauren Abbott Anyi Wong-Lifton Carleigh Oeth DESIGN INTERN Anna Payne
NW DANCE PROJECT Katie Holliday, Company Manager
Artslandia at the Performance is published by Rampant Creative, Inc. ©2016 Rampant Creative, Inc. All rights reserved. This magazine or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher. Rampant Creative, Inc. /Artslandia Magazine 6637 SE Milwaukie Ave. #207 | Portland, OR 97202
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
2016-17
Open HOuses
Find your people.
Middle School
Tuesdays, 10:30 to 12:00
November 15 December 6 May 9 High School
Thursdays, 10:30 to 12:00
November 17 December 8 January 5
On sale now: single tickets, subscription packages, holiday programming, special events, and a NEW chamber music series. Opening night is October 14. Order today!
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RSVP to Lainie Ettinger, Admissions Director, at lettinger@nwacademy.org
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One of a kind... Timeless Classics
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503.636.4025 VANDENBURGHJEWELERS.COM 27 A AVENUE, LAKE OSWEGO TUESDAY–FRIDAY 10:00–5:30 SATURDAY 10:00–4:00
SEPT | OCT 2016 • ARTSL ANDIA AT THE PERFORMANCE
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A WORLD PREMIERE!
THE MUSICAL
PHANTOM of the
AUDITORIUM BASED ON THE SCHOLASTIC BY BOOK SERIES
OUT & ABOUT
OCT 22– NOV 20
MUSIC
DANCE
THEATER
AUGUST WILSON’S HOW I LEARNED WHAT I LEARNED
NEWMARK
PORTLAND PLAYHOUSE
THEATRE
R.L . STINE
www.octc.org
Follow the life August Wilson and take a journey through the triumphs and tribulations of African-America history. This one-man autobiographical performance is both humorous and poignant, and uncovers the extraordinary mind of one of America’s most prolific playwrights. SEPTEMBER 21–OCTOBER 23 PORTLAND PLAYHOUSE
HOLD THESE TRUTHS
PORTLAND CENTER STAGE
Tickets start at just $14
Inspired by true events, Hold These Truths chronicles Gordan Hirabayashi’s struggle to fight the government program of mass incarceration of Japanese people during the second World War. With a passionate and unwavering belief in the constitution, Hirabayashi begins a journey towards understanding America’s triumphs— and failures.
Recommended for ages 8 & up
OCTOBER 1–NOVEMBER 13 ELLYN BYE STUDIO, THE ARMORY ™ & © Scholastic Inc. Scholastic, Goosebumps and associated logos are trademarks and/or registered marks of Scholastic Inc. Based on Goosebumps® Phantom of the Auditorium.
oregon arts commission
CAMILLE A. BROWN & DANCERS
WHITE BIRD
Award-winning choreographer Camille A. Brown’s newest work Black Girl: Linguistic Play explores African American women’s complex challenge of creating a self-identity in a politically and racially charged world. Brown is known for invigorating dance performances from the contemporary black female perspective. OCTOBER 13–15; NEWMARK THEATRE
THE DROWNING GIRLS
BAG&BAGGAGE
Rising from the watery graves of the bathtubs in which they drowned, three breathless brides convene to gather evidence against their conniving and murderous husband, George Joseph Smith. This astounding fantasia is an adaptation of the transcripts a 20th century murder trial in England, “Brides in a Bath.”
THE NETHER
OCTOBER 13–31; THE VENETIAN THEATRE
by Jennifer Haley
INBAL PINTO & AVSHALOM POLLAK
WHITE BIRD UNCAGED SERIES
Buy your tickets today at www.thirdrailrep.org. September 30-October 22, 2016 — Third Rail at Imago Theatre — 17 SE 8th Ave, Portland
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
PHOTO BY OWEN CAREY
Just because it’s virtual doesn’t mean it isn’t real.
Colorfully costumed dancers create inventive shapes against a gleaming white backdrop and poignant Japanese score in Wallflower. Inbal Pinto and Avshalom Pollak are worldrenowned choreographers and directors bringing their unique, award-winning work to White Bird for the first time in ten years. OCTOBER 20–22; LINCOLN HALL, PORTLAND STATE UNIVERSITY
The Oregon Community Foundation provides tax-deductible options to help create a brighter horizon for Oregon’s future.
oregoncf.org
DROWNING GIRLS
THREE BRIDES - ONE GROOM - THREE BATHTUBS - ONE HAUNTING TALE
SW 6th between Oak & Pine hours MON–FRI 11:30am–Midnight SAT & SUN 5:00pm–Midnight reservation 503.688.5952 littlebirdbistro.com 215 SW 6TH AVE. PORTLAND, OR 97204
A PACIFIC NORTHWEST PREMIERE OCTOBER 13 - 31, 2016 THE VENETIAN THEATRE, HILLSBORO BAGNBAGGAGE.ORG
SEPT | OCT 2016 • ARTSL ANDIA AT THE PERFORMANCE
27
128 NW Eleventh Avenue, Portland, Oregon 97209
Chris Coleman, Artistic Director
503.445.3700
pcs.org
Portland Center Stage at
SEASON TICKETS START AT JUST $70.50! Visit www.pcs.org for more info.
LITTLE SHOP OF HORRORS By Alan Menken and Howard Ashman On the U.S. Bank Main Stage Sept. 10 – Oct. 16, 2016
HOLD THESE TRUTHS By Jeanne Sakata | In the Ellyn Bye Studio Oct. 1 – Nov. 13, 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
HIS EYE IS ON THE SPARROW
A musical biography of Ethel Waters
THE OREGON TRAIL By Bekah Brunstetter On the U.S. Bank Main Stage Oct. 29 – Nov. 20, 2016
By Larry Parr | In the Ellyn Bye Studio Feb. 4 – Mar. 19, 2017
WILD AND RECKLESS A new musical event from Blitzen Trapper
THE SANTALAND DIARIES
On the U.S. Bank Main Stage Mar. 16 – Apr. 30, 2017
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 By Hershey Felder On the U.S. Bank Main Stage Nov. 30 – Dec. 30, 2016
Visit www.pcs.org for tickets! Katie deBuys in Stupid F***ing Bird. Photo by Patrick Weishampel/blankeye.tv.
LAUREN WEEDMAN DOESN’T LIVE HERE ANYMORE By Lauren Weedman On the U.S. Bank Main Stage Mar. 17 – Apr. 30, 2017
MARY’S WEDDING By Stephen Massicotte In the Ellyn Bye Studio Apr. 15 – May 28, 2017
CONSTELLATIONS By Nick Payne On the U.S. Bank Main Stage May 13 – June 11, 2017
WHAT’S YOUR
WE INTERVIEWED 50 OF OUR FAVORITE ARTISTS ABOUT THEIR FAVORITE PORTLAND PLACES.
FAVORITE
PLACE
Photo by David Rollins.
Vin Shambry ACTOR & AUTHOR
FAVORITE PLACE Colonel Summers Park
HOMETOWN Portland, Oregon
WHY IS THIS YOUR FAVORITE PLACE? “Colonel Summers Park was a place where I started going four years ago to learn lines, do yoga and light workouts early in the morning. There is a stillness and calmness to the parks vibe. The trees that surround the park are stunning.”
PORTLAND HAS CHANGED... “its identity quite a bit. It is my duty as a performing artist to elaborate and tell the stories of the people who have been displaced and how that pain feels.”
Vin recently starred in The Gun Show at CoHo Productions. Go to artslandia.com and listen to Vin and The Gun Show playwright, E.M. Lewis, discuss the production with Susannah Mars, host of the podcast Adventures in Artslandia.
ARTSL ANDIA AT THE PERFORMANCE
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Photo by Will Nielsen.
One-of-a-kind actor Lauren Modica steels her nerve for a solo show.
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
AN ARTSLANDIA FEATURE
It’s
an understatement to say that Lauren Modica's in a unique position. Quick to claim that she's the “most inspirational half-Black dwarf actor in town,” she's equally quick to laugh that accolade o�f, admitting she craves a bigger challenge than winning in a category where there's technically no contest.
Oh—and she’s fully aware that that level of laboration with Chicago’s legendary Second Murray, and she’s mustering her courage for frankness can shock people...but no more City comedy troupe. That show continued one of acting’s greatest feats: the one-perthan others’ remarks have sometimes over three holiday seasons and was by all son show. The ultimate assertion of self-reshocked her. From friends who’ve insensi- accounts a physical and comedic “workout,” flection and the pure, unadorned ability to tively blurted that they “couldn’t imagine” finally gave Modica the visibility and further entertain, the solo show is also the mode of raising a dwarf child; to a homeless inebriate on-the-job training her talents deserved. expression Modica’s biggest heroes Patton yelling “midget” at her in a parking lot; to Oswalt and Jeanine Garofalo have chosen. “I’ve been so, so lucky to work with the comBut she says the idea of the “one woman family members who initially discouraged panies I have, as often as I have,” she gushes. her from following her dream of acting, Modshow” comes with unique baggage. As she ica’s lived through a rare spectrum and prospective director Pat Moran of tragicomedy. Some stories, she’ll undertake preliminary planning, I think if I weren’t a dwarf, I wouldn’t volunteer in conversation. Others, they’ve already joked about one even be a performer. I’d have just stuck woman show clichés. she’s saving for the stage.
“
Since coming of age in Portland, with journalism or public relations. Modica’s paid her dues on the theater scene, starting with community productions, then attending “the gen- “I hope that continues! But I don’t want to feel erals” and bigger companies’ open auditions bitter or helpless if it ever changes.” to snag an ever-steadier stream of ensemble Well, there’s only one surefire way to ward roles. Having earned an extraordinary repoff The Casting Blues—star in your own utation for hard work, humor and intensity, play—so that’s the actor’s next plan. Modica’s in 2013 she got her first big break: a role (or currently workshopping an original two-peractually several) in Portland Center Stage’s son show with fellow local luminary Chris sketch comedy Twist Your Dickens, a col-
”
“I feel like people will expect me to wear a black turtleneck, and at some point I’m just gonna drop to my knees and let out a primal scream!” she laughs. “But who wants to listen to that?” She’d prefer, she says, to give her material a wry twist, and to balance any dwarf-specific stories with plenty of universal themes.
“Don’t get me wrong; I have deep grief sometimes for what I rolled in, basically, genetic CONTINUED ON PAGE 32
The Role of a Lifetime
by A.L. Adams
31
CONTINUED FROM PAGE 31 roulette, but I also have a fierce self-protectiveness that doesn’t let me go there. For some reason, this has been the year when people keep coming up to me and saying, ‘I know a dwarf who committed suicide.’ I realize they’re unburdening themselves by sharing...but I’m like, ‘Where does that leave me?’ Dwelling on unfairness onstage would be irresponsible. We’d all end up feeling worse. At the same time, I’m aware that many people see me as an inspiration...but I don’t want to frame myself that way, either, like:”
PRESENTS
Oct. 8 – Oct. 15, 2016 | Keller Auditorium
Eva Burton | Photos by James McGrew
I feel like people “ will expect me
TICKETS START AT $29 | www.obt.org | 503-222-5538 Featuring the OBT Orchestra and Portland Pianist Hunter Noack
SUPPORTED IN PART BY:
Giants Before Us underwritten by The Boeing Company
Serenade underwritten by Sue Horn-Caskey and Rick Caskey
Discover A World of DANCE GREAT BRITAIN . FRANCE . ISRAEL . BRAZIL . CANADA . ARGENTINA . UNITED STATES
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DIAVOLO OCT. 6-8
DIAVOLO, OCT. 6-8 CAMILLE A. BROWN & DANCERS, OCT. 13-15 INBAL PINTO/AVSHALOM POLLAK, OCT. 20-22 REGGIE WILSON, NOV. 17-19 BALLETBOYZ, JAN. 24 & 25 TAHNI HOLT, JAN. 18-22
TICKETS & GROUPS
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
503.245.1600
to wear a black turtleneck, and at some point I’m just gonna drop to my knees and let out a primal scream! But who wants to listen to that?
”
Here, Modica perks up into her best suburban housewife impression. “Look at her! She’s doing it! Shopping at New Seasons! Living her best life!” Her switch into the funny voice evokes another Lauren—Lauren Weedman, who previewed her own solo show in progress, the PCS-commissioned Lauren Weedman Doesn’t Live Here Anymore, at this summer’s JAW Festival. Modica pulled some strings at PCS to workshop with Weedman, and came away energized. “She has such a great way of combining physicality, musicality, tragedy—and this ability to drop these profound revelations on you out of nowhere...and she doesn’t mind leaving space for you to really feel whatever she’s said.” Weedman encouraged Modica explore possibilities for props and sets, but Modica’s not sure she’s ready. “I don’t think I can wheel out some box of scarves on my first attempt,” she
September/October LAUREN MODICA laughs. “I’m more picturing just one stool in the middle of the stage. But we’ll see.” Her plans are proceeding at an interesting political moment. As Black Lives Matter haunts the national conscience, local diversity discussions are popping up with increased frequency among arts groups like Portland Emerging Arts Leaders and dedicated issue forums like The Color of Now (led by Modica’s friend and former Dickens castmate Chantal DeGroat). When it comes to “intersectionality”—the study of so-called minorities within minorities—Modica alone can address her three particular forms of “otherness.” “Dwarfism is always what people see first.” she declares, but she also admits that she’s pondered a list of “what ifs”: “I think if I weren’t a dwarf, I wouldn’t even be a performer. I’d have just stuck with journalism or public relations.” “If I were a different race—well, I am half white, and people always misidentify my race anyway. Hawaiian, Pacific Islander...most people guess wrong. Whenever they get it without guessing and just go, ‘Yeah, you’re Black,’ I’m like, ‘Thank you.’ So I guess if I were a different race, maybe not much would change?” And as a male dwarf? “I’d probably be a really loud, obnoxious, joker-partier-skater type of bro. I can totally see myself in a backwards baseball cap, taking dares, calling out strangers, with absolutely nothing to lose. Sometimes I play a character like that to tease my sisters, and they’re like, ‘Knock it off ! We don’t like that guy.’” As much as a solo show will enable Modica to explore her existing facets (bro voice optional), she also hopes it will help clear her passage into a next phase. “I’m starting to want things. Like a house. A dog. A fig tree. Maybe children? A solo show is something I’ve wanted but resisted for a long time, and this is the point when I have the fewest reasons I’ll ever have to say no. I want this show to be like building a tiny house: a secure structure that I can inhabit for a while and take it places. I intend to live without regret.” Modica pauses. And we feel it. .
JASON ALEXANDER
SINGS BROADWAY
SATURDAY, OCTOBER 15, 7:30 PM SUNDAY, OCTOBER 16, 3 PM Jeff Tyzik, conductor Jason Alexander, vocals Long before becoming world-renowned as the iconic George Costanza on “Seinfeld,” Jason Alexander was a Tony Award-winning Broadway song and dance man. His appearance features hilarious retellings of his journey to and on the Broadway stage, with great music from the theater, along with comedy and audience interaction. It’s a much-heralded performance of music, laughter, and fun. Tickets start at $23 – while they last!
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
PRODUCED IN PARTNERSHIP WITH
THE AUGUST WILSON RED DOOR PROJECT
AUGU ST WILS ON’S
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SEPT | OCT 2016 • ARTSL ANDIA AT THE PERFORMANCE
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
PDXOS-PortlandOpenStudios_Artslandia_2.23x9.6875_F.indd 8/21/16 1 2:59 PM
AN ARTSLANDIA FEATURE
THE SOUND OF TWENTY FINGERS DANCING
An afternoon practice with XX Digitus Duo YOU KNOW WHAT’S HARD TO SHARE? A PAIR OF ROLLER
by A.L. Adams
SKATES. A SINGLE TIRE SWING. OR ONE PIANO. WATCHING XX DIGITUS DUO RUN THROUGH THEIR PRACTICE, I’M GETTING FLASHBACKS OF TRYING TO SHARE WITH MY SISTER.
I
n Maria Garcia’s spacious Eliot living room, she and Momoko Muramatsu deftly and emotively co-pilot a Fazioli grand piano (“the Ferrari of pianos,” as Momoko calls it), pausing occasionally to discuss dynamics and scribble notes on their sheet music. As one piece percolates and rises to a rumble, the pencil flies off the piano and skitters across the hardwoods, startling Maria’s dog Cosmo from a rapturous nap.
It’s easy to see why the Duo describes their coordinated playing as “choreography.” Their four hands often crisscross over each other; three of their four feet evade the piano’s three pedals while one foot plays designated driver; and whenever one player begins a run up or down the keyboard, the other fluidly completes it. As with roller skates or a tire swing, it takes a lot of synchronized swaying to move forward and stay out of each other’s way. And that’s only the half of it. “In practice, we’re more subdued. We’re giving this about fifty percent,” Momoko explains. “When we’re performing, we’re giving a hundred percent, so we’re twice as animated!” What’s more, Maria is near-sighted while Momoko is far-sighted, tempting them to lean
respectively forward and backward. They’ve long since set some ground rules: never share a bench, keep your elbows in. It’s a wonder this system works at all, and a marvel how beautifully. Each accomplished concert pianists in their own right, Maria and Momoko formed XX Digitus Duo in 2014—more recently than their rapport might suggest. That’s because the pair have been crossing paths since college. They first met while training at the New England Conservatory of Music in Boston, then reconnected when they both lived in New York years later. “Life brought us back together in different places,” says Maria, and each time, they discussed putting together a project; it just never happened until they were both in Portland. Embracing Portland’s reputation for flouting convention, the friends forewent an obvious name choice like “Muramatsu/Garcia” in favor of more alternative branding: XX “isn’t ex-ex,” Maria clarifies, “it’s the Roman numeral for twenty”—and “Digitus” is Latin for fingers. “We did wonder, ‘Does it sound risqué?’” she notes, “but ultimately, we like that it’s unique and sets us apart.” Their expanded tagline, “Twenty Finger Symphonic Sounds of Eclectic Repertoire,” sums up their mission as well as their name’s meaning. The novelty of four-hand piano is far from the Duo’s only hook. They’re equally if not more invested in that part about “Eclectic Repertoire,” CONTINUED ON PAGE 36
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XX DIGITUS DUO CONTINUED FROM PAGE 35
to which they could add, “rare.” Nerds for the four-hand form, they’ve collected hardto-find pieces from artists all over the world who’ve experimented with it. Today, they play from a book of Renaissance works that Hungarian composer György Kurtág reset in four-hand to play alongside his wife Márta well into their old age. They also bust out some four-hand arrangements of Juan Morel Compos that Maria retrieved from the closet of a former teacher in Puerto Rico who had a four-hand act with her sister. Between the pieces Maria has inherited and those Momoko’s gotten from her mother Tamiko Muramatsu, a career concert pianist in Japan, Digitus’ catalog contains some deep cuts. Some of the hardest works to adapt, oddly enough, are pieces conceived for two full pianos. They tend to be written to exuberantly engulf the whole length of both keyboards, and hence are tricky or even impossible to shrink. Surprisingly, Digitus often finds it easier to convert whole orchestra scores to piano duos, or to divvy a solo piano piece into two parts. Some works, like Morel Campos’ Tambien Lo Dudo, come notated in two distinct sets of different sheet music, while other pieces present two parts in a doubledecker stack, with two treble and two bass clefs stacked into every bar. Reading such scores is certainly not as easy as Maria and Momoko make it sound, but it’s becoming second nature.
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
XX Digitus Duo debuted in the summer of 2014 at Director Park, purportedly the firstever four-hand group to grace All Classical Radio’s Thursdays @ Three. After putting in a few more appearances at the Old Church and the Community Music Center, they realized their next step should be recording, for which they sought and got a 2016 project grant from Regional Arts and Culture Council. Grant money bankrolled their debut e.p., 4 + 1, including a new commission by composer Ken Selden and an upcoming November album release at Alberta Rose Theatre. Conceived as more “event” than mere “concert”—the show will feature Agnieszka Laska Dancers and perhaps more special guests. After that, they’d like to settle into a threeshow-a-season schedule and potentially some travel, and continue to establish themselves as a fixture in Portland’s thriving chamber-tainment scene. And maybe do some gigs on two pianos? “We can dream.” . Visit www.xxdigitusduo.com for more information about XX Digitus Duo’s upcoming performances.
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MANY OF PORTLAND’S MOST TALENTED PERFORMERS HAVE SIDE JOBS—OR EVEN COMPLETE CAREERS—BEYOND THE PERFORMING ARTS. HERE’S ONE!
Margo Yohner AERIAL DANCER & PRINT COMPANY PRESIDENT BY DAY
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“In both roles, I aim to please! Whether I’m onstage or off, I’m most satisfied when customers, audience members, employees, fellow dancers, and my employer and artistic directors are elated with my performance. The biggest difference? Financial responsibility. At AWOL, I don’t have oversight of the Profit & Loss.” –Margo
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
PHOTO BY JASON QUIGLEY.
Margo is a performer with A-WOL Dance Collective, a company who defies gravity by using various types of apparatus—think hoops and silks—to dance aloft. She’s appeared recently in A-WOL’s Art in the Dark, a fantastical production among the trees that must be seen to be believed.
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