Cinderella - Oregon Ballet Theatre by Artslandia

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CINDERELLA

Xuan Cheng | Photo by Tatiana Wills

FEBRUARY 16 – 23, 2019 Choreography by Ben Stevenson | Music by Sergei Prokofiev

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42 9 LETTER FROM THE

ARTISTIC DIRECTOR Kevin Irving welcomes audiences to OBT’s redux of Ben Stevenson’s Cinderella, which was last presented by the company four years ago.

11 IT’S NOT JUST

AN ARABESQUE

Untitled mural by Hayden Senter.

Principal Dancer Xuan Cheng and soloist Matthew PawlickiSinclair discuss how to tell a story with dance when choreography takes the place of a written script.

15 CINDERELLA 42 ART DEPARTMENT:

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45 ADVENTURES IN ARTSLANDIA WITH SUSANNAH MARS: CHERYL STRAYED

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LETTER FROM THE ARTISTIC DIRECTOR

Oregon Ballet Theatre would like to express our most sincere thanks to our most generous sponsors.

Photo by Michael Slobodian

THANK YOU! WELCOME to OBT’s first major revival of the lush and joyous Cinderella! We first presented this masterwork in 2015 as a part of our 25th Anniversary Season celebration, and the response to this beautifully fun take on everyone’s favorite fairy tale was so enthusiastic that I knew we would want to experience it all over again very soon. Marrying classical ballet with a well-known story, telling it through movement and gesture, connecting it to a rich and varied score, making sure it is not only clear but also beautiful, compelling, and entertaining is one of the most virtuous challenges in our corner of the world. Succeeding in all of the above, as I believe we do with Cinderella, brings us closer to all of you and makes us very proud to be your ballet company. (And, for those of you who joined us for Napoli this past October, you know that succeeding in this way is becoming something of a habit for OBT!) We hope the uniquely uplifting experience of a performance that is the result of dancers, musicians, artisans, and stagehands all working together will create magical moments for all of you.

PRODUCTION SPONSORED BY

ADDITIONAL SEASON SUPPORT PROVIDED IN PART BY The Regional Arts & Culture Council including support from the City of Portland, Multnomah County, and the Arts Education & Access Fund.

Oregon Ballet Theatre receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.

Oregon Ballet Theatre is supported in part by an award from the National Endowment for the Arts.

ELIZABETH POWNALL SWINDELLS Family Fund of The Oregon Community Foundation

CORPORATE SPONSORS

At OBT, we care about the stories we tell and Cinderella, with its themes of virtue overlooked and the rewards of cultivating goodness, is a story that lands at an opportune moment. For it is Cinderella’s goodness that sets her apart — her goodness that leads directly to her happiness — and that’s important to remember. And it never hurts to be reminded of the breath-taking power of being swept off your feet by love! When Cinderella made her first appearance at OBT as part of our 25th Anniversary Season, she arrived on the heels of a difficult and trying period for the company. Today, four years later, OBT is stronger than ever, bolder than ever, and ready to roar with excitement about both the present and the future! It is perfect timing for this wonderful story because in very short order your ballet company will be announcing programming for our 30th Anniversary Season — so stay tuned. In the meanwhile — please enjoy Cinderella.

SUPPORTING SPONSORS

Kevin Irving Artistic Director, Oregon Ballet Theatre ARTSLANDIA.COM

O BT ’ S C O N T E M P O RA RY PA C K A G E Compelling, captivating choreographers and their greatest hits!

DIRECTOR’S CHOICE

April 11-14, 2019 | Newmark Theatre

Four works, one incredible performance, plus a poignant farewell Four of our most loved contemporary works, curated by Artistic Director Kevin Irving, in an ambitious and intimate program. Join us in celebrating the career of principal dancer Chauncey Parsons, who retires after eleven seasons with the company.

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Gioconda Barbuto / Owen Belton, Sarah Neufeld, Gabriel Prokofiev & Peter Gregson

Presto

Nicolo Fonte / Ezio Bosso

Jardí Tancat

Nacho Duato / Maria del Mar Bonet

Giants Before Us

Nicolo Fonte / Franz Liszt & Franz Schubert Featuring pianist Hunter Noack

Photo by Blaine Truitt Covert

June 7-15, 2019 | Newmark Theatre A New Annual Series The Americans captures the unique voice and rich history of American choreographers. From wistful to vibrant – dance pioneer Alvin Ailey and wunderkind Trey McIntyre start off this exploration – joined by Portland’s own BodyVox founders Jamey Hampton and Ashley Roland.

Robust American Love First Revival Since 2013 Trey McIntyre / Fleet Foxes

Night Creature

Company Premiere Alvin Ailey / Duke Ellington

World Premiere

Jamey Hampton & Ashley Roland / TBD

Single tickets and packages on sale now. Theodore Watler and Katherine Monogue | Photo by Chris Peddecord

2-SHOW PACKAGE STARTS AT $54 | 503.222.5538 | OBT.ORG/REP

FEATURE

IT’S NOT JUST AN ARABESQUE Telling a Story Through Dance BY GAVIN LARSEN

“I FELT IT WAS EASY TO UNDERSTAND CINDERELLA. I, TOO, WAS YOUNG, NAIVE, (AND) DREAMY ABOUT THE FUTURE.” —XUAN CHENG

A 10-YEAR-OLD GIRL IN CHINA, living away from her family in a ballet school dormitory, dreams of what beauty, thrills, and adventures might exist beyond her hard — and sometimes harsh — ballet student life. She feels the loneliness of endless, daily work in the studio — struggling to prove her worth and make her far-away parents proud. Substitute broom-sweeping for tendus and you have a Cinderella story — with Oregon Ballet Theatre Principal Dancer Xuan Cheng in the title role. Like Cinderella, she wondered, “what am I working for? Can life be bigger than this?”

Xuan Cheng in Cinderella. Photo by Yi Yin.

It could, and it was. Her big break, while still with Guangzhou Ballet, was the chance to portray the character she felt singularly aligned with. >>>>

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>>>> “I felt it was easy to understand Cinderella,” Xuan recalls. “I, too, was young, naive, (and) dreamy about the future. We both missed our parents but had to be independent and strong. I wanted to travel and join different companies. And Cinderella, too, wanted something different.”

training, how does a dancer turn steps into poetry? For Matthew Pawlicki-Sinclair, it’s about getting inside the character’s head. As he dives into his role as Prince Charming in OBT’s revival of Ben Stevenson’s Cinderella, he’s searching for a real person inside what may be a far-fetched scenario in today’s world.

Of course, Fairy Godmothers appear “Even though the context of the Prince’s only on stage and Xuan arrived in the life is completely different from mine, United States by airplane, not horse- the themes about what he’s going drawn carriage, but her connection to through are relatable,” he says. “While the essence of Cinderella brings the I can’t imagine exactly what it was like character to life years later as she reprises the role as a mature artist. “I feel loyalty for this character,” she says. “Now, I just trust myself to find more layers to her and let everything come together.” When cast in a narrative ballet, choreography takes the place of a written script and the dancer must rely on his or her body to translate the storyline. But in the best performances, audiences get much more than a play-by-play of the action — the drama is in the dance itself. But without much — or any — formal acting

in that place and time, I can draw from my own experiences to find something close to what he may be feeling.” From there, he doesn’t hold back. Taking on the character’s emotional journey — which is really his, too — onstage is the only way to a heart-stopping performance. “The process and buildup inside you result in an intention,” he explains. “And that translates into an action. That transition, from idea or thought into action or movement, is one of the most important things.”

“YOU HAVE TO BE BRAVE ENOUGH TO PUT YOURSELF INTO THE ROLE. YOU CAN’T DENY YOURSELF.” —MATTHEW PAWLICKI-SINCLAIR

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each head movement — the palace, the ballroom, whatever. Then it’s not just steps, it’s a real story.” We often say a dancer has “brought life” to a ballet, or “made it their own” when the emotional impact of their performance leaves us speechless. Technique seems irrelevant, not because it’s absent, but because we don’t notice it — it’s effortless, a vehicle for the thematic drama of the entire ballet. Xuan says technical challenges fall away when they have meaning. Pirouettes aren’t just turns, they are expressions. Kelsie Nobriga and Matthew Pawlicki-Sinclair in rehearsal for August Bournonville’s Napoli (2018). Photo by Yi Yin.

If this sounds very deep, it is. Both dialogue through her head as she dancMatthew and Xuan are such believ- es. “I make each step a story,” she says. able, powerful stage presences because “Like, ‘I’m sweeping the floor’ with a they’re not acting — they’re speaking piqué arabesque, offering my hand to with movement, and they personally be- the Prince with one step and admirlieve what they’re saying. Xuan assigns ing my shoes with another. I even think meaning to individual steps, running a about what I’m seeing around me with

But they have to be honest, and that’s what Xuan and Matthew find the riskiest and most rewarding. While both dancers do copious research on their roles beforehand, they know that the most successful version will only be their own interpretation. “You have to be brave enough to put yourself into the role,” says Matthew. “You can’t deny yourself — you’re going to come through, if you let it. And that’s really doing the audience a favor. That’s when it becomes magical.”

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TODAY’S PROGRAM

PRESENTS

CINDERELL A BALLET IN THREE ACTS CHOREOGRAPHY:

MUSIC:

STAGER:

Ben Stevenson, OBE

Sergei Prokofiev, Cinderella, Op. 87

Additional staging by Dawn Scannell Originally staged by Janie Parker

REHEARSAL ASSISTANTS:

SET & COSTUMES:

LIGHTING DESIGN:

Lisa Kipp & Jeffrey Stanton

Courtesy of Texas Ballet Theater

Christina R. Giannelli

WORLD PREMIERE: April 20, 1970; National Ballet of Washington, D.C. OBT PREMIERE: February 28, 2015; Keller Auditorium; Portland, Oregon By arrangement with G. Schirmer, Inc. publisher and copyright owner.

SYNOPSIS ACT ONE As the curtain rises for Act 1, we see Cinderella in her unhappy domestic life. The household includes Cinderella’s ineffectual father, her imperious stepmother, and her abusive Stepsisters, who are cast in the English pantomime tradition with men in female roles. Cinderella’s only apparent friend is her broom, a symbol of her everyday drudgery. When she is alone, she dances with the broom, dreaming that she too could attend the upcoming ball. The stage is soon full of action to ready the Stepsisters for the event. A dressmaker, a wigmaker, and a dancing master all arrive in turn to undertake the seemingly impossible task of making the Stepsisters appear attractive and coordinated. Once they have departed and Cinderella is alone, a beggar woman enters, soon to reveal her true identity as Cinderella’s Fairy Godmother. She transforms the kitchen into an enchanted wood where dragonflies dart through the forest. Cinderella will attend

the ball after all, gloriously attired in the riches of nature, as personified by the fairies representing the four seasons. But her beautiful clothes come with a warning that she must return home before midnight or she will once again find herself in rags. A pumpkin and a mischief of mice have been magically transformed into a carriage drawn by a team of horses that will carry Cinderella to the ball.

ACT TWO As Act 2 opens, we are transported to a spectacular ballroom. The Stepsisters make an absurdly graceless entrance, and are soon followed by the arrival of a beautiful guest — Cinderella resplendent in her new surroundings. When she locks eyes with the Prince, it is love at first sight. They dance, but their time together is interrupted by the fateful striking of the clock at midnight. She rushes out — leaving behind one shoe. Heartbroken, the Prince retrieves the shoe, vowing to find his true love as the curtain falls on Act 2.

ACT THREE In Act 3, we see Cinderella at home, sleeping by the fire. When she awakens, her dream of the ball seems impossible until she finds her one remaining magical slipper in her pocket. The Stepsisters return home, bragging about the wonderful time they had at the ball. Before long, the Prince arrives in search of the rightful owner of the dropped slipper. The Stepsisters go through a laughable series of attempts to cram the shoe onto their oversized feet. Cinderella sits by the fire, unnoticed, until the Prince calls her to him. Coming near to him seems almost too much for her and she drops the shoe that was hidden in her pocket. When the Prince sees the shoe is a match, he is sure of her identity and their fate is complete. They dance and the Fairy Godmother returns and transforms the kitchen once more. The fairies return to dance their blessings. Members of the court, winged angels, the fairies and the Fairy Godmother gather, and in the final tableau we see the coronation of the new King and Queen. ARTSLANDIA.COM

ARTISTIC & EXECUTIVE STAFF

KEVIN IRVING

ARTISTIC DIRECTOR Sponsored by Bob Sweeney & Cate Millar

A rare dancer whose career spanned multiple disciplines, Kevin Irving began dancing with jazz classes in his hometown dance school (Long Island, New York), before joining the school and training ensemble of Alvin Ailey – an experience that impacted him deeply. From 1982-1985, he danced with The Elisa Monte Dance Company of New York, a company often referred to as “post-modern” but, at 24, he took a sharp turn toward classical dance, and joined Les Grands Ballets Canadiens in Montréal. Promoted to soloist and principal, Irving became a well-known figure wherever LGBC performed, excelling in classical, neoclassical, and contemporary roles – including roles and ballets created by LGBC’s resident choreographer James Kudelka. In 1993, Irving joined Twyla Tharp Dance, touring the U.S. and Europe with the acclaimed choreographer, including performances at L’Opéra de Paris, and the PBS filming of Tharp’s much-lauded ballet In the Upper Room. From 1994-2002, Irving was ballet master and associate director with Nacho Duato’s Compañía Nacional de Danza in Madrid. From 2002-2007, he was artistic director of The Göteborg Ballet in Sweden. The company, during Irving’s tenure, was named the most important dance company in Sweden in Ballet International’s critic poll. From 2007-2013, Irving was a frequent guest ballet master with The Royal Danish Ballet, where he staged and rehearsed works by Ji í Kylián, George Balanchine, and Jerome Robbins. He has also been a guest teacher with numerous companies and schools in the U.S. and abroad for over 20 years. Additionally, he staged ballets by Nacho Duato and Nicolo Fonte for companies such as The Royal Ballet Covent Garden, Nederlands Dans Theater, Hubbard Street Dance Chicago, Lyon Opera Ballet, and The Australian Ballet, to name just a few.

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In the U.S., Irving became associate director at Morphoses (formerly The Wheeldon Company) from 2011-2012, coordinating special initiatives aimed at defining the company’s unique profile in the dance world. In 2010, he founded I-DANCE (Inspiring Dance: American Nations’ Choreographic Exchange), a nonprofit that sends teachers and choreographers to dance communities in Central and South America. Irving was named artistic director of Oregon Ballet Theatre in July 2013. Photo by Michael Slobodian

MICHAEL GREER

EXECUTIVE DIRECTOR

Michael Greer brings leadership experience from both for-profit and nonprofit worlds. Most recently, he led an arts nonprofit through a successful transition; previously, he led China-side operations, projects, and sales teams for multinational companies. A native of Missouri, Greer spent the early part of his life as a dancer at the world’s most prestigious institutions: Interlochen Arts Academy, School of American Ballet, San Francisco Ballet School, and The Royal Ballet School. Upon completing his training, he danced professionally with Ballet West in Salt Lake City, Utah, under the direction of Jonas Kage. After retiring from performing, Greer completed an economics degree with an emphasis in industrial organization, as an Arturo Schomburg Scholar at Hampshire College in Amherst, Massachusetts. He was offered a merit scholarship to continue economics at Stanford University, but declined to gain international business experience as a Gilman Scholar through the U.S. State Department. Greer worked with companies in India and China for nine years; he managed teams and operations for several multinational corporations. A Mandarin speaker, he enjoyed life in China with his wife and two children. In 2015, Greer returned to the U.S. and the dance world, to direct Portland Bal-

let in Portland, Maine. Combining business experience with passion for the arts, he worked to increase earned and contributed revenue, which resulted in Portland Ballet’s substantial turnaround. Now, Greer and his family are thrilled to be a part of the Portland, Oregon, community. Photo by Nate Eldridge

LISA KIPP

REHEARSAL DIRECTOR

Lisa Kipp began studying ballet in Olympia, Washington, and finished her training at Pacific Northwest Ballet School. She danced with Pacific Northwest Ballet, Pacific Ballet Theatre, Ballet Oregon, City Ballet of Los Angeles, and James Sewell Ballet, as well as performed in the touring company of Andrew Lloyd Webber’s The Phantom of the Opera. Kipp danced principal roles in George Balanchine’s Rubies, Tchaikovsky Pas de Deux, Square Dance, Concerto Barocco, and Apollo, and appeared as the Cowgirl in Agnes de Mille’s Rodeo. Prior to joining Oregon Ballet Theatre in 2004, she was ballet headmaster for The School of Spectrum Dance Theater in Seattle, as well as the company’s rehearsal director. Kipp has been ballet master for OBT for over ten years, and rehearsal director for five. As ballet master, she has assisted James Kudelka, Lar Lubovitch, Lola de Ávila, Nicolo Fonte, Francia Russell, Bart Cook, Christine Redpath, and Helgi Tómasson. She staged George Balanchine’s Rubies, Square Dance, and Who Cares? for the company, and is responsible for the corps de ballet in its classical repertoire. Photo by Joni Kabana

JEFFREY STANTON

BALLET MASTER

Jeffrey Stanton trained at San Francisco Ballet School and the School of American Ballet. In addition to classical ballet, he studied ballroom, jazz, and tap dance. He joined

San Francisco Ballet in 1989, before joining Pacific Northwest Ballet in 1994. He was promoted to soloist in 1995, promoted to principal in 1996, and retired from PNB in 2011. He originated leading roles in: Susan Stroman’s TAKE FIVE…More or Less; Stephen Baynes’ El Tango; Donald Byrd’s Seven Deadly Sins; Val Caniparoli’s The Bridge; Nicolo Fonte’s Almost Tango and Within / Without; Kent Stowell’s Carmen, Palacios Dances, and Silver Lining; and Christopher Stowell’s Zaïs. Stanton has performed as a guest artist for Le Gala des Étoiles in Montréal, the Prague Gala of Stars, and the TITAS Command Performance of International Ballet in Dallas, Texas. In 2000, he participated in The George Balanchine Foundation’s Interpreters Archive, dancing excerpts from Balanchine’s Episodes, coached by Melissa Hayden. Photo by Joni Kabana

MICHAEL MAZZOLA

RESIDENT LIGHTING DESIGNER

Michael Mazzola’s critically acclaimed lighting and scenery have been seen in venues throughout the U.S., Europe, and Asia, from opera houses to amphitheaters, and circus tents to hay barns. The three-time New York Dance and Performance Award winner has designed lighting and scenery for: Oregon Ballet Theatre, Pacific Northwest Ballet, San Francisco Ballet, Whim W’Him, Queensland Ballet, the Finnish National Ballet, Stuttgart Ballet, Grand Rapids Ballet, Ballet West, Ballet Nacional de Cuba, Ballet Hispánico, Trey McIntyre Project, The Washington Ballet, Royal Winnipeg Ballet, Houston Ballet, Rachel Tess Dance at the Wanås Foundation in Sweden, Baryshnikov Arts Center, LMCC’s River To River Festival, Third Rail Repertory Theatre, Bebe Miller Company, and Liz Lerman’s Dance Exchange. For the National YoungArts Foundation’s Miami Galas, Mazzola has designed lighting and scenery since 2015. For the 2015 and 2016 U.S. Presidential

Scholars Program and YoungArts Awards, he designed lighting and created media content at the Kennedy Center Concert Hall. He also went to Italy for a whirlwind tour with Tulsa Ballet, and to Cuba for his second world premiere at Ballet Nacional de Cuba for choreographer Annabelle Lopez Ochoa. Recently he went to Winnipeg for the world premiere of a full-length ballet by James Kudelka at Royal Winnipeg Ballet. He then traveled to Chicago for a new Giselle by The Joffrey Ballet, among others. Mazzola has been the scenic designer for Comedy Central Roasts, and the 2015 Lincoln Awards at the Kennedy Center Concert Hall for upLIGHT. Photo by Alison Roper

NIEL DEPONTE

MUSIC DIRECTOR AND CONDUCTOR

Niel DePonte has been the music director for OBT and its predecessor, Pacific Ballet Theatre, since 1985. He guest-conducted for Boston Ballet, Mussorgsky Ballet Theatre (Maly Ballet), and Nureyev Ballet Festival. He also conducted symphonic, pops, and youth concerts with the symphonies of Oregon, Syracuse, and Charlotte, among others. He is the artistic director and conductor of the Young Artists Debut! Concerto Concert. He was a 2003 Grammy Award nominee for Best Instrumental Soloist Performance (with orchestra) — for his performance of Tomáš Svoboda’s Concerto for Marimba with the Oregon Symphony. His compositions and arrangements written for the ballet stage include: Christopher Stowell’s Adin, Carmen, A Midsummer Night’s Dream, and Ekho; Houston Ballet’s Peter Pan (2002); and OBT’s Nutcracker (1993). DePonte holds a Master’s degree and Performer’s Certificate from the Eastman School of Music, as well as an education degree from the State University of New York. Photo by Lloyd Lemmermann

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LETTER FROM THE CHAIRWOMAN OF THE BOARD OF TRUSTEES DEAR FRIENDS, On behalf of the Board of Trustees and all of us at Oregon Ballet Theatre, welcome to this enchanting production of Cinderella. This story has been shared for centuries across a multitude of civilizations and languages: the Greek legend of Rhodopis, the Chinese fable of Ye Xian, the Native American story of the Rough-Face Girl, the Arabian Nights tale, or the French version of Cinderella that we, in this country, know best. The account of this worthy, but as yet unrecognized young woman whose dreams come true has become a symbol throughout the world for a woman’s self-reliance in the face of adversity, and triumph through strength of character. This classic telling of the fairy tale is, in a way, symbolic for OBT as well. Starting in 1989 as the arts newcomer in Portland, perhaps the “stepchild” among so many well-established arts institutions, OBT has since performed for well over a million audience members and served hundreds of thousands of people of all ages through our educational outreach programs. The Company has grown to be a fixture in the Portland arts scene, a respected member of our state’s vibrant arts landscape, and one of the leading ballet companies in the country. And it would not have been possible without a multitude of Fairy God Parents — YOU, our loyal supporters. Through your generous donations and attendance of our performances over the years, you have provided the practical magic it takes to make all of this possible. We have great plans for the future and invite you to join with others like yourself, who recognize and value the artistry and achievements of OBT. Help us to make more dreams come true, by contributing today. Your support will help to make possible new works of art, even greater community impact, and the development of future generations of dance artists.

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Enjoy the performance and thank you for being part of the OBT family. Sincerely,

Nancy Locke Chairwoman, Oregon Ballet Theatre Board of Trustees

GUEST ARTISTS BEN STEVENSON, OBE

CHOREOGRAPHER Ben Stevenson, OBE began his dance training in London, England, at the Arts Educational School and after graduation was invited to join Sadler’s Wells Royal Ballet, now known as the Royal Ballet. He then joined the London Festival Ballet where he eventually became a principal dancer. He has directed several companies including Harkness Ballet, the National Ballet in Washington D.C., and Houston Ballet. It was under his direction that Houston Ballet grew to be one of the most respected ballet companies in the world. Stevenson is now the current Artistic Director of Texas Ballet Theater. Besides being a successful director, Stevenson is also an accomplished choreographer, having received numerous awards including three gold medals at the International Ballet Competition and his work has been set on multiple companies around the world. For his contributions to the world of international dance, he was named an Officer

of the Order of the British Empire (OBE) by Queen Elizabeth II. He was also presented with the Dance Magazine Award which is one of the most prestigious honors in the American dance scene.

DAWN SCANNELL

STAGER Dawn Scannell joined Houston Ballet in 1985, where she rose to the rank of principal dancer and retired in 2001. Throughout her career, she performed leading roles in both classical and contemporary work, and has danced for esteemed choreographers such as Ben Stevenson, OBE; Sir Kenneth MacMillan; Ji í Kylián; and others. In 2006, Scannell was invited by Stanton Welch to become ballet mistress, staging full-length Don Quixote for Houston Ballet. In this role, she taught classes for the main company, as well as Houston Ballet II and the Houston Ballet Academy. Her experiences have led her to be an effective coach. In coaching principal dancers to young trainees, Scannell has gained a

reputation for demanding precision and technique, but also inspiring expression and emotional nuance.

CHRISTINA R. GIANNELLI

LIGHTING DESIGNER Christina R. Giannelli has worked with Ben Stevenson, OBE for many years, first at Houston Ballet and recently at Texas Ballet Theater. She has served as Resident Lighting Designer for Houston Grand Opera, Cleveland-San Jose Ballet, Texas Ballet Theater, Houston Ballet, and the Metropolitan Opera and has designed extensively for other ballet and opera companies worldwide. Her opera credits include over a dozen productions with Houston Grand Opera as well as premieres and revivals for Dallas Opera, Portland Opera, Michigan Opera Theatre, Virginia Opera, and others. She is the founding director of Dance Source Houston, a service organization that supports and promotes contemporary dance in Houston, Texas, and is currently creating a residence for visiting artists in downtown Houston.

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COMPANY PRINCIPAL DANCERS

ANSA CAPIZZI

Ansa Capizzi is from Nagoya, Japan. She began training at age five, initially with Chika Goto Step Works Ballet, followed by San Francisco Ballet School. She joined OBT as an apprentice (2003), and was promoted to soloist (2007) and principal (2018). Among her favorite performances are: William Forsythe’s The Vertiginous Thrill of Exactitude, George Balanchine’s Tarantella, Marius Petipa’s The Sleeping Beauty, James Canfield’s Romeo & Juliet, Nacho Duato’s Por Vos Muero, Michel Fokine’s The Dying Swan, Nicolo Fonte’s Presto, and Ji í Kylián’s Falling Angels.

XUAN CHENG

Xuan Cheng is from Chenzhou, China. She attended Guangzhou Ballet School, joined the corps de ballet for Guangzhou Ballet of China (under prima ballerina Dan Dan Zhang), and rose to principal. In 2004, she was a silver medalist in the 3rd Shanghai International Ballet Competition; in 2005, a finalist in the 8th New York International Ballet Competition; and in 2006, a gold medalist in China’s Tao Li Bei World Dance Competition. Upon Édouard Lock’s invitation, she joined La La La Human Steps, and performed in 20 countries across three continents: Europe, Asia, and North America. She joined Les Grands Ballet Canadiens, became an OBT principal (2011),

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and continued to lead as: Cinderella, Juliet, Giselle, and Odette/Odile in both Christopher Stowell’s and Kevin Irving’s Swan Lake.

PETER FRANC

Peter Franc is from Lancaster, Pennsylvania. He trained with Metropolitan Ballet Theatre and Houston Ballet Academy, where he received the Michael Wasmund Award upon graduation. He then joined Houston Ballet for eight years and rose to the rank of demi-soloist. He later moved to Aspen Santa Fe Ballet (2012) before joining OBT as a soloist (2015). OBT promoted him to principal in 2018. He regards his role in Jerome Robbins’ Afternoon of a Faun as a favorite, as well as: Romeo in James Canfield’s Romeo & Juliet; and Prince Siegfried in Kevin Irving’s Swan Lake. Other favorites include features in works by: Ji í Kylián, Hans Van Manen, Stanton Welch, Christopher Bruce, Nicolo Fonte, Cayetano Soto, and Alejandro Cerrudo.

CHAUNCEY PARSONS

Chauncey Parsons is from Santa Barbara, California, where he studied at Santa Barbara Festival Ballet with Michelle Pearson and Denise Rinaldi. He regards Meelis Pakri – former ballet master at Colorado Ballet – as his favorite mentor, and his first promotion at Colorado Ballet – from soloist to principal – as his favorite honor. Prior to Colorado Ballet, he was accepted into Kirov Academy, and

performed with both The Washington Ballet and his hometown’s State Street Ballet. He joined OBT as a soloist (2008), and was promoted to principal (2009). While he has performed a wide variety of roles, he cherishes Giselle’s Count Albrecht, and The Sleeping Beauty’s Prince Désiré.

BRIAN SIMCOE

Brian Simcoe is from Grants Pass, Oregon. He received training from Penny King, Sylvia Bolton, OBT School, Pacific Northwest Ballet School, and Long Beach Ballet – and considers Sylvia Bolton his top teacher. Initially an apprentice with OBT in 2004, he was promoted to soloist in 2011, and to principal in 2013. His favorite performances include: Jerome Robbins’ Afternoon of a Faun, Nicolo Fonte’s Petrouchka and Beautiful Decay, James Canfield’s Romeo & Juliet, Julia Adam’s il nodo, Yuri Possokhov’s La Valse, and Helen Pickett’s Petal. SOLOISTS

EVA BURTON

Eva Burton was born in Los Angeles, California, where she received training from Patrick Frantz, followed by San Francisco Ballet School. In 2010, she joined OBT as a dancer in the corps de ballet; in 2016, she was promoted to soloist. She cites OBT’s Giants program as especially significant: She performed in George Balanchine’s Serenade and William Forsythe’s In the Middle, Somewhat Elevated, and was

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promoted after the opening performance. By extension, favorite roles include the Waltz Girl in Balanchine’s Serenade, as well as The Nutcracker’s Sugar Plum Fairy.

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MICHAEL LINSMEIER

Michael Linsmeier, raised on a family dairy farm, is from Cato, Wisconsin. He trained at Jean Wolfmeyer School of Dance, and at Virginia School of the Arts under Petrus Bosman. He joined Milwaukee Ballet, before joining OBT’s corps de ballet (2011), and was later promoted to soloist (2013). He relishes the roles of Stepsister in Ben Stevenson’s Cinderella, and Mercutio in James Canfield’s Romeo & Juliet; he holds in high regard Nacho Duato’s Jardí Tancat, Darrell Grand Moultrie’s Fluidity Of Steel, and Helen Pickett’s Terra.

KATHERINE MONOGUE

Katherine Monogue is from Washington, D.C. She trained at The Washington School of Ballet under Kee Juan Han, and her top mentor was Kristina Windom, head of faculty. She joined OBT in 2013 as a Professional Division student; subsequently, she was promoted to apprentice (2014), company artist (2015), and soloist (2018). Nacho Duato’s Jardí Tancat remains one of her favorite performances. Two favorite roles include: Sylvie in William Forsythe’s In the Middle, Somewhat Elevated; and Dew Drop Fairy in George Balanchine’s The Nutcracker®.

KELSIE NOBRIGA

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Kelsie Nobriga is from Orange County, California, where she began dancing by age five. By 2010, she was a Professional Division student at Pacific Northwest Ballet; by 2011, an OBT apprentice; by 2014, company artist; and by 2018, soloist. She also danced with Colorado Ballet for one season. As for beloved roles, she was Dew Drop and Sugar Plum Fairy in George Balanchine’s The Nutcracker®. As for peak performances, she notes William Forsythe’s In the Middle, Somewhat Elevated; George Balanchine’s Serenade; and Nacho Duato’s Jardí Tancat.

MATTHEW PAWLICKI-SINCLAIR

Matthew Pawlicki-Sinclair is from Tucson, Arizona, where he trained with Ballet Arts. He received his (high school) diploma from North Carolina School of the Arts, before attending the summer session of The School at Jacob’s Pillow. He joined Kansas City Ballet in 2005. He joined the corps de ballet of Dutch National Ballet in 2008, and was promoted twice: coryphée (2014) and grand sujet (2016). Favorite roles include: Romeo in Sasha Waltz’s Roméo et Juliette, Hilarion in Marius Petipa’s Giselle, and Morold in David Dawson’s Tristan + Isolde. Favorite ballets include: George Balanchine’s Rubies, William Forsythe’s The Second Detail, and Justin Peck’s Year of the Rabbit. OBT welcomes Matthew as a soloist. COMPANY ARTISTS

THOMAS BAKER

Thomas Baker is from San Jose, California. He began training at Westside Studio of Performing Arts under Bené Arnold, and attended San Francisco Ballet School on full scholarship. ARTSLANDIA.COM

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COMPANY While he joined OBT as an apprentice in 2010, and returned as a company artist in 2014, he sandwiched in two seasons at Ballet San Jose. He has collaborated with Barak Ballet and National Choreographers Initiative. With OBT, he has performed roles such as the Cavalier in George Balanchine’s The Nutcracker®, and White Rabbit in ALICE (in wonderland) – as well as principal roles in works by George Balanchine, William Forsythe, Nacho Duato, and Nicolo Fonte.

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Hannah Davis is from Chapel Hill, North Carolina, where she began dancing at age three. She furthered her classical and contemporary studies at University of North Carolina School of the Arts – under Brenda Daniels and Susan Jaffe. As an OBT2 dancer (2015), she enjoyed the roles of: Teresina in August Bournonville’s Napoli; and Swanilda in the Annual School Performance of Coppélia. She was promoted to apprentice in 2016, and company artist in 2018. While she loved James Canfield’s Romeo & Juliet, and the flamingos’ pas de quatre in Septime Webre’s ALICE (in wonderland), Ji í Kylián’s Falling Angels is her favorite performance experience yet.

ABIGAIL DIEDRICH

Abigail Diedrich is from Lake Shore, Maryland. She trained at Ballet Theatre of Maryland with Diana Cuatto, and then at Baltimore School for the Arts with Norma Pera. She regards Pera and former OBT School Director Anthony Jones as two memorable mentors. Prior to OBT, she joined Pacific Northwest Ballet’s Professional Division. She was selected, too, for the Flemming Halby Dance Student Exchange Program, between PNB School and The Royal Danish Ballet School. She joined OBT2 in 2015; she was promoted to apprentice in 2016, and to company artist in 2018. Three favorite pieces include George Balanchine’s Serenade, Nicolo Fonte’s Left Unsaid, and Ji í Kylián’s Falling Angels.

KIMBERLY FROMM

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Kimberly (Nobriga) Fromm is from Orange County, California, where she began dancing at age four. She trained and performed with Pacific Northwest Ballet School’s Professional Division; she then joined OBT as an apprentice (2013), and was promoted to company artist (2015). Among her favorite roles with OBT are the Arabian in George Balanchine’s The Nutcracker®, and Dark Angel in Serenade. Her favorite performances with OBT have been: William Forsythe’s In the Middle, Somewhat Elevated; Ji í Kylián’s Falling Angels; and Nacho Duato’s Jardí Tancat.

ADAM HARTLEY

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Adam Hartley is from Orange, California. He trained with Victor and Tatiana Kasatsky of V & T Dance Academy. He joined OBT as an apprentice in 2009, and was promoted to company artist in 2011. He regards his roles in William Forsythe’s In the Middle, Somewhat Elevated, and in Nacho Duato’s Por Vos Muero, as two favorites.

MAKINO HAYASHI

Makino Hayashi is from Kumamoto, Japan, where she trained at Kumamoto Ballet School, and where she later received a Hitozukuri Grant. She joined Colorado Ballet as an apprentice (2001), and was promoted to corps de ballet (2004), before joining OBT (2010). Among her favorite roles are Nacho Duato’s Rassemblement and Matjash Mrozewski’s The Lost Dance. In addition, she was featured in: Darrell Grand Moultrie’s Instinctual Confidence; William Forsythe’s In the Middle, Somewhat Elevated; Helen Pickett’s Petal; and as Helena in Christopher Stowell’s A Midsummer Night’s Dream.

CHRISTOPHER KAISER

Christopher Kaiser is from Los Angeles, California, where he trained at Los Angeles High School for the Arts. He spent his summers training at The Joffrey Ballet, Boston Ballet, and Milwaukee Ballet. Afterward, he was accepted to The Juilliard School, where he graduated with a Bachelor of Fine Arts, and danced in the Edinburgh International Festival. He joined Alberta Ballet for three seasons before joining OBT. This will be his third season with OBT. He has enjoyed performing roles in Nacho Duato’s Gnawa, William Forsythe’s Herman Schmerman, and Paul Taylor’s Sunset.

JESSICA LIND

Jessica Lind is from San Jose, California, where she began training at Dance Theatre Interna-

tional. Following one year at San Francisco Ballet School, she joined OBT’s Professional Division (2011), became an apprentice (2013), and was promoted to company artist (2016). She also traveled to Copenhagen with five fellow dancers, to attend a Bournonville intensive. As for favorite OBT performances and roles, they are: William Forsythe’s In the Middle, Somewhat Elevated; the pas de trois in Kevin Irving’s Swan Lake; Purple Girl in Nacho Duato’s Jardí Tancat; Sugar Plum Fairy in George Balanchine’s The Nutcracker ®; and Tarantella Girl in August Bournonville’s Napoli.

scholarship at American Ballet Theatre, danced with ABT II, and had soloist and principal roles with Alberta Ballet in Calgary. He joined OBT as a company artist in 2014, and has enjoyed the roles of: Lover in James Kudelka’s Sub Rosa; lead in August Bournonville’s Napoli; Prince in Ben Stevenson’s Cinderella; and Cavalier in George Balanchine’s The Nutcracker®. He has also been a guest artist in Japan, Costa Rica, Spain, Italy, Switzerland, and Canada. In summers, he is a principal dancer with American Contemporary Ballet.

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EMILY PARKER

Emily Parker is from Boston, Massachusetts, and has been dancing since age four. She became an OBT apprentice (2014), whose performance in spring 2016’s Beautiful Decay program resulted in promotion to company artist. Her performance highlights include: Nacho Duato’s Jardí Tancat; William Forsythe’s In the Middle, Somewhat Elevated; Ji í Kylián’s Falling Angels — and OBT’s Choreography XX (three world premieres by women) in Portland’s Washington Park Rose Garden. She also earned her Bachelor of Science degree from Indiana University in ballet and biology.

COLBY PARSONS

Colby Parsons is from Santa Barbara, California, where he studied at Santa Barbara Ballet Center with Denise Rinaldi. He then trained on full

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Skye Stouber is a Portland, Oregon, native. He began training at The Portland Ballet under Alex Ballard, as well as Jason Davis and Nancy Davis Lane. He continued training at Houston Ballet Academy and San Francisco Ballet School. After a knee injury paused his career, he joined skinner/kirk DANCE ENSEMBLE and was a guest artist at OBT for Septime Webre’s ALICE (in wonderland) in 2018. In August, he joined OBT as an apprentice and, after Napoli, was promoted to company artist.

THEODORE WATLER

Theodore Watler is from Long Beach, California, where he trained at Long Beach Ballet under Johnny Zhong. He attended summer courses at San Francisco Ballet School, Oregon Ballet Theatre, and Hubbard Street Dance Chicago.

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COMPANY He holds degrees in art history and Law, Letters, and Society from the University of Chicago. In 2017, he joined OBT as an apprentice, and he was promoted to company artist in 2018. His favorite roles include Tea in George Balanchine’s The Nutcracker®, and Fish in Septime Webre’s ALICE (in wonderland). APPRENTICES

ALEXA DOMENDEN

Alexa Domenden is from Seattle, Washington. She received training with Pacific Northwest Ballet School’s DanceChance program in 2004. In 2013, she danced under the direction of Kevin Kaiser and Louise Nadeau at Evergreen City Ballet. She joined OBT2 in 2015, and was promoted to apprentice in 2017. Some of her favorite performances include: Ji í Kylián’s Falling Angels and Nicolo Fonte’s Never Stop Falling (in Love). In OBT2, she had the opportunity to perform in George Balanchine’s Walpurgisnacht Ballet, and Nacho Duato’s Na Floresta.

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ZUZU METZLER

Zuzu Metzler is from Camas, Washington. She trained with OBT School, joined OBT2 (our preprofessional company), and became an apprentice in 2018. She was awarded the Elena Carter Memorial Scholarship, and has spent summers at: Pacific Northwest Ballet School, San Francisco Ballet School, the School of American Ballet, and Exploring Ballet with Suzanne Farrell. Favorite performances and roles include: Nicolo Fonte’s Accidental Signals; Cupid in the Annual School Performance of the Dream Scene from Don Quixote; and both Harlequin and Marzipan in George Balanchine’s The Nutcracker®. She has enjoyed being in the corps de ballet for James Canfield’s Romeo & Juliet, and George Balanchine’s Serenade.

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Marc LaPierre is from Stratford, Connecticut. He trained at Ballet Academy East, and the School of American Ballet at Lincoln Center; he regards Nanette Vallas as an early favorite mentor. Prior to OBT, he joined Los Angeles Ballet, where he performed the pas de six and Tarantella (solo role) from Napoli’s third act. His solo role in Alejandro Cerrudo’s PACOPEPEPLUTO is another personal favorite, along with Aszure Barton’s Second to Last and George Balanchine’s Stravinsky Violin Concerto.

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Zoie Saludares is from Las Vegas, Nevada. She trained at Nevada Ballet Theatre. She moved to Miami to attend the preprofessional program at Miami City Ballet (2015), and in 2016, moved to Utah as a member of the Ballet West Professional Training Division. She joined OBT2 in 2017, and was promoted to apprentice following Napoli in 2018. She was also featured in Bournonville’s Flower Festival in Genzano and George Balanchine’s Walpurgisnacht Ballet. Favorite roles include: Flamingo in Septime Webre’s ALICE (in wonderland), and Cupid in the Annual School Performance of Don Quixote.

PRINCIPAL DANCERS

ANSA CAPIZZI

XUAN CHENG

PETER FRANC

CHAUNCEY PARSONS

BRIAN SIMCOE

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Your support of Oregon Ballet Theatre helps us to produce quality performances, provide scholarships to our school, bring arts education to our entire region – and so much more! Please visit obt.org/contribute or the OBT kiosk in the lobby for information on how you can support the ballet, and for a full list of benefits by tier!

PERKS OF BEING AN OBT DONOR Just a select preview of benefits. Donor benefit eligibility varies based on contribution level.

RECOGNITION IN OBT PLAYBILL

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Thank you for suppor ting Oregon Ballet Theatre For questions about making a donation and donor benefits: Lauren Watt, Development Associate - 503.227.0977 ext. 259 - Lauren.Watt@obt.org Photo by Yi Yin

ORCHESTRA VIOLIN I

Kim Burton Adam Hoornstra Shauna Keyes

Nelly Kovalev, Concertmaster Hae-Jin Kim, Assistant Concertmaster Andrea Oh Elizabeth Peyton Robin Baldino Casey Bozell Jenny Estrin Emily Sokoloff Margaret Bichteler Sarah Roth

Hamilton Cheifetz, Principal Katherine Schultz, Assistant Principal Corey Averill Jae Choi Justin Kagan Heather Blackburn

VIOLIN II

BASS

Janet Dubay, Principal Janet George, Assistant Principal Ann Medellin Camilla Scott Linda Vasey Jamie Chimchirian Heather Mastel-Lipson Eva Richey

VIOLA

Angelika Furtwangler, Principal Daphne Gooch, Assistant Principal Brenda Liu

CELLO

David Parmeter, Principal David Anderson, Assistant Principal Milo Fultz

FLUTE

Georgeanne Ries, Principal Sydney Carlson Sarah Tiedemann

OBOE

Kelly Gronli, Principal Laura Gershman Alan Juza

CLARINET

Louis DeMartino, Principal Melanie Yamada Andrew Brown

BASSOON

PERCUSSION

Gordon Rencher, Principal Brian Gardiner Kevin Schlossman Brett Paschal

TIMPANI

Adam Trussell, Principal Danielle Goldman Nicole Buetti

Jeff Peyton, Principal

FRENCH HORN

Matthew Tutsky, Principal

Steve Hayworth, Principal Jen Harrison Mike Hettwer Rebecca Olason

TRUMPET

Charley Butler, Principal* Sarah Viens Robert Rutherford

TROMBONE

Henry Henniger, Principal Lars Campbell Dave Bryan

TUBA

Daryl Johnson, Principal*

HARP

KEYBOARD

Yoko Greeney, Principal*

ORCHESTRA PERSONNEL MANAGER

Janet George

MUSIC LIBRARIANS

Kirsten Norvell Eva Richey Rachel Rencher

*denotes acting title Italics denotes substitute

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OREGON BALLET THEATRE STAFF

BOARD OF TRUSTEES

ARTISTIC

Emily Tucker, Development Data Specialist Lauren Watt, Development Associate

Nancy Locke, Board Chair

MARKETING

Jimmy Crumpacker, Vice Chair

Kevin Irving, Artistic Director Tracey Sartorio, Executive Assistant to the Artistic Director & Artistic Coordinator Nicolo Fonte, Resident Choreographer Lisa Kipp, Rehearsal Director Jeffrey Stanton, Ballet Master Niel DePonte, Music Director & Conductor Irina Golberg, Principal Accompanist

ADMINISTRATION AND FINANCE Michael Greer, Executive Director Neville Wellman, Director of Finance & Operations Donna Jackson-Siekmann, Accounting Manager Teresa Pineda, Accounting Clerk Linda Brown, Business Office Coordinator Nadia Chopra, Wellness Coordinator

PRODUCTION Bill Anderson, Director of Production Shannon Goffe, Production Administrator Victoria A. Epstein, Stage Manager Ian Rutledge, Assistant Stage Manager & A/V Coordinator Michael Mazzola, Resident Lighting Designer Ian Anderson-Priddy, Production Electrician Tim Boot, Sound Designer Matt Wilcox, Sound Engineer Brian Keith, OBT2 Technical Director Eileen Ehlert, Costume Shop Supervisor Annika Schindler, Draper Morgan Reaves, First Hand Hillary Barsky, Sue Morgan, Marilyn L. Rudin, Costume Shop Volunteers Sage Brielle, Adonis Rahlston, Celena Rubin, Caitlin Williams, Makeup Volunteers Leslie Bernhard, Brian Keith, Brad Saby, Peter Sherman, Lance Woolen, Production Support Staff Sumi Wu, Props Master Janet George, Orchestra Personnel Manager Kirsten Norvell, Head Music Librarian Rachel Rencher, Eva Richey, Assistant Music Librarians

DEVELOPMENT Gregory Smith, Director of Development Tiffany Carter, Corporate & Special Events Officer Keely McIntyre, Grants Manager

Camille Spaccavento, Director of Marketing & Communications Jim Thomson, Senior Graphic Designer & Video Producer Nicole DeCosta, Marketing Associate

PATRON SERVICES Mariah DeLude, Patron Services Manager Kristin Dillon, Patron Services Lead Kayla Brock, Patron Services Representative

EDUCATION OUTREACH Kasandra Gruener, Director of Education Outreach Sarah Ward Brown, Education Outreach Assistant Brook Manning, Lecturer & Historian Linda Besant, Archivist & Historian Sarah Ward Brown, Kasandra Gruener, Brook Manning, Robyn Ulibarri, Amelia Unsicker, Allison Wales, Teaching Artists Amy Stahl, Education Outreach Volunteer

OREGON BALLET THEATRE SCHOOL Marion Tonner, School Director James Holstad, School Administrator Sean Surprenant, School Registrar Lisa Sundstrom, OBT2 Program Director Colleen Hanlon, West Linn Branch Manager & Children’s Coordinator Kembe Adam, Natasha Bar, Phillip Carman, LeeWei Chao, Peter Franc, Elise Legere, Valerie Limbrunner-Bartlett, Chauncey Parsons, Jessica Post, Olivia Pyne, Alison Roper, Katarina Svetlova, Robyn Ulibarri, Amelia Unsicker, School Faculty Irina Golberg, Garnet Hayes, Karen Lam-America, Ayako Matsuo, Raymond McKean, Katie Pyne, Tiffany Sanford, Jordan Strang, Western-Li Summerton, Accompanists

SPECIAL THANKS

Ken Ivey, Treasurer Allison Lane Lyneham, Co-Secretary Cate Millar, Co-Secretary Ken Carraro Aaron Courtney Brian Forrester Peter Franc, ex officio Nancy Frisch William Gaar Michael Greer, ex officio Gary Hanifan Brianne Hyder Kevin Irving, ex officio Julia Winkler Jacobson Charles L. Jones Kathleen Lewis Kristin Malone Keith Martin Christina McNown Angela Saunders Polin Reegan Rae Tina Skouras Ashley Trimble Betsy Warren Matt Watson Mike Weddle

AFM Local #99, Chris Balo, IATSE Local #28, Portland’5 Centers for the Arts, Portland Opera, The Art of Makeup School, George Cripps, Texas Ballet Theater

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INDIVIDUAL DONORS Oregon Ballet Theatre would like to express its sincere gratitude to those listed below for gifts received through January 1, 2019. Donations received after this period will appear in the next playbill in April.

BRAVURA CIRCLE ($50,000 & UP)

Anne & James Crumpacker Jimmy Crumpacker Arlene Schnitzer Jordan Schnitzer Cate Crumpacker Stafford & Graham Stafford Bob Sweeney & Cate Millar Barbara Yeager

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($25,000–$49,999)

Jack Blumberg, In Memory of Thomas P. Anderson

Thomas & Elizabeth Gewecke Howard Hedinger Henry & Amber Hillman Sue Horn-Caskey & Rick Caskey Cary Jackson Nancy Locke & Don Harris Jean Pierce, In Memoriam John Van Buren Elizabeth B. Warren Nani Warren Wendy Warren & Thomas Brown David Wedge, In Memoriam

DIRECTOR’S CIRCLE ($10,000–$24,999)

Linda & Scott Andrews Dan Bergsvik & Don Hastler Barbara & Bob Brady Kathleen & Benoit de Montlebert Cooper Dubois Karen & Bill Early Ken & Ann Edwards

Alan Garcia & Lyn Reynolds Garcia Jamey Hampton & Ashley Roland Melissa & Gary Hanifan Gregory K. & Mary Chomenko Hinckley Ronna & Eric Hoffman Fund of The Oregon Community Foundation Sydney Holland Charles L. Jones John & Linda Lenyo Kenneth & Joyce Lewis Devin & Natalia Megy Brad & Nancy Miller Sharon & Adam Mirarchi Tom & Cynthia Mulflur Angela Roach Marilyn L. Rudin, MD & Richard S. Testut, Jr. Caleb Schlesinger Hazel & Barry Schlesinger Mike & Karen Weddle

ÉTOILE POINTE SOCIETY ($5,000–$9,999)

Anonymous Anonymous, In Honor of Cate Millar Robert Aughenbaugh Linda Besant & Martha Goetsch Richard Louis Brown & Thomas Mark Bill Dickey, In Honor of David E. Wagner Jessica & Mark Flaa Brian Forrester Fromm Family Charitable Fund William Gilliland Kiki, Juliet & Summer Hillman Sandra & Stephen Holmes Diane Knudsen Dr. Dolores Leon & Dr. Fernando Leon Peter & Allison Lyneham

It is an honor to support Oregon Ballet Theatre’s

Kristin Malone Keith Martin Denise & James Parker Allison & Steven Pike Angela Saunders Polin Dean M. Richardson Luwayne Sammons, In Memoriam Patti & Tommy Skouras Lindsay & Corinne Stewart Prashanth Vallabhanath & Evelyn Curioso Charles W. Webb, DO Ben & Alli Wood Dr. Kathy Zeller & Dr. David Hill

VIRTUOSO POINTE SOCIETY ($2,500–$4,999)

Anonymous The Ajitahrdaya Gift Fund Dr. Anna Bar Brent Barton & Liz Fuller Adriane Blackman Walter Bowen

Cinderella Bravo!

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Mark & Blake Bruun Irene Cancilla Charles & Sandra Carmeci Ken Carraro Debi Coleman Cameron & Dick Davis Gail Hayes Davis & Michael Davis Rita Duyn Jasmin & Matt Felton William E. Gaar Ted & Cynthia Gaty Richard & Juliana Gellman Jesse & Leah Gronner, In Honor of Maia Gronner Marilyn & Hans Grunbaum Bill Guthy Andrew & Ilene Harris Kevin Irving & Nicolo Fonte Bernice & Ken Ivey Julia Winkler Jacobson & Jonas Jacobson Stephen Karakashian Molly Lehman Carol Schnitzer Lewis Fund of The Oregon Community Foundation Kathleen Lewis Fund of The Oregon Community Foundation Tania Mason Mark Moffett, In Honor of Jacqueline Straughan Ellen & Carl Nielsen Suzann & Dennis Ott Jane S. Partridge Gesina & Matt Pedersen Melanie & Darren Pennington, In Honor of Lainie Pennington Lisa Pfost Frank Piacentini & Sara Weinstein Allan & Marney Pike Family Fund of the Oregon Jewish Community Foundation Carolyn & Hank Robb Mary Rose & Maxwell Whipps Jone Sampson & Sam Weirich Daniel & Dawn Simcoe Tina Skouras Joan W. Sterrett David & Eileen Threefoot Ashley & Dwayne Trimble

The Peter & Ann van Bever Charitable Fund Toby & Linda Warson Jay Wilt Charlene Zidell

PRINCIPAL DANCER’S CIRCLE ($1,000–$2,499)

Anonymous Kembe Adam & Jim Hinkley Jen & Don Arancibia Greg & Beth Arntson Patti & Lloyd Babler Barbara & Sidney Bass Maria Borda & Ignacio Giraldo Matthew Boyes & Frederic Koeleman Ryan Bradshaw Nancy & Andy Bryant Alex Carlson Jeff Chase & Patti Warner Fund of The Oregon Community Foundation Justin & Marisol Delaney William Dolan & Suzanne Bromschwig Anton & Raylene Eilers Larry & Deborah Friedman Nancy Frisch Alexandra & Zan Galton Christine Diana Gay Leonard & Yvonne Gionet Rob Goodman Chris Grubb & Carrie Merritt Valarie Grudier & Richard Langdon Beth Harper Kim & Chris Hasle John & Karen Hoke Gretchen Holce Maryanne & David Holman Michael Hummel & Mamie Diaz Hummel Jina Kim & Hyung-Jin Lee Amy & Kevin Kohnstamm Elise Legere & James Mitchell Jerome Magill M. and L. Marks Family Fund of The Oregon Community Foundation Adrienne & Ian McClellan Keith & Kristin McInerney Christina & Cade McNown

Laura S. Meier Laurie & Gilbert Meigs Kirsten & Richard Meneghello Angela & Rob Moneyhan Jeffrey Morgan Margaret & Gordon Noel Jay & McKay Nutt Lori & Mike Russell Miriam Ruth Leslie Ann Sammons-Roth Jinny Shipman & Richard Kaiser Carol & Tom Shults Lisa Sorenson Steve & Michelle Stapp Wendy Lane Stevens & Dr. Jeffrey Stevens Carol Streeter & Harold Goldstein Stephen Sweeney John Thoren Dr. & Mrs. Carl E. Trinca Evans Van Buren & Marsha Warner K. Vorderstrasse Richard Wasserman & Ann Coskey-Wasserman Matt & Jessica Watson Matt Weaver Zela & Elsa

555 SW Oak Street 503.228.1920

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SOLOIST DANCER’S CIRCLE ($500–$999)

Anonymous Susan Thompson Armentrout Susan Bailey & Mike Warwick Natasha Bar Charles G. Barany Tom Bard Pat Behm & Gary Jacobsen Max Birnbach Charity Fund of the Oregon Jewish Community Foundation Melanie Bjorge Jim Blandy Annie & Todd Borus W. “Buzz” Braley, Jr. Charles Brasher & Betty Lavis Kay Bristow Irene & Patrick Burk Drs. James Chan & Jennifer Edman Kyle & Alison Chown Bill Clodfelter & James Canfield

Having been a part of this community for more than 100 years, we’ve learned just how important it is to be involved. Whether it’s planting a tree, reading to a child or proudly supporting the Oregon Ballet Theatre, we’re working to strengthen our community.

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INDIVIDUAL DONORS Margery Cohn Stephanie Copeland & Ken Weber Sandra & Douglas Cress Sue Darrow Grayson & Jack Dempsey Mark Diachok & Jamie Hendrikson Doris Ennis Conrad Eustis & Roberta Kanter Jeanine Fukuda & Kevin Walkush James R. Golden Luisa Adrianzen Guyer & Leigh J. Guyer Karen & Jim Halliday Carl Halvorson Dan Harmon & Jennifer Rabiah Marilyn Heiling Donald Helfgott Susan & Richard Helzer Karen Henell & Gregg McCarty Eva Hosseinion Vince & Michele Howell Pamela Johnston Mary Klein & Francis T. Schneider Barbara LaMack & James Kalvelage Patricia & Rick Kozak Gary S. Leavitt Nancy Lee Mark Lindau Vida & Jonathan Lohnes Gerri & Yorick Lutes Marisa Mack Tom & Lori Malone John F. Mathews Dan & Jackie Moore Doug & Malinda Moore Carol N. Morgan Susan Morgan Steven C. Neighorn Storry Norman & Jack Hollis David & Theresa Nute Susan Olson & Bill Nelson Milo & Beverly Ormseth MajGen Christopher & Rita Owens David & Kelly Park Melissa & Steven Peterman Mike & Rebekah Pettinger

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Janet Plummer & Don Rushmer Davia & Ted Rubenstein Dan Ryan Lynette Sahnow John & June Schumann Diana Scoggins Debbie & Greg Sherwood Jonathan Singer Rosemary G. Southwood Albert & Victoria Starr Sue Stegmiller H. Richard & Pamalynn Steinfeld Jim & Meredith Thompson Misty & Derek Tompoles Minh Tran & Gary Nelson Judith & Gordon Umaki Peter Vennewitz Hans & Naomi Wandel Patrick Weishampel Weiss Fund of The Oregon Community Foundation Angela & Eric Williams Janet Williamson Cynthia A. Yee John & Nancy Zernel

COMPANY ARTIST DANCER’S CIRCLE ($250–$499)

Anonymous Sheryl Acheson Abigail Alford Molly Anderson Paula Arsenault Laura Barber Paul & Pat Benninghoff John Bosshardt & Diana Petty Mark Buser Connie Butler Casey & Lindsey Callinsky Mary Carr Stephanie Celenza & Jeffrey Kinberg Drs. Theresa & Timothy Chen Richard Clucas & Beth Blenz-Clucas Jeremy Cochran Stan Cocke & Heather Kmetz Kent Copeland Terri Cross Susan Cyganiak, In Honor of Selena Steinmetz John & Rocio Deatherage

Jody DeChaine Jeff & Barbara Dickerson Abigail Diedrich Family Mrs. Jing DiPiero Lora Dow Peter W. Edgerton Edward & Marilyn Epstein Charitable Fund Joshua Ferrer Philip Fidler & Jane Cummins Tim Finch & Nariyo Kono Doreen Flores Mr. & Mrs. Patrick Franc Kimberly & Andrew Fromm Morris J. Galen Rebecca Fleischman Sarah & Raul Gomez-Rojas Melissa & Robert Good Helen A. Goodwin Marvin & Barbara Gordon-Lickey Dennis Gould & Quinton Hallett Rebecca Granquist Gail & Irv Handelman Jay Harter & Ken Salaman Antoinette Hatfield Jeanette Heinz Thomas & Verna Hendrickson Celeste Henninger-Lindaman Laurel Anne Hill, In Honor of the Dancing Doctors Beverly Hoeffer Kenneth L. Holford James Holstad Pam & Bob Howard Kathryn Hummel Carolyn Hyde Brianne & Zachary Hyder Angela Irvine Darlyn Jablonski Jonathan & Suzanne Jensen Keith & Jane Johnson Shirley Johnson Becky & Jarrett Jones Molly Jones Kathy Jorda Sanjiv & Cindy Kaul Christina Kellogg & John Gratchner Ryoka Kim Kristan Knapp & Janna Auslam Nancy & Steve Kraushaar Mrs. Joseph A. Labadie

Isis & Mana Lamonte Diane & Greg Landers Mary N. Laughlin Joan Levers & David Manhart Stanley & Joyce Loeb Martha J. Logan Anne Lynch & James Anderson Jackie MacGregor Linda J. Magness Linda L. Mann Earlean Marsh Pamela Matheson Oscar & Mary Mayer Margaret & Robert McMillan Carolyn McMurchie Susan Sammons Meyer & Dennis Meyer Monica & Dale Monroe Denise Mullen Rob Nelson David Nijhawan Keith & Cindi Nobriga Peter & Cassie Northrup Sean O’Neill & Elizabeth Le Lynn Partin & Bill Holmes Jack & Chris Pendleton Carol Peterkort & Richard Gibson Dennis Petrequin Ryan & Sarah Pitman Jodee & Jerry Pittman Judith E. Posey & Edward J. Doyle, MD Alice & Michael Powell Suzanne Rague Celeste Rose Rabbi & Lorraine Rose Miriam & Charles Rosenthal Claire H. Russell Sam Sadler Daniel & Kathleen Saucy Virginia Sewell Ron Seymour & Mary Austin-Seymour Jeremy Shibley & Romalia Stickney-Shibley Robyn Shuey Juss Singh Gary & Lydia Slangan John D. & Pamela Smith Dean Speer & Francis Timlin Bob Speltz Joan B. Strand, In Memory of Buzzy Sammons

Karen Sweet Cindy Thompson & Brett Bender George & Nancy Thorn Drs. R. Bastian & Barbara Wagner Bruce Weber Shawn & Dave West Ann C. Whitehouse Chris & Maria Wilkey Laurie Williams Christina & Jenny Wilson Bruce & Susan Winthrop Mary Ann Wish Linda M. Wood Jack Wussow & Kyle Adams Tamara & Chris Yunker Kurt R. & Heather Zimmer

APPRENTICE DANCER’S CIRCLE ($100–$249)

Anonymous Kathleen Allee Kirby & Amy Allen Rhonda Anderson, In Memory of Janice Kelley Mary A. Andrews Sandra Armstrong Dr. James W. & Mary Ann Asaph Sharla Attey Bryan Averill April Avery Gennaro & Marilyn Manser Avolio Diane Babcock Ruth B. Bach John Bagg Stephen Bardwell Thomas A. & Mary Bartlett Kathleen Bayer Nancy Beck, In Memory of Judy Parsons Nola Becket Janice Belknap Alan & Sherry Bennett Barry & Jacqueline Bennett Naomi & Phillip Beymer Jonathan Bryce Black Richard Botney Candace Bouchard & Adam Lounsbury Joyce Brehm Blaine Brennan

MIND OPENING SINCE 1869

OREGON EPISCOPAL SCHOOL opens students’ minds—intellectually, experientially, and spiritually—thereby unleashing their potential to create a better world. OES is a college preparatory, independent school in southwest Portland serving 870 students from pre-kindergarten through grade 12, including 60 boarding students from around the world in grades 9–12. 6300 SW Nicol Road | Por tland, Oregon 97223 | 503-768-3115 | oes.edu

INDIVIDUAL DONORS Rand & Michelle Bresee Karin Brocksbank Hadley Brooks Kelly & Tommy Brooks Lillian Brown Rick Browning Marianne Buchwalter Maurine & Paul Canarsky Themios & Liz Carabas Tim & Susan Carey Zachary Carroll & Anne Huffington-Carroll CCD/ECB Friends of Doug Parsons, In Memory of Judy Parsons Bob Chamness Sandy Chamness Kenny Chinn Eugenia Chopyk Karlyn & Graham Clark Ilaine Cohen Amber Cole & David Hall Sarah Conde Deniz & Austin Conger

Harriet Cormack Nathan Corser & Kristen Minor Linda Crimshaw Megan Crowhurst Tracy Curtis Eloise Damrosch & Gary Hartnett Arthur & Winnifred Danner Judy Dauble Diane David Wendy & Howard David Dr. & Mrs. Joseph Davids Laurell Davidson Brian & Nancy Davies Shawn Dempewolf & Tom Hamman Niel DePonte Chuck & Patt DeRousie Dagmar Dettinger & Alan Artman Adam & Emily Dew Jerry Dickason Bonny Dickinson

Susan Dixon Jeanette Dreyer Kim Duncan Ruth Edsall Andrew Edwards John Elorriaga Annette Erickson Douglas Ertner Etuk Family Abraham & Pamela Farkas Rochelle Farkas Marjorie Ferry Dr. Harvey Fishman & Keiko Amakawa Tonya Flaming Katie & Brian Flanagan George Fleerlage Genevieve & Bryce Foster Kelly Freuler Theresa Fritchle Jennifer Froistad Sara Gabin Peggy Garcia Julianne Garza

Ray & Joyce Gee Phil & Carole Gilbertson Arthur & Judith Ginsburg Rolf Glerum Gary & Susan Goncher Julie & Dave Gordon Lora & Keith Gordon Barbara Gottschalk J. & Lisa Grab Greater Portland Dachshund Club, In Memory of Hans Grunbaum Brenda Grootendorst Jeanne-Marie Guise & Alex Herzberg Tasca & Paul Gulick Anna & Jeff Haagenson Candace Haines Andy Harris & Ash Evans Ashley Hayden Lisa, Jon & Amalia Held Bryce Helgerson & John Lowe Gina Henderson Shirley Hess

Rebecca Hicks & Greg Kuelgen Christian Hill & Laura Korman Leslie Holder Carol & Tom Hull Jonah Hymes Ida Imus Martha Ireland Angela & Shane Jackson Elizabeth A. Javens David & Peggy Jeans Joanne Jene, MD Linda & Richard Jenkins David C. Jensen Jack B. & Kathy A. Jensen Nils & Kathy Jensen Brian C. Johnson Damien & Katie Jo Johnson Dennis C. Johnson Fletcher & Ellin Johnson Linda & Paul Johnson Katelin Johnstun Jones Easton Family Rebecca Jury

Stories Start Here

Building Community Through Still & Motion Photography

A Renaissance School of Arts & Sciences

ENROLLING K–8 0234 SW Bancroft Ave | PDX

www.renpdx.org

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WEB > prophotosupply.com • STORE > 1112 NW 19th Ave. | 503-241-1112 RENTAL > 1801 NW Northrup St. | 503-517-3637 • PHOTO LAB > 1815 NW Northrup St. | 503-517-3639

Marcia Kahn Megan Kavanaugh Marla Kazell Cristina Keefer Arthur & Kristine Keil Jean A. Kimsey Belinda & Frederick Kinyon Erin Kirby Maria & Eric Kluherz Meredith Koivisto Sophia Kremidas David & Mary Krug Sean & Naoko Krug Leonard Kuhl Carol La Brie Sharon LaCroix Veronique LaFont Sloane Lamb Nancy LaPaglia & Stephen Slusarski A.M. LaVey Donald Lawton Romani Lay & Neville Wellman

Matt Levin Nolan Lienhart Greg & Kim Lind Carole E. Lindell-Ross Alice Lloyd Fred Locke Bill & Kate Lockwood Alex Logue Hugo Carey Long Henry Louderbough Kenneth Love Marcy & Richard Lowy Diane & Tom Macdonald Kate Machell Christine L. Mackert, MD The Mansell Family Bel-Ami & Mark Margoles, In Honor of Hanan & Kayla Phillip Margolin Eileen Markson Susan Marmaduke Antonio M. & Demaris M. Martinez Steven Master

Amy Matson Justin Maupin Amy Maxwell Dennis & Molly McCarty Margaret McConnell & Robert Griner Dr. Louis & Judy McCraw Linda L. McCullough McKenzie McDill Cheryl McDowell Dorothy A. McGregor Kathy McGrew Rico & Malcolm McIver John & Candace McMunn Katelyn Meithof Elizabeth J. Melching Josie Mendoza & Hugh Mackworth Chena Mesling & Jonathan Rhodes Elise Meyers Janelle Meyers & Mark Brundage Tony Mix

Barbara Modey Cynthia Capps Morgan Patricia Moss Martin Muller P & I Munro Sarah & Richard Munro Brittany & Corey Murry Will Naito Shakir Najieb Beth & Charlie Nance Todd & Crystal Neal Karen & Bob Nelles Rose Neyman Alexander Nimri Hollie & Scott Nine Robert Olds Kris Oliveira Liz & Tracy Olsen Madeline Olson Molly O’Neill, Vicki Threlfall & Tess O’Neill Paula Ousley Rev. Dr. Rodney & Sandi Page

Joan Paglin Tracey Palmer Veronica Paracchini Lanetta Paul Mark & Dorianne Paul Beth Paxson Alec Pemberton Thomas & Jane Pence Denise & Adam Pener Anne Frances Penfound Karen Perzanowski Marilyn & Gaynor Petrequin Sara Pickett Charles & Ruth Poindexter J. Scott Pritchard Karen Prohaska Brian & Carver Pugh, In Memory of Judy Parsons William Ramirez & Roberta Staff Dick & Mary Raub, In Honor of Marianne Raub Julie Rawson Denise Reed

2019 SUMMER PROGRAMS PRE-BALLET/PRIMARY JUNIOR INTENSIVES

PRE-POINTE WORKSHOP

PORTLAND + WEST LINN STUDIO JULY 1-26

PORTLAND STUDIO AUGUST 12-22

AGES

3-7

WEST LINN STUDIO JULY 1-12 JULY 15-26 JULY 29-AUGUST 9

AGES

10+

Photo by Natalie Behring

Photo by Jingzi Zhao

OPEN CLASSES AUG 12-22 | SCHOOL.OBT.ORG | 503.227.6890 | SCHOOLOFOBT@OBT.ORG

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INDIVIDUAL DONORS

A world premiere musical!

MAR 2-APR 14, 2019 503.228.9571 • octc.org Recommended for all ages

Photo by Owen Carey

by Drew Daywalt • Illustrated by Adam Rex • Adapted for the stage by John Maclay • Music & Lyrics by Eric Nordin

KISS by Guillermo Calderón March 15-April 6, 2019 Third Rail at CoHo Theatre • 2257 NW Raleigh St, Portland Purchase your tickets today at www.thirdrailrep.org or call 503-235-1101.

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Kristtine Reedy, In Honor of Abigail Reedy W.W. “Clyde” Reid Judy Renzema Lindsay Reynolds & Zack Manning Sara & Charles Rice Martha & David Richards Edward & Katherine Richman Nancy Richmond & Bill Hughes Betsy & Norm Rickles Mrs. R.D. Riggs Judith Rimbey David Ritchie & LaJean Humphries Dr. & Mrs. Hector M. Rodriguez Alison Roper Rosemarie F. Rosenfeld Catherine Rote Michael S. Parker Sagun & Dennis J. Sagun Parker Karen Salman & Gary McCune Dima Sammour Kevin Sasse David & Julie Sauer Rick & Sharon Schaefer Brand Schlesinger & Victoria Geil Mark & Patti Schlesinger Daniel Schmidt Robert E. Schneider, PhD Clifford Schrock Bill Scott & Kate Thompson Kim Scott-Olson Cynthia Shafer Barbara & Jack Shannon Victoria & Colin Shepard Carol Sherbenou Freda Sherburne Karen Sherman Mary Shibley & Dale Voeller Donna & Sascha Siekmann Heather Simmonds Bridget & Jeff Sippel Gerald Skeels Katie Slick Margaret Smith & Jeff Littman David, Emily and Jonah Sokoloff Patricia A. Southard John Spencer Tina Spencer Donald C. Springer Denise Stewart Sam & Patty Stiles Elizabeth & Leslie Stoessl Julie Sullivan Gary Taliaferro Susan & Bahram Tavakolian

“A COMPANY OF SLICK, SKILLED DANCERS” Sabrina Teays Jeri Tess Vicki Thomas Jan Elizabeth Thorpe Judy Threefoot & Bill Schumann David Tillett Marc Tobin Lyle M. Tucker Bob & Nancy Ullrich Cindy L. Ulrich Mimi Underwood Angela M. Vaandering Alberto Vaca Martinez Amy Van Hook Rob & Rachael Vidin Jon Vorderstrasse Les Vuylsteke Patricia & James Walker Barbara Walsh Christine Warden Douglas Watson Maureen & Frederick G. Wearn Duane & Cynthia Weaver Colin Michael Webert Ruth Welch Jack & Paula Wells Judy Werner Colleen Westphal Sonya & Thayer White Anthony & Marianne Wilcox Brooke Willcox-Jones Holly & Kenneth Williams Lou & Lisa Williams Julie Wilson Jacob Winkler Jordan Winkler April Wirtz & Evan Wang Lisa Wish George Wittemyer Constance Wood Randy & Rebecca Woods Gail Woolf Fran & Mike Woolsey Stu Oken & Laura Wozniak Judith B. Wunderlich Doreen Wynja Collette Yamaguchi & Tom Napier Gary P. Yencich Sarah Zahn Evyn C. Zell Janet & Alan Zell Irene Zenev Jichuan Zhao Jean Zondervan & Terry Proctor

– THE NEW YORKER

TR IP T HE

LIGHT

FA N TA S T I C

THU FEB 28 + FRI MAR 1 PERFORMANCE SAT MAR 2 RED CARPET GALA PERFORMANCE TABLES + TICKETS AVAILABLE NOW

TICKETS

NWDANCEPROJECT.ORG 503.828.8285 EXPENSIFY LIMITED AUDIENCE CAPACITY THESE SPECIAL SHOWS WILL SELL OUT

MEDIA SPONSOR West Portland Physical Therapy Clinic LLC

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COMMUNITY CORPS DE BALLET

GIFTS OF $100,000 & UP

Painting image courtesy of the artist Mark Ryden

Artwork Capture High-Res Scanning Portfolio Printing Exhibition Printing Large Format Printing Exhibition Mounting 2505 SE 11th Ave #104 PDX 97202 503 224 5925 www.pushdotstudio.com

Gallery & Custom Fine Art Print Studio

Elizabeth Pownall Swindells Family Fund of The Oregon Community Foundation The Harold & Arlene Schnitzer CARE Foundation James F. & Marion L. Miller Foundation The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County and the Arts Education and Access Fund

GIFTS OF $50,000–$99,999 Barran Liebman LLP* Meyer Memorial Trust Roy & Diane Marvin Fund of The Oregon Community Foundation The Shubert Foundation West Portland Physical Therapy Clinic*

GIFTS OF $25,000–$49,999 Clark Foundation ESCO Foundation Fred W. Fields Fund of The Oregon Community Foundation Hedinger Family Foundation Henry Lea Hillman, Jr. Foundation Oregon Arts Commission, a state agency PCC Structurals, Inc. Rose E. Tucker Charitable Trust Russell Development/ 200 Market Street* Scan Design Foundation by Inger & Jens Bruun The Swigert Warren Foundation Willard L. & Ruth P. Eccles Foundation

GIFTS OF $10,000–$24,999 JAN 4 - FEB 3 VILLAINOUS SHAKESPEAREAN AMBITION FOR THE HIGH SCHOOL SET

JAN 27 - MAR 3 DON’T MISS THE BROADWAY HIT WHEN IT COMES TO PORTLAND!

5 0 3 . 24 1 .1 2 78 • a r t i s t s r e p . o r g • 1 5 1 5 S W M o r r i s o n S t .

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Accenture Artslandia* The Boeing Company Cascadia Foundation Dorothea M. Lensch Fund of The Oregon Community Foundation Hampton Family Foundation of The Oregon Community Foundation

Recognizing gifts received through January 1, 2019

Four Last Things

by Lisa Tierney-Keogh

Jackson Foundation Jerome Robbins Foundation National Endowment for the Arts Northwest Natural Gas PGE Foundation Schlesinger Family Foundation The Standard Starseed Foundation U.S. Bank Foundation Wells Fargo Bank

GIFTS OF $5,000–$9,999 Agger Chiropractic & Nutrition Clinic* American Medical Concept Auditorium Garage* The Batrakova Law Office* Crystal Lilies* First Republic Bank Freed of London Goldman Sachs & Co. Juan Young Trust Jonathan Lohnes, LMT* Markowitz Herbold Morel Ink PosterGarden* Stoel Rives LLP

GIFTS OF $2,000–$4,999 Alaska Airlines* Dr. Seth Alley* Bridgetown Chiropractic & Wellness Portland Clinic* Buckley Law P.C. City Wide of Portland Cushman & Wakefield Abby Drinkard, LAc* Elephants Delicatessen* GamePlan Gentle Care Chiropractic* Catherine M. Gurski, ND, MSOM, LAc* Hotel Modera* Ivey Jacobson & Company CPAs John & Ginger Niemeyer Foundation Killian Pacific Leupold & Stevens Foundation LM Wine Co.* Mark Spencer Hotel*

Nel Centro* Oregon Chorale* Peddecord Photo* Portland’5 Centers for the Arts Portland Art Museum* Pro Photo Supply* Robert F. Ratzow, DC* Residence Inn Portland Downtown/ Riverplace* Solaris Bodyworks, Inc.* ThomCorp Town Car* Twelve Wine* Unitus Community Credit Union Utopia Vineyard* Wells Fargo Foundation Winkler Development Corporation Wintz Family Foundation

GIFTS OF $1,000–$1,999 Emily Bartha, LAc* Boundless Health & Wellness* Broder Söder* Coopers Hall* Dossier Dream Hollywood Hotel* The Fremarch Foundation Garden Vineyards* L&L Investment Partners Longbottom Coffee & Tea* Maitri Therapeutic Massage* Aaron Meyer, Concert Rock Violinist* New Deal Distillery* New Heights Physical Therapy Plus* Pabst Brewing Company Pacific Cascade Towncar* Star Park Therapeutic Associates North Portland Physical Therapy/PACE* Meredith Thompson, MS, PT* Vista Capital Partners Yvonne Vleer, Kinesiologist, LMT*

GIFTS UNDER $1,000 Ashland Springs Hotel* The Aspire Project Barrier Pest Control Breakside Brewery* Clipper Magazine* Elmer’s Restaurants

First Interstate Bank First Interstate BancSystem Foundation Inland Electric, Inc. Intel Charitable Match Trust King Charitable Foundation Maryhill Winery* Monique’s Boutique OHSU March Wellness & Fitness Center* OMSI* Opsis Architecture LLP The Oregon Historical Society* Oregon Shakespeare Festival* Oregon Symphony* Portland Center Stage* Redhawk Vineyard & Winery* Rose City Ballet School Skamania Lodge* Slope & Stone Engineering Studio Blue* Watson Creative Yamhill Valley Vineyards*

Directed by Gemma Whelan with Alexandria Casteele, Jacklyn Maddux, and Ted Rooney

Feb 1–24, 2019

Thu–Sat 7:30pm Sun 2pm

at New Expressive Works 810 SE Belmont St, Portland

Use code “Artslandia” for $3 off Contemporary Irish theatre

corribtheatre.org

Jan Baross

MATCHING GIFT CORPORATIONS AmazonSmile Foundation Autodesk Foundation Employee Engagement Fund The Boeing Company Cambia Health Foundation Give With Liberty Google, Inc. Harsch Investment Properties Intel Kroger Rewards Mentor Graphics Foundation NIKE, Inc. Northwest Natural Gas Pacific Power Foundation Pfizer Foundation PGE Company The Standard TE Connectivity Employee Charitable Match Program Umpqua Bank U.S. Bank Verizon Employee Engagement

* Indicates in-kind contribution to OBT ARTSLANDIA.COM

IN-KIND SUPPORT ®

ALLEGRO SOCIETY WEST PORTLAND PHYSICAL THERAPY

Trade Show & Event Displays www.PosterGarden.com | 800.707.0204

Katherine B. McCoy, PT, MTC M. Lena Thieme, PT, MPT Elizabeth Franklin, PT, LMT Patricia Koehler, PT, WCS Christine Krueger, PT Laura Luitje, PT, DPT, LMT Amanda Swearingen, PT, DPT, PRPC Morgan Boyd, PTA Ann Marie Cordova, PTA Lorelei Martin, PTA Shalynn Robinette, PTA, CES Bonnie Vaniea, PTA

AGGER CHIROPRACTIC & NUTRITION CLINIC Simon J. Agger, DC

ANNA YARZAK, PT, DPT BLUE OX ATHLETICS Scott Hagnas

Clinics & healthcare professionals who preserve the health & well-being of Oregon Ballet Theatre’s dancers

BRIDGETOWN CHIROPRACTIC & WELLNESS Jacob May, DC Melody Johnson, LMT

OHSU MARCH WELLNESS & FITNESS CENTER POHALA CLINIC

Julie E. Foster, FNP

CATHERINE M. GURSKI, ND, MSOM, LAC

ROBERT F. RATZOW, DC

DAVID HILL, MD

SOLARIS BODYWORKS, INC.

GENTLE CARE CHIROPRACTIC Amanda Tipton, DC

JONATHAN LOHNES, LMT KATHARINE ZELLER, MD MEND PHYSICAL THERAPY

Nadia Chopra, PT, DPT, OCS, COMT

MEREDITH THOMPSON, MS, PT NEW HEIGHTS PHYSICAL THERAPY PLUS

Neissan Saber, LMT

SYLVAN CHIROPRACTIC CLINIC & WELLNESS CENTER

Seth Alley, DC, CCSP, CKTP

THERAPEUTIC ASSOCIATES FOREST GROVE PHYSICAL THERAPY

E. Anne Patron, PT, DPT

TURNING POINTE ACUPUNCTURE

Emily Bartha, LAc

Liz Ruegg, PT, DPT Amy Werner, PT, DPT

RÉVÉRENCE CIRCLE Robert Aughenbaugh Brent Barton & Liz Fuller Pamela Jane Benso Pat Berg Dan Bergsvik & Don Hastler Linda Besant & Martha Goetsch David & Elaine Brown Debi Coleman Nathan Conn William Dolan & Suzanne Bromschwig Karen & Bill Early Peter W. Edgerton 40

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Marilyn & Hans Grunbaum Charles L. Jones Belinda & Frederick Kinyon Diane Knudsen Perry Lee Dr. Dolores Leon & Dr. Fernando Leon Derek & Lydia Lipman Martha J. Logan Marna McComb Kirsten & Richard Meneghello Brad & Nancy Miller Sharon & Adam Mirarchi

In recognition of those who have included OBT in their estate plan Carol N. Morgan Virginia Nelson Suzann & Dennis Ott Rev. Dr. Rodney & Sandi Page Jane S. Partridge Dick & Mary Raub Marilyn L. Rudin, MD & Richard S. Testut, Jr. Anne Stevenson Carol Streeter & Harold Goldstein David Wardell, In Memoriam David E. Wedge, In Memoriam

2018/19 Shows you won’t want to miss!

VALENTINE’S DAY WITH SMOKEY ROBINSON THURSDAY, FEBRUARY 14, 7:30 PM

Norman Huynh, conductor The Motown legend performs his greatest hits – “The Tracks of My Tears,” “Ooo Baby Baby,” “You’ve Really Got a Hold on Me,” and many more. What a way to thrill your sweetheart on the most romantic night of the year!

HARRY POTTER AND THE PRISONER OF AZKABAN™ IN CONCERT SATURDAY, FEBRUARY 16, 7:30 PM SUNDAY, FEBRUARY 17, 2PM & 7:30 PM

Justin Freer, conductor Relive the magic of your favorite wizard in Harry Potter and the Prisoner of Azkaban™ in Concert. Based on the third installment of J.K. Rowling’s classic saga, fans of all ages can now experience the thrilling tale accompanied by live music from the Oregon Symphony orchestra as Harry soars across the big screen. HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s18)

PABLO VILLEGAS SATURDAY, MARCH 16, 7:30 PM SUNDAY, MARCH 17, 7:30 PM MONDAY, MARCH 18, 7:30 PM

Carlos Kalmar, conductor • Pablo Sáinz Villegas, guitar Brahms: Serenade No. 1 • Stephen Goss: The Albéniz Concerto Turina: Danzas fantásticas Brilliant, passionate, and abundantly charismatic, Pablo Sáinz Villegas never fails to make audiences jump to their feet. Known as “the soul of Spanish guitar,” the superstar returns to perform music inspired by the great Iberian composer Isaac Albéniz.

orsymphony.org 503-228-1353 your official source for symphony tickets MOVING MUSIC FORWARD artslandia_full_Smokey-Potter-Pablo.indd 1

10/31/18 3:05 PM

ART DEPARTMENT: UNTITLED

HAYDEN SENTER’S UNTITLED SURREALIST MURAL brings us a lone house in a clearing against a backdrop of a pink-patterned sky. Surrounding the clearing is a jungle of beautifully lush foliage. In art, houses often symbolize comfort and stability, and while the bright light from within and the open door of this house seem inviting, a tangle of roots exploding out the side wall tells another story. The artist shares, “I was focused on a few ideas. It seemed important to reflect some of the surrounding neighborhood within the painting but also touch on ideas of permanence and the inherent ephemerality that go along with it. I tried to keep the palette saturated and bright to create an entry point for passersby. Hopefully, this way, people interested in the mural will come to their own conclusions about its meaning by navigating the image itself.” Ultimately, the work is an invitation to consider the rapid and dramatic transformation of Portland neighborhoods and social fabric. “Creating a reflection of these changes, the mural acts as a catalyst for new thought on what’s happening,” according to the Regional Arts & Culture Council, which funded the work along with private funds. “With growth comes change, both positive and negative, as well as a separation from what used to be.” Created in 2018, the mural of acrylic on concrete spans 15 by 50 feet.

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Know where this mural is located? Email the address to submit@artslandia.com with “Art Dept” as the subject for the chance to win an Artslandia Box.

Congratulations to Kaliska Day, winner of the Art Dept contest for the Keller Auditorium Mural by Una Kim. Enjoy your Artslandia Box, Kaliska!

#ARTSLANDIAWASHERE @jess_pdx

Just watched #senseandsensibility at @portlandcenterstage. It’s a wildly hilarious play, and I’d highly recommend seeing it if you get the chance! #ArtslandiaWasHere #pdx

@ashleypeavey

The boys had the best time at @octportland for Naked Mole Rat Gets Dressed ! If you are local to the Portland area, do not miss out on this show! Graydon and Beckett are already asking when the next performance is! #ArtslandiaWasHere #theaterkids

@garnishapparel

What a blast we had styling Artistic Director Sarah Slipper and Lead Dancer Andrea Parson for @nwdanceproject. Photographer @gia.goodrich is a magician behind the lens. #ArtslandiaWasHere #pdxfashion #madeinportland

WHERE BOYS LOVE TO DANCE

Offering Physical Literacy at its Finest

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Open Enrollment – Sign Up Today!

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Photo by Jingzi Zhao

BOYS ’ /MEN’S Dedicated Programming

AN EXCERPT FROM:

Tiny Beautiful Things Author, Cheryl Strayed Susannah: What makes you feel whole in your life?

CHERYL STRAYED

and I feel myself looking at my life and assessing. I have stayed the same in some ways and changed in others. My kids are now teenagers. I’m now in middle age. All of these things are shifting around, and I have to make choices based on that. That wholeness that I felt when I was 42 gets a little fractured, and then I have to become a whole again. I’m working on that now.

Cheryl: Wholeness isn’t a state of being that you arrive at, and then you’re good to go for the rest of your life. I always have to reassess. It’s a really interesting evolution to stay awake to who you are in every era of your life. I just turned 50, This podcast transcript has been edited for print.

@artslandia

Artslandia Magazine

/artslandia

The beloved Portland author’s four books include her #1 New York Times bestselling memoir, Wild. A stage adaption of Tiny Beautiful Things, another best-seller that originated with her Dear Sugar advice column, will be presented by Portland Center Stage at The Armory, February 23–March 31.

SUBSCRIBE TO THE PODCAST ON ITUNES OR GOOGLE PLAY. Have an Adventure in Artslandia? Email smars@artslandia.com!

LANGUAGE IMMERSION │ INTERNATIONAL BACCALAUREATE (IB) │ PRESCHOOL - 8 th GRADE

Do you want your child to develop the foundation of lifelong skills to succeed in a global, interconnected world? Discover why families believe the future starts at FAIS: the longest-established language immersion school in Portland— and the only IB school in Portland for preschool-8th grade.

JOIN US FOR AN OPEN HOUSE—OR SCHEDULE A CAMPUS VISIT! LOWER SCHOOL (PS-5th, French immersion): January 18, 9 am MIDDLE SCHOOL (6th-8th, multiple language tracks): January 9, 6:30 pm Final Middle School open house of the year!

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THEN & NOW Steel Bridge

1912

Steel Bridge, Org. Lot 1017, OrHi 54434, ba011760.

2019

Photo by Kristen Seidman.

IN CELEBRATION of recent industrial process innovations, the second span across the Willamette River (and the first for rail passage) took its name from its newly viable construction material: steel. Completed in 1888, the original Steel Bridge was a double-deck swing-span bridge, meaning the center span pivoted open for boat passage. However, for several reasons, the structure became obsolete in only 24 years, necessitating a replacement in 1912. The new bridge, which is still in use today, retained the moniker and double-deck design of its predecessor. Car, bus, light rail, bike, and pedestrian traffic travel on the upper deck, while heavy rail rumbles across the bottom. In 2001, a cantilevered sidewalk added to the lower deck provided a safer option for bike and foot traffic. The telescoping vertical lift system — in which the lower span can raise independently of the top, or both can lift together to allow for greater clearance — is the only one of its kind in the world. Renovations over the decades have updated the approaches to suit surrounding urban development, but the original steel structure remains. A 2017 analysis declaring the bridge “structurally deficient” suggests that major rehabilitation or renovation is needed. .

Historic photographs for this series are provided by the Oregon Historical Society, a museum, research library, archive, and scholarly asset located in the heart of Portland’s Cultural District. View more photos of historic Portland on the new OHS Digital Collections website at digitalcollections.ohs.org/portland-cityscapes.

Have an anecdote or old school photograph of the Steel Bridge? Post it! Don’t forget to tag #Artslandia and #ThenAndNow.

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www.WillametteValleyVineyards.com 8800 Enchanted Way SE · Turner, OR 97392 · 503-588-9463 · info@wvv.com Jim Bernau, Founder/Winegrower