Director's Choice - Oregon Ballet Theatre by Artslandia

DIRECTOR’S CHOICE ®

APRIL 11  14, 2019 | NEWMARK THEATRE

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DIRECTOR’S CHOICE 9

LETTER FROM THE ARTISTIC DIRECTOR Kevin Irving welcomes audiences to Director’s Choice, a collection of rich and varied “hits.”

10 CHAUNCEY PARSONS: IN TRIBUTE

The gifted principal dancer looks back on his career and what comes next.

14 NOT LOST IN TRANSLATION: DANCING ACROSS STYLES OBT dancers master versatility, making for a varied season.

16 DIRECTOR’S CHOICE Chauncey Parsons and OBT dancers in Giants Before Us. Photo by Blaine Truitt Covert.

Five ballets celebrate the vigor of contemporary choreography.

42 THEN & NOW: APRIL 11  14, 2019 | NEWMARK THEATRE

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LETTER FROM THE ARTISTIC DIRECTOR

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

Photo by Michael Slobodian

THANK YOU! When I was growing up, it was common for successful musicians to release “Greatest Hits” albums, made up of Billboard top-ten singles released over a period of time. This was definitely in the back of my mind as I prepared to create Oregon Ballet Theatre’s first Director’s Choice program. I wanted to put together some real “hits” of the recent past that would make for a fantastic evening of dance. This Director’s Choice program, importantly, includes work created for OBT; both Giants Before Us and BringingOutsideIn were the result of choreographers working directly with our dancers. Another interesting aspect to this compilation is the shared connection between the creators of the program. Choreographers Gioconda Barbuto and Nicolo Fonte were both in the same elite group of dancers — together with yours truly — to learn Jardí Tancat directly from a then little-known Spanish choreographer named Nacho Duato when we were all dancers in Les Grands Ballets Canadiens in Montréal. Fonte later went on to dance with Duato’s Compañía Nacional de Danza — which is where he began to choreograph — and Barbuto later joined forces with Nederlands Dans Theater III, working with Duato’s mentor Jiří Kylián. So, this program is also somewhat of a family affair. Every professional dancer knows from their first steps on stage that the day will come when they will take a final bow and bid adieu to a life that has encompassed extraordinary dedication, sacrifice, and a large measure of physical — and often emotional — strain. If one is lucky, they can look back at the glory and triumph of a prolific career in dance. With this program we honor the celebrated 11-year career of one of OBT’s most charismatic and best-loved performers, Chauncey Parsons, who has personified devotion to the craft. To say that Chauncey’s personality and fiery performances will be missed at OBT is a big understatement! The solo Love from Vital Sensations was created for Chauncey at the very beginning of his dance career by our good friend Darrell Grand Moultrie. Please join us in wishing Chauncey the best in the next phase of his professional life and thanking him for all of his wonderful performances over 11 years with OBT.

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This lesson, so to speak, on the passing of time, on beginnings, endings, renewals, and celebrating hits is at the heart of another work on my mind as I write — Nicolo Fonte’s Beautiful Decay, which returns next year at this time as part of our 30 th Anniversary Season. It is just one of five incredible productions we have in store for you, our loyal audience, for our 2019–2020 season in a list of performances that includes the boldest bold-faced names in dance, the artists that have shaped your ballet company over the past 30 seasons, and those who will shape our future. Please make sure to find out more about this spectacular seasonlong celebration while you are here. In the meantime, enjoy the rich and varied “hits” of Director’s Choice.

Kevin Irving Artistic Director, Oregon Ballet Theatre ARTSLANDIA.COM

FEATURE

CHAUNCEY PARSONS: IN TRIBUTE BY GAVIN LARSEN

Chauncey Parsons in Prodigal Son (2013). Photo by Brook Manning.

“ULTIMATELY WHAT MATTERS IS NOT WHETHER YOUR TECHNIQUE IS ANY GOOD, IT’S WHETHER YOU CREATE A HUMAN CONNECTION WITH YOUR AUDIENCE. I WANT TO HELP THEM EXPERIENCE THE IDEAS I’M TRYING TO CONVEY.” —CHAUNCEY PARSONS. “IT’S BEEN THE YEARS OF YEARS.” So starts off my conversation with Oregon Ballet Theatre’s beloved Principal Dancer Chauncey Parsons, who steps off the stage at the conclusion of the Director’s Choice program on April 14. Throughout his 11 years with the company, Parsons has done many remarkable things: defied typecasting through his stellar performances in a range of ballets from uber-classical to all-out modern; captivated audiences with his boundless energy, pinpoint>>>

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FEATURE

Chauncey Parsons in Giselle (2012). Photo by Blaine Truitt Covert.

“I’VE DONE IT FOUR TIMES, AND EVERY TIME I DIG INTO IT, THE BETTER IT GETS.” —CHAUNCEY PARSONS ON PERFORMING IN GISELLE.

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FEATURE

Chauncey Parsons and Alison Roper in George Balanchine’s Apollo (2007). Photo by Blaine Truitt Covert.

Chauncey Parsons performs in Don Quixote at Colorado Ballet (2003).

<<< precise turns and jumps; and set His training at the Kirov Academy of you doing with your hands to indicate the very high bar for textbook-worthy Ballet (the U.S. arm of the legendary your heart? At the time, I wasn’t really in technique — particularly inspiring to Vaganova Choreographic Institute in a place to understand depth, but it was the male students of Oregon Ballet St. Petersburg, Russia) drilled correct at the root of how he presented all the Theatre’s School as well as his col- form into his near-perfect ballet body. material he taught. And, later in my caleagues in the company. But perhaps But one of his teachers there, Vladimir reer, I realized that he had really taught what endears us most to Parsons — Djouloukhadze, emphasized that be- me how to dance.” what makes us feel connected to him coming a good — or great — dancer The springboard he leapt from landed whether as a colleague, student, or required more than looking the part. Parsons at Colorado delighted viewer from Ballet, where he soon across the footlights found himself handed — is hard to put your a chance — through finger on. It’s a sense another dancer’s injury of relatability: here’s — to prove he was more extraordinary ability on than the self-described dazzling display, but we “scrawny little kid with see — and feel — that some talent and techthe man inside those efnique and good trainfortless double tours en ing” when he landed l’air is saying something the male lead role in else. It may seem as if —CHAUNCEY PARSONS Don Quixote. Parsons those endless pirouettes, says his coach at Colostopping on a dime, could only be gen- “Vladimir was the one who really gave rado Ballet, Meelis Pakri, was responerated by a machine. But for Parsons, me the springboard to get me to be able sible for pushing him to the next level. catching eyes through impressive feats to do what I can do,” Parsons recalls. “His big thing was always clarity, but “Meelis and my partner in Don Quixote is only a way to capture souls. also substance in your dancing. What is spent hours working with me,” he recalls. “I was always a very technical dancer,” it you’re actually trying to say? What are “They pretty much taught me to partner he says.

“WHAT I’M LOOKING FORWARD TO IS HELPING PEOPLE DO WHAT THEY DO, BETTER, WHETHER IT’S THROUGH TEACHING OR BALLET MASTERING OR SOMETHING ELSE IN OR OUTSIDE THE ART FORM. IF I CAN FIND A WAY TO DO THAT, I’M REALLY LOOKING FORWARD TO THAT.”

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FEATURE from the ground up. It could have gone Stowell, and OBT Resident Choreograa lot of different ways — if Meelis didn’t pher Nicolo Fonte. want to bother working with me, I probThe inevitable event of a dancer’s reably would have been a soloist for the tirement is something we all — dancers, rest of my life. And at that point, that’s coaches, audiences — grapple with. It how I saw myself. But he invested so seems so wrong to leave at the peak of much in me. Don Quixote ended up beone’s powers, but there are many invising my breakout role, and at the end of ible reasons a dancer decides to stop the season I was promoted to principal.” performing. The physical and emoOne could say that that was actually tional responsibility grows heavy, while just the beginning, as Parsons’ career curiosity about what else a person is only broadened further with his arrival capable of grows strong.

Chauncey Parsons and Alison Roper shattered boundaries in Petrouchka/Carmen (2011). Photo by Blaine Truitt Covert.

found it quite rewarding,” Parsons says. He says he likely will continue working with OBT2 and OBT School, but is also thinking beyond the boundaries he’s known his entire life.

at OBT in 2008. Parsons auditioned for Parsons says that his body is ready to OBT on a whim — just for an excuse to “not hurt every day” — he’s been dogged hang out with his brother, Colby, who by back, shoulder, and ankle injuries — was attending an open audition in New and when he was out of commission for York. Parsons got the job first, but Colby shoulder surgery two years ago, he felt “I have complicated feelings about everything that’s defined me up to this point followed along in 2014. a spark when he picked up some work coming to an end,” he says. “But I feel teaching in OBT School. His favorite role? Albrecht in Giselle, ready. What I’m looking forward to is hands down (“I’ve done it four times, “If you’d asked me five or ten years ago helping people do what they do, better, and every time I dig into it, the better if I would ever want to be a ballet teach- whether it’s through teaching or ballet it gets”), but running close behind are er, I’d have said, ‘hell no!’ But I realized mastering or something else in or outworks by George Balanchine, former my lineage of education was important side the art form. If I can find a way to do OPB_OBT_DirectorsChoice3-1-19.pdf 2/28/19 10:18 AM OBT Artistic Director Christopher1 to pass on to upcoming dancers, and I that, I’m really looking forward to that.”

CMY

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FEATURE

NOT LOST IN TRANSLATION: DANCING ACROSS STYLES OREGON BALLET THEATRE DANCERS DEMONSTRATE VERSATILITY BY GAVIN LARSEN

Chauncey Parsons and Xuan Cheng in the United States full-production premiere of August Bournonville’s Napoli (2018). Photo by Jingzi Zhao.

VERSATILITY, a dance buzzword, is an essential capability for any professional dancer in the 2019 dance world. Yet, true ease across a vast field of dance styles is extraordinarily rare. When you see a dance company’s season that includes everything from the pulled-up classicism of Bournonville to the speed and stretch of Balanchine, the full-bodied earthen rhythms of Duato (danced barefoot, no less) to the jazzy and theatrical modernism of Fonte, you wonder how dancers can possibly be so fluent in each language of move-

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Xuan Cheng and Michael Linsmeier performing Makino Hayashi’s world premiere What do you see... from Closer (2018). Photo by Randall Lee Milstein.

ment. But watching the performances, you forget they were brought up on — and continue to train every day in — the upright posture and turned out legs of purely classical ballet. So how is this versatility mastered? By the time dancers seek a place in a professional ballet company, they are expected to already be able to nimbly switch gears from one style to the next, whether or not they’ve had much formal training in whatever “next” may be. The trick may lie, actually, in a solid classical foundation.

Classical ballet trains a student’s aural, visual, and kinetic skills and emphasizes precision, balance, flexibility, and strength. From the very beginning, exercises build coordination and movement fluidity — becoming more complex in weight shifting and dynamic musicality as a dancer advances. Good training also forces a dancer to think: how to absorb every piece of verbal instruction and apply it to their own body — “translating” the words into physical shape. They, thereby, learn to be sponge-like and adaptable. In the advanced class lev-

FEATURE els, nothing is off the table — dancers know to expect combinations that challenge what they’ve already learned (pirouettes without the usual preparation, jumps with syncopated timing, steps from different families strung together and done backwards), and that failure is not trying. You see, to be a good dancer — and, especially, a great one — there has to exist a balance between mental and physical talent. The physical part is developed through routine. Routine develops confidence. Confidence empowers bravery in the face of new, unfamiliar encounters. From there, mental talent has surely grown strong enough to take on correction, use skills from the past, and adapt. So, as you watch the eclectic combination of dances on stage today in Director’s Choice, consider this: it’s not necessarily a dancer’s expert familiarity with any one style that’s captivating. It’s their ability to bravely embrace the challenge of newness, build on their foundation without clinging to it, and use every aspect of experience to dance with clarity, emotion, and honesty.

OBT Soloist Eva Burton in Septime Webre’s ALICE (in wonderland) (2018). Photo by Yi Yin.

CLASSICAL BALLET TRAINS A STUDENT’S AURAL, VISUAL, AND KINETIC SKILLS AND EMPHASIZES PRECISION, BALANCE, FLEXIBILITY, AND STRENGTH. OBT dancers Colby Parsons and Chauncey Parsons in OBT’s performance of Nicolo Fonte’s Never Stop Falling (in Love) with Pink Martini (2017). Photo by Emily Nash.

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TODAY’S PROGRAM

PRESENTS

DIRECTOR’S CHOICE Presto CHOREOGRAPHY: Nicolo Fonte MUSIC: Ezio Bosso, “Presto, You Are Mine!” COSTUME DESIGN: David Heuvel LIGHTING DESIGN: Michael Mazzola BALLET MASTER: Jeffrey Stanton WORLD PREMIERE: October 6, 2013; Ballet West; Auditorium Theatre

of Roosevelt University; Chicago, Illinois

OBT PREMIERE: April 16, 2015; Newmark Theatre; Portland, Oregon

NOTES: Resident Choreographer Nicolo Fonte’s Presto has been described as “a short trip in a very fast machine.” At a mere nine minutes, Presto is a riveting burst of energy, inspired by the high adrenaline muscularity of ego demanding attention. In an edgy, passionate quartet, the dancers must not only be fearless and confident in themselves, but also committed to the group as they hang onto, lean into, and support each other. As soon as it’s over, you’ll want to press replay and see it again.

— PAUSE —

BringingOutsideIn CHOREOGRAPHY: Gioconda Barbuto in collaboration with the artists MUSIC: Owen Belton, “Grinding the Teeth;” Gabriel Prokofiev,

Peter Gregson, and ThimK, “Float Dance (ThimK Remix);” Owen Belton, “Etendue Triomphante;” Owen Belton, “DripDropVox;” Sarah Neufeld, “Hero Brother”

COSTUME DESIGN: Adam Arnold LIGHTING DESIGN: Michael Mazzola WORLD PREMIERE: June 29, 2017; Oregon Ballet Theatre;

Washington Park’s Rose Garden Amphitheater; Portland, Oregon

NOTES: Gioconda Barbuto’s BringingOutsideIn was created for 2017’s Choreography XX — a celebration of dance created by women — held in Portland’s Washington Park Rose Garden Amphitheater. In this collaborative gem between choreographer and dancer, the individuality and personality of each artist is brought into the center of the work. Barbuto described it as a work that “represents who the dancers are individually, as individuals, but also as a group.”

— 20-MINUTE INTERMISSION —

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TODAY’S PROGRAM

Love from Vital Sensations CHOREOGRAPHY: Darrell Grand Moultrie LIGHTING DESIGN: Michael Mazzola STAGING: Lisa Kipp MUSIC: Antônio Carlos Jobim & Vinícius de Moraes, “Eu Sei Que Vou Te Amar”

WORLD PREMIERE: February 5, 2005; Colorado Ballet; Paramount Theatre; Denver, Colorado OBT PREMIERE: April 11, 2019; Newmark Theatre; Portland, Oregon

NOTES: Love from Vital Sensations is an OBT premiere. Darrell Grand Moultrie choreographed the colorful, Latin-jazz-inspired Vital Sensations for Colorado Ballet in 2005, and created this solo piece for Chauncey Parsons early in his career. Parsons describes the process of creating the work “as an affirmation in how I grew as a dancer… It is abstract but very musical and emotionally connected; it was my first approach to a big idea in dance.”

Love is made possible through the generous support of Karen and Mike Weddle in honor of Chauncey Parsons’ excellence with OBT over the past 11 seasons.

— PAUSE —

Jardí Tancat CHOREOGRAPHY: Nacho Duato MUSIC: Maria del Mar Bonet, “Cançó de Collir Olives,”

“Cançó d’Esterrossar,” “Fora d’es Sembrat,” “Tonada de Treure Aigo,” “Cançó de Na Ruixa Mantells”

COSTUME & SET DESIGN: Nacho Duato LIGHTING DESIGN: Nicolás Fischtel STAGING: Kevin Irving ORGANIZATION & PRODUCTION: Carlos Iturrioz c/o Mediart

Producciones SL (Spain)

WORLD PREMIERE: December 19, 1983; Nederlands Dans Theater; International Choreographic Workshop; Cologne, Germany

NOTES: Spanish choreographer Nacho Duato’s most famous work, Jardí Tancat, electrifies with haunting and beautiful movements. Jardí Tancat, Catalan for “Closed Garden,” is signified in this work by the simple set of fence posts placed around the edge of the stage. The ballet’s ensemble moments share the sense of community as if connected to the earth. The ballet is a poignant story of the daily life of hardship, work, love, and loss of people who worked the barren land.

OBT PREMIERE: April 13, 2017; Newmark Theatre; Portland, Oregon Marley flooring courtesy of Pacific Northwest Ballet.

— 15-MINUTE INTERMISSION —

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TODAY’S PROGRAM

Giants Before Us CHOREOGRAPHY: Nicolo Fonte MUSIC: Franz Liszt, Liebestraum No. 3 in A-Flat Major, O lieb so

lang du lieben kannst, S. 541/3; Franz Liszt, Étude No. 3 in G-Sharp Minor (Allegretto) (La campanella), S. 141/3; Franz Liszt, En Rêve, Nocturne, S. 207; Franz Schubert, arr. by Franz Liszt, Ständchen from Schwanengesang, D. 957/4; Franz Liszt, Étude de concert No. 3 in D-Flat Major, Un sospiro S. 144/3; Franz Liszt, Consolation No. 1, Andante con moto in E Major, S. 172/1

PIANIST: Hunter Noack COSTUME DESIGN: Christine Darch STAGE DESIGN: Nicolo Fonte LIGHTING DESIGN: Michael Mazzola BALLET MASTER: Jeffrey Stanton WORLD PREMIERE: October 8, 2016; Oregon Ballet Theatre;

NOTES: We close this inaugural Director’s Choice program with Nicolo Fonte’s Giants Before Us, a ballet for 9 men and 1 woman that plays with both extreme physicality of movement and the romanticism of an earlier era. Resident choreographer Fonte has said he sees this piece as chiefly inspired by the music of Liszt — a giant of his time — and specifically the bravura energy and muscular tenderness he hears in it. Virtuoso pianist Hunter Noack returns in an encore of his acclaimed performance.

Keller Auditorium; Portland, Oregon

Hunter Noack plays a nine-foot Steinway concert grand piano generously loaned to OBT by Mr. Jordan Schnitzer.

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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 “postmodern” 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. In the U.S., Irving became associate director at Morphoses (formerly The Wheeldon Company) from 20112012, 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 ar tistic director of Oregon Ballet Theatre in July 2013. Photo by Michael Slobodian.

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 ar tist 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.

CONTINUED ON PAGE 20.

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MICHAEL GREER

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 fulllength 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.

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 Ballet in Por tland, 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.

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Photo by Jeff Lee

LETTER FROM THE CHAIRWOMAN OF THE BOARD OF TRUSTEES

DEAR OREGON BALLET THEATRE FAMILY AND FRIENDS, On behalf of the Board of Trustees, dancers, staff, volunteers — and all of those who make our creative efforts possible — thank you for joining us for Director’s Choice. This is the time of year when our Artistic Director Kevin Irving’s vision and creativity are highlighted as he presents some of the most exciting works from around the world today. Prepare to be moved, delighted, and awed by the dancers and the choreography. This extraordinary performance would not be possible without the generous contributions from foundations, corporations, and individuals who continue to support us each year. The art of ballet depends on dedicated supporters who believe in what we do. When you donate to your favorite arts organizations, you co-curate the works of art that enliven our community. Whether through a ballet, a concert, or an exhibition, you become a partner with your choices. If you already support OBT, thank you. We hope you are as thrilled and proud as we are, both of what we have accomplished, and the great opportunities that lie before us. If you have not yet joined the OBT family of supporters, but are inspired by what you see on the stage today, please add OBT to the vision you have for the future of the arts in our community. As we prepare for OBT’s 30 th Anniversary Season (2019–2020), there is no better time to act than now. This will be a must-see year of dance. Enjoy the performance,

Nancy Locke

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Chairwoman, Oregon Ballet Theatre Board of Trustees

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GUEST ARTISTS NICOLO FONTE

RESIDENT CHOREOGRAPHER Presto, Giants Before Us Choreographer Nicolo Fonte is known for his daring and original approach to dance. His work has been noted by critics for a unique movement language as well as a highly developed fusion of ideas, dance and design. Born in Brooklyn, New York, Fonte started dancing at the age of 14. He studied at the Joffrey Ballet School in New York as well as at the San Francisco Ballet and New York City Ballet Schools while completing a Bachelor Degree of Fine Arts at SUNY Purchase. Upon graduation, he danced with Peridance in NYC and later joined Les Grands Ballets Canadiens in Montréal, dancing in the works of Balanchine, Tudor, Kudelka, and Spaniard Nacho Duato. Fonte subsequently joined Duato’s Compañía Nacional de Danza in Madrid and forged a strong identity in the Spanish company for seven years – for both his dancing and his choreography. En los Segundos Ocultos (In Hidden Seconds), one of three ballets Fonte made for the Spanish company, was hailed as a breakthrough work of great impact with the poetic vision of a mature artist and indeed this ballet established his presence on the European dance scene. In 2000, Fonte retired from performing to devote himself full-time to his choreographic career. Since that time he has created or staged his ballets for The Dutch National Ballet, Houston Ballet, Royal Danish Ballet, Pacific Northwest Ballet, Ballet West, Royal Ballet of Flanders, Stuttgart Ballet, The Australian Ballet, The Göteborg Ballet, The Finnish National Ballet, Cedar Lake Contemporary Ballet, Oregon Ballet Theatre, The Perm Tchaikovsky Ballet, The Washington Ballet, Ballett Mainz, Ballett Nürnberg, Aspen Santa Fe Ballet, Complexions Contemporary Ballet, TANZ Ensemble Cathy Sharp, North Carolina Dance Theatre, Tulsa Ballet, Ballet British Columbia, Les Ballets Jazz de Montréal, and Queensland Ballet. Fonte received a Choo San Goh award for his 2002 collaboration with Pacific Northwest Ballet, Almost Tango, of which R.M. Campbell of the Seattle Post-Intelligencer wrote, “Fonte is a thinker, an architect who creates the new rather than reinvent the old. He is a master of manipulating space and creating relationships.” Almost Tango was also voted as one of Dance Europe’s “Best Premieres” when it was re-staged for The Australian Ballet in 2004.

From 2002 to 2006, Fonte enjoyed an ongoing creative partnership with The Göteborg Ballet in Sweden, creating and staging numerous works that helped establish the company’s distinct profile. While in Göteborg, he created his first full-length ballet, based on the life of Tchaikovsky. Widely acclaimed in the international press for Fonte’s marriage of narrative skill and a contemporary choreographic language, Re: Tchaikovsky appeared on the “Best of 2005” lists of both Ballett-Tanz and Dance Europe. Fonte has also played an important role in the ongoing development of Aspen Santa Fe Ballet as one of that company’s most popular guest choreographers. To date, he has created eight highly successful works for ASFB that have toured throughout the U.S. and overseas. In addition to Oregon Ballet Theatre, Fonte is currently the Resident Choreographer for Ballet West, in Salt Lake City, which began with the 2012–2013 season. Photo by: Janna Cruder.

GIOCONDA BARBUTO CHOREOGRAPHER BringingOutsideIn

Gioconda Barbuto is an internationally esteemed Canadian dancer and choreographer. As a long-time member of Les Grands Ballets Canadiens and Nederlands Dans Theater III, Barbuto was quickly recognized as a versatile and magnetic artist, gracing the works of many leading choreographers. Her synergy in studio with Jiří Kylián, in particular, led to two celebrated dance films, Birth Day and Car Men. In 1996, she was nominated for The Kennedy Center Fellowship and received The Banff Centre’s Clifford E. Lee Choreography Award. She has unflaggingly pursued her choreographic calling, creating detailed, dynamic friezes of full-bodied gesture, marked by her innate musicality. Choreographing for many acclaimed dance companies, her oeuvre now counts over 50 works. In 2015, Barbuto was selected as the McKnight International Choreographer in Minnesota. She also recently obtained one of the choreographic positions for Oregon Ballet Theatre’s Choreography XX competition, creating BringingOutsideIn — named “best in premiere” in Dance Europe magazine. Barbuto also extends her methods for molding space and energy through her Movement Workshops and is invited to teach at academies worldwide. Photo by: Michael Slobodian.

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DARRELL GRAND MOULTRIE

CHOREOGRAPHER Love from Vital Sensations Darrell Grand Moultrie, a recipient of a Princess Grace Choreography Fellowship Award, has created and staged multiple works for The Juilliard School, Colorado Ballet, Cincinnati Ballet, BalletMet (Columbus, Ohio), Ailey II, Sacramento Ballet, Milwaukee Ballet, North Carolina Dance Theatre (now Charlotte Ballet), Dance Theatre of Harlem, Cleo Parker Robinson Dance Ensemble, Tulsa Ballet, Richmond Ballet, and Smuin Ballet. He has taught and choreographed at many universities such as The Ailey School/Fordham University, Point Park University, CalArts, New York University, Stanford University, University of Arizona, and Dartmouth College. Dallas Black Dance Theatre and Alvin Ailey American Dance Theater will premiere his work this year. Moultrie is a proud New Yorker, born and raised in Harlem, and a proud graduate of P.S. 144, The Harbor Conservatory for the Arts, LaGuardia High School, and The Juilliard School. Photo by: Franklin Thompson.

NACHO DUATO choreographer

Jardí Tancat Born in Valencia, Spain, Nacho Duato started professional ballet training at London’s Rambert School at 18, extended his studies at Maurice Béjart’s Mudra School in Brussels, and completed his education at New York’s Alvin Ailey American Dance Theater in New York. In 1980, Duato signed his first professional contract with Cullberg Ballet. One year later, he joined Jiří Kylián’s Nederlands Dans Theater. In recognition of his achievements as a dancer, he received the 1987 VSCD Gouden Dansprijs (Golden Dance Award). Duato soon realized his real passion was choreography. His first work, created in 1983, was a major success: Jardí Tancat won first prize at the International Choreographic Workshop Cologne. While still a dancer, Duato created more than a dozen works for the two companies of NDT. In 1988, Duato was appointed resident choreographer of NDT, alongside Hans van Manen and Jiří Kylián. Encouraged by the increasing international demand for his ballets, Duato decided to fully concentrate on his choreographic career. His works are included in the repertories of Les Grands

GUEST ARTISTS Ballets Canadiens, Stuttgart Ballet, Finnish Opera Ballet, Singapore Dance Theatre, San Francisco Ballet, The Washington Ballet, Hubbard Street Dance Chicago, Boston Ballet, Bolshoi Ballet, and others. His distinctions include the title of Chevalier dans l’Ordre des Arts et des Lettres and the Spanish government’s Gold Medal of Merit in the Fine Arts. In 2000, his signature piece, Multiplicity. Forms of Silence and Emptiness earned the Prix Benois de la Danse. Three years later, Duato won Spain’s Premio Nacional de Danza de Coreografía. From 1990 to 2010, Duato headed Spain’s foremost dance company, Compañía Nacional de Danza. In 2011, he moved on to become artistic director of Mikhailovsky Ballet, Saint Petersburg. From 2014 until 2018, he held the same position at Berlin State Ballet. He recently resumed his role as artistic director with the Mikhailovsky Ballet. Photo by: Fernando Marcos.

DAVID HEUVEL

COSTUME DESIGNER Presto David Heuvel is presently costume production director for Ballet West and has been associated with that company since 1979; originally joining Ballet West at the request of, then Artistic Director, Bruce Marks. Previously, he was chief costumer for the ballet at Performing Arts Council of the Transvaal (PACT) in South Africa. He left Ballet West for a freelance career in 1989 and returned to Ballet West in 1998. Heuvel has designed and built costumes for many ballet companies, both nationally and internationally, including Ballet du Nord, Universal Ballet, Singapore Dance Theatre, Carolina Ballet, The Washington Ballet, American Repertory Ballet, Atlanta Ballet, Ballet Arizona, Nashville Ballet, Richmond Ballet, and of course Ballet West and Oregon Ballet Theatre. In 2018, Heuvel received the Utah Governor’s Visual Arts Award for his work with Ballet West.

ADAM ARNOLD

COSTUME DESIGNER BringingOutsideIn A Por tland-area native, Adam Arnold’s skill and esteem as an artist and designer has built a dedicated clientele, and garnered collaborations with the Portland Art Museum, Seattle Art Museum,

Contemporary Craft Museum, and Oregon Ballet Theatre. His garments are known for their clean lines, tailored silhouettes, timeless appeal, and impeccable construction. More of his work can be seen at adam-arnold.com.

NICOLÁS FISCHTEL lighting designer

Jardí Tancat Nicolás Fischtel was born in 1964 in Chile. He studied lighting design at the Royal Academy of Dramatic Art in London and the Yale School of Drama. Since 1985, he’s been the resident lighting designer at San Pol Theater in Madrid. From 1991 until 1996, he was resident lighting designer and technical director of Compañía Nacional de Danza directed by Nacho Duato. He’s taught several courses and seminars for CTE (a Spanish school for theatre technicians) and Carlos III University. Fischtel has worked internationally with stage directors and choreographers including: Nacho Duato, Víctor Ullate, Val Caniparoli, Aída Gómez, Septime Webre, Paco Mir, Francisco Nieva, Rafael Amargo, Juan Carlos Pérez de la Fuente, Brian Yoo, Catherine Habasque, and Gentian Doda. He has worked for many companies and in many theaters including: Spanish National Drama Theatre Company, Compañía Nacional de Danza, Spanish National Classical Theatre Company, Royal Opera House (London), New National Theatre (Tokyo), Mikhailovsky Theatre (Saint Petersburg), San Francisco Opera, Nederlands Dans Theatre (Holland), Royal Theatre (Madrid), and Gran Teatre del Liceu (Barcelona).

HUNTER NOACK

PIANIST Giants Before Us Hunter Noack, internationally acclaimed concert pianist, integrates literature, visual art, dance, theatre, and design in his presentations of classical music. Through the IN A LANDSCAPE: Classical Music in the Wild outdoor concert series, Hunter brings a nine-foot Steinway grand piano into the wild, where traditional concert halls are replaced by forests, fields, deserts, and riverbank vistas. The live classical music is transmitted to the audience through wireless headphones, which gives them freedom to wander through each landscape with a

soundtrack to their outdoor experience. 57% of the audience has attended for free and for 37%, this is their first experience with live classical music. In 2019, IN A LANDSCAPE will be presented in 35 locations in Oregon, Washington, and California. Winner at the Los Angeles International Liszt competition in 2011, Noack holds degrees from Guildhall School of Music & Drama (London), University of Southern California, and San Francisco Conservatory of Music. In 2019, Noack was named the first Artist in Residence of All Classical Portland. For more information, please visit www.hunternoack.com.

CHRISTINE DARCH

COSTUME DESIGNER Giants Before Us Christine Darch designs and builds costumes and sets for choreographers Julia Adam, Jennifer Archibald, Val Caniparoli, Robert Dekkers, Jorma Elo, Nicolo Fonte, Jae Man Joo, James Kudelka, Wubkje Kuindersma, Gabrielle Lamb, Edwaard Liang, Stephen McMahon, Matthew Neenan, David Palmer, Gina Patterson, Brian Reeder, Dwight Rhoden, Amy Seiwert, Merián Soto, and Septime Webre. Darch has been commissioned by Alvin Ailey, Ballet Arizona, Astana Ballet, Atlanta Ballet, Ballet West, BalletX, Charlotte Ballet, Cincinnati Ballet, Colorado Ballet, Complexions Contemporary Ballet, Ballet Hawaii, Houston Ballet, Amy Seiwert’s Imagery, Israel Ballet, Kansas City Ballet, MADCO, Marin Ballet, Ballet Memphis, Milwaukee Ballet, Ballet Nice Méditerranée, Oregon Ballet Theatre, Pennsylvania Ballet, Pittsburgh Ballet Theatre, Post:Ballet, San Francisco Ballet, Singapore Dance Theatre, Smuin Contemporary Ballet, Tulsa Ballet, and The Washington Ballet. She is the resident costume designer for Complexions Contemporary Ballet in New York City and lives in East Northport, New York, with acclaimed classical American ballet composer Matthew Pierce. New projects include Nicolo Fonte’s Steep Drop, BalletX’s Euphoric, Dayton Ballet’s Gustav-Klimt-inspired Sleeping Beauty, and Matthew Neenan’s new work for Pennsylvania Ballet.

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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), 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.

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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 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.

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

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. 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.

HANNAH DAVIS

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.

COMPANY KIMBERLY FROMM

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.

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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

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.

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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.

JESSICA LIND

Jessica Lind is from San Jose, California, where she began training at Dance Theatre International. 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. CONTINUED ON PAGE 26.

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COMPANY ARTISTS

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.

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

SKYE STOUBER

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

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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. 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).

COMPANY 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.

MARC LAPIERRE

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.

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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ZOIE SALUDARES

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.

ALL ABOUT EVE May 5 at 12pm Presented by

I'M NOT RUNNING May 5 at 4pm

The best of London Theatre, in the heart of Downtown Portland. Tickets at www.thirdrailrep.org or 503-235-1101

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COMPANY

PRINCIPAL DANCERS

ANSA CAPIZZI

XUAN CHENG

PETER FRANC

CHAUNCEY PARSONS

BRIAN SIMCOE

Sponsored by Nancy Locke & Don Harris

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Photos by Joni Kabana

ANNUAL SCHOOL PERFORMANCE

Jun. 15 â&#x20AC;&#x201C; 16, 2019 Newmark Theatre obt.org/asp

Photo by Yi Yin

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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.

Night Creature

OBT Premiere Alvin Ailey / Duke Ellington

Robust American Love Trey McIntyre / Fleet Foxes

New Work

World Premiere Jamey Hampton & Ashley Roland / TBD

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503-222-5538 Theodore Watler & Katherine Monogue | Photo by Christopher Peddecord

Classical 2019/20 From Beethoven’s Fifth to Joshua Bell, you won’t want to miss a single note! Classical Series packages start at just 6 concerts – subscribe today for best seats and prices.

orsymphony.org 503-228-1353 your official source for symphony tickets MOVING MUSIC FORWARD

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Artslandia: 7.3125 x 4.875 Runs: March - August Artist: Season Launch

OREGON BALLET THEATRE STAFF ARTISTIC

PATRON SERVICES

Kevin Irving, Artistic Director Lisa Kipp, Rehearsal Director Jeffrey Stanton, Ballet Master Nicolo Fonte, Resident Choreographer Niel DePonte, Music Director & Conductor Tracey Sartorio, Company Manager Irina Golberg, Principal Accompanist

Mariah DeLude, Patron Services Manager Kristin Dillon, Patron Services Lead Hanna Brandt, Patron Services Representative Kayla Brock, Patron Services Representative

ADMINISTRATION AND FINANCE Michael Greer, Executive Director Donna Jackson-Siekmann, Director of Finance Linda Brown, Human Resources Manager Terri Pineda, Accounting Associate 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 Matt Wilcox, Sound Engineer Eileen Ehlert, Costume Shop Supervisor Annika Schindler, Draper Morgan Reaves, First Hand Leah Bierly, Jennifer Park, Stitchers Hillary Barsky, Sue Morgan, Marilyn L. Rudin, Costume Shop Volunteers Brian Keith, OBT2 Technical Director Leslie Bernhard, Brian Keith, Brad Saby, Peter Sherman, Lance Woolen, Production Support Staff

DEVELOPMENT Gregory Smith, Director of Development Tiffany Carter, Corporate & Special Events Officer Keely McIntyre, Grants Manager Emily Tucker, Development Data Specialist Lauren Watt, Development Associate

MARKETING Camille Spaccavento, Director of Marketing & Communications Jim Thomson, Senior Graphic Designer & Video Producer Nicole DeCosta, Marketing Associate/ Program Book Coordinator

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, Allison Wales, Teaching Artists Amy Stahl, Education Outreach Volunteer

BOARD OF TRUSTEES

Nancy Locke, Board Chair Jimmy Crumpacker, Vice Chair Ken Ivey, Treasurer Allison Lane Lyneham, Co-Secretary Cate Millar, Co-Secretary

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 Ballet West, Chris Balo, IATSE Local #28, Pacific Northwest Ballet, Portland’5 Centers for the Arts

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

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

BRAVURA CIRCLE

($50,000 & UP)

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

TOUR DE FORCE

($25,000–$49,999)

Jack Blumberg, In Memory of Thomas P. Anderson Thomas & Elizabeth Gewecke Howard Hedinger, In Memoriam

Henry & Amber Hillman Sue Horn-Caskey & Rick Caskey

Cary Jackson Nancy Locke & Don Harris Jean Pierce, In Memoriam Michael Pierce, In Honor of Jean Pierce 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 Loren Parks The Merritt & Heather Paulson Family Fund 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 The Ajitahrdaya Gift Fund Robert Aughenbaugh Linda Besant & Martha Goetsch Richard Louis Brown & Thomas Mark Bill Dickey, In Honor of David E. Wagner

Jasmin & Matt Felton Jessica & Mark Flaa Brian Forrester Fromm Family Charitable Fund Bret & Cathy Gelber William Gilliland Sandra & Stephen Holmes Diane Knudsen Dr. Dolores Leon & Dr. Fernando Leon Peter & Allison Lyneham Kristin Malone Keith Martin Denise & James Parker Allison & Steven Pike Angela Saunders Polin Dean M. Richardson Samantha 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 Dr. Anna Bar Brent Barton & Liz Fuller Adriane Blackman Walter Bowen Nancy & Andy Bryant Mark & Blake Bruun Irene Cancilla Charles & Sandra Carmeci Ken Carraro Debi Coleman Cameron & Dick Davis Gail Hayes Davis & Michael Davis Rita Duyn 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 Amy Lynne & Dan Hill Juliet Hillman Kevin Irving & Nicolo Fonte Bernice & Ken Ivey

2019 SUMMER PROGRAMS PREBALLET/PRIMARY

JUNIOR INTENSIVES

PREPOINTE WORKSHOP

PORTLAND + WEST LINN STUDIO JULY 1-26

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

PORTLAND STUDIO AUGUST 12-22

AGES

37

AGES

10+

Photo by Natalie Behring

Photo by Jingzi Zhao

OPEN CLASSES AUG 1222 | SCHOOL.OBT.ORG | 503.227.6890 | SCHOOLOFOBT@OBT.ORG 32

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INDIVIDUAL DONORS Julia Winkler Jacobson & Jonas Jacobson Stephen Karakashian 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 Cambria Noecker 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 & DeWayne Trimble The Peter & Ann van Bever Charitable Fund Toby & Linda Warson Matt & Jessica Watson Jay Wilt Charlene Zidell

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

Anonymous Kembe Adam & Jim Hinkley Jen & Don Arancibia Adam Arnold Greg & Beth Arntson Patti & Lloyd Babler Barbara & Sidney Bass Maria Borda & Ignacio Giraldo Jeff & Tracy Borlaug Matthew Boyes & Frederic Koeleman Ryan Bradshaw Thomas Bruner Alex Carlson Julia & Edouard Chaltiel

Jeff Chase & Patti Warner Fund of The Oregon Community Foundation Justin & Marisol Delaney Jeff Dey & Heather Amuny-Dey William Dolan & Suzanne Bromschwig Katrine Ehlen Anton & Raylene Eilers Larry & Deborah Friedman Nancy Frisch Alexandra & Zan Galton Christine Diana Gay Leonard & Yvonne Gionet Rob Goodman Frank Groff Peter Gronquist Chris Grubb & Carrie Merritt Valarie Grudier & Richard Langdon Beth Harper Kim & Chris Hasle John & Karen Hoke Gretchen Holce Maryanne & David Holman Betsy & Brent Huigens Michael Hummel & Mamie Diaz Hummel Jina Kim & Hyung-Jin Lee Amy & Kevin Kohnstamm Patricia & Rick Kozak Elise Legere & James Mitchell Molly Lehman Jerome Magill M. and L. Marks Family Fund of The Oregon Community Foundation Inge & Darren Marshall Adrienne & Ian McClellan Keith & Kristin McInerney Christina & Cade McNown Laura S. Meier Laurie & Gilbert Meigs Kirsten & Richard Meneghello Christina Merrell Marjorie & Kurt Metzler Angela & Rob Moneyhan Jeffrey Morgan Will Naito Steven C. Neighorn Margaret & Gordon Noel Jay & McKay Nutt Leah Rinfret Lori & Mike Russell Miriam Ruth Leslie Ann Sammons-Roth Megan & Tom Shipley Jinny Shipman & Richard Kaiser Carol & Tom Shults

Jonathan Singer 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 Frances Virden K. Vorderstrasse Richard Wasserman & Ann Coskey-Wasserman Matt Weaver Tom & Laura Wiley Robyn Williams & Roger Scarbrough Cristin Campbell Winkler & Jordan Winkler Zela & Elsa

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 Miguel Cobian 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

CONNECTING ART, NATURE AND PLAY THROUGH A PORTLAND LENS Proud Supporter of the Arts and the Creative Mind. HOTEL MODERA PORTLAND 515 SW Clay Street | Portland, OR 97201 503.308.1637 | www.hotelmodera.com

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INDIVIDUAL DONORS Luisa Adrianzen Guyer & Leigh J. Guyer Karen & Jim Halliday Carl Halvorson The Right Reverend Michael Hanley Dan Harmon & Jennifer Rabiah Marilyn Heiling Donald Helfgott Susan & Richard Helzer Karen Henell & Gregg McCarty Kiki Hillman Eva Hosseinion Vince & Michele Howell Pamela Johnston Mr. & Mrs. Bob Joseph Mary Klein & Francis T. Schneider Mary Kuch Barbara LaMack & James Kalvelage Gary S. Leavitt Nancy Lee Nolan Lienhart & Grace Moen Mark Lindau Catherine & Kristofer Lofgren Vida & Jonathan Lohnes Alejandra Lugard & Ismir Heric Gerri & Yorick Lutes Kirk Maag Marisa Mack Dañel Malán Tom & Lori Malone John F. Mathews Dan & Jackie Moore Doug & Malinda Moore Carol N. Morgan Susan Morgan Storry Norman & Jack Hollis David & Theresa Nute Susan Olson & Bill Nelson Milo & Beverly Ormseth MajGen Christopher & Rita Owens Barbara & Art Palmer David & Kelly Park Melissa & Steven Peterman Mike & Rebekah Pettinger Janet Plummer & Don Rushmer Adolfo Portillo & John Hoskins Jaycee Pribulsky Davia & Ted Rubenstein Dan Ryan Lynette Sahnow Eric Schindler & Jenna Fallon-Schindler John & June Schumann Diana & Hal Scoggins Derick & Elizabeth Scovel Debbie & Greg Sherwood Robyn & Kemp Shuey 34

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Rosemary G. Southwood Bob Speltz & Dwight Adkins 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 April Wirtz & Evan Wang Cynthia A. Yee John & Nancy Zernel Joy Zhou & Randy Choi

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 Julie Falk & Zachary Kramer Joshua Ferrer Philip Fidler & Jane Cummins Tim Finch & Nariyo Kono

Rebecca Fleischman Doreen Flores Mr. & Mrs. Patrick Franc Kimberly & Andrew Fromm Morris J. Galen Melissa & Robert Good Helen A. Goodwin Marvin & Barbara Gordon-Lickey Dennis Gould & Quinton Hallett Rebecca Granquist Julie A. Greenberg & Robert J. Irving, Jr. 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 Kathi McCoy Margaret & Robert McMillan Carolyn McMurchie Susan Sammons Meyer & Dennis Meyer

Monica & Dale Monroe Denise Mullen Greg & Colleen Needham Rob Nelson David Nijhawan Keith & Cindi Nobriga Peter & Cassie Northrup Matt & Lauren Odman Gareth Olds 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 Lindsay Reynolds Celeste Rose Rabbi & Lorraine Rose Miriam & Charles Rosenthal Mary Rotberg Claire H. Russell Sam Sadler Daniel & Kathleen Saucy Tad Savinar Virginia Sewell Ron Seymour & Mary Austin-Seymour Jeremy Shibley & Romalia Stickney-Shibley Juss Singh Gary & Lydia Slangan John D. & Pamela Smith Sarah Smith & Raul Gomez-Rojas Dean Speer & Francis Timlin Joan B. Strand, In Memory of Buzzy Sammons Karen Sweet Cindy Thompson & Brett Bender George & Nancy Thorn Kay Toran Angelo Turner Drs. R. Bastian & Barbara Wagner Bruce Weber Shawn & Dave West Andrew White 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 Shauna & Scott Ballo Stephen Bardwell Thomas A. & Mary Bartlett Kathleen Bayer Nancy Beck, In Memory of Judy Parsons Nola Becket Kurt Bedell Janice Belknap Barry & Jacqueline Bennett Alan & Sherry Bennett Naomi & Phillip Beymer Brian Bills & Desiree Schlotthauer Jonathan Bryce Black Richard Botney Candace Bouchard & Adam Lounsbury Laura Bowman Joyce Brehm Blaine Brennan Rand & Michelle Bresee Karin Brocksbank Hadley Brooks Kelly & Tommy Brooks Jen & Greg Brown Lillian Brown Linda Brown Rick Browning Marianne Buchwalter Kerri Burke Nora & Aaron Cain Maurine & Paul Canarsky Themios & Liz Carabas Tim & Susan Carey Kirsten & Mark Carnese Zachary Carroll & Anne Huffington-Carroll Gus & Karen Castaneda

THE

Gioachino Rossini

BARBER OF SEVILLE JUNE 7â&#x20AC;&#x201C;15 | KELLER AUDITORIUM

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JULY 2019

LA FINTA GIARDINIERA Mozart

JULY/AUG 2019

IN THE PENAL COLONY Philip Glass

Christopher Mattaliano General Director

TICKETS START AT $35 | PORTLANDOPERA.ORG | 503. 241.1802

INDIVIDUAL DONORS CCD/ECB Friends of Doug Parsons, In Memory of Judy Parsons Alison Chambers Bob Chamness Sandy Chamness Kenny Chinn Gina Chiotti-Hovey Eugenia Chopyk Karlyn & Graham Clark Aria & Cody Clements Kristine Cloyes Ilaine Cohen Amber Cole & David Hall Sarah Conde Deniz & Austin Conger Harriet Cormack Nathan Corser & Kristen Minor Linda Crimshaw Megan Crowhurst Tracy Curtis Calli Daly 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 Hamann Niel DePonte Chuck & Patt DeRousie Dagmar Dettinger & Alan Artman Adam & Emily Dew Jerry Dickason Bonny Dickinson Lonnie Dicus & Therese McCarthy-Dicus Susan Dixon Jeanette Dreyer Kim Duncan Ruth Edsall Andrew Edwards John Elorriaga Annette Erickson Douglas Ertner Etuk Family Abraham & Pamela Farkas Rochelle Farkas Dave & Robin Fee Marjorie Ferry Dr. Harvey Fishman & Keiko Amakawa

Tonya Flaming Katie & Brian Flanagan George Fleerlage Kim Foren Charles & Zoe Foster Genevieve & Bryce Foster Kelly Freuler Theresa Fritchle Jennifer Froistad Sara Gabin Francisco Garcia 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 Andrea Groussman

Jeanne-Marie Guise & Alex Herzberg Tasca & Paul Gulick Anna & Jeff Haagenson Candace Haines Bert & Amy Hanifan Andy Harris & Ash Evans Michael Harris Ashley Hayden Lisa, Jon & Amalia Held Bryce Helgerson & John Lowe Gina Henderson Shirley Hess Rebecca Hicks & Greg Kuelgen Christian Hill & Laura Korman John & Dena Hockett Jennifer & Robert Hoffman Leslie Holder Carol & Tom Hull Michelle Hulquist Mimi Hunter Indira Husic 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 Cerise Joe Brian C. Johnson Damien & Katie Jo Johnson Dennis C. Johnson Fletcher & Ellin Johnson Linda & Paul Johnson Katelin Johnstun Jones Easton Family Rebecca Jury Marcia Kahn Megan Kavanaugh Marla Kazell Cristina Keefer Arthur & Kristine Keil Doris & Eric Kimmel Jean A. Kimsey Belinda & Frederick Kinyon Erin Kirby Maria & Eric Kluherz Meredith Koivisto Blerina Kotori Grayson Kramer Sophia Kremidas

Just do you. A Community for People 62+ TerwilligerPlaza.com 503.808.7870

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If what you love is always right around the corner, the whole city gets to love you right back. Whether youâ&#x20AC;&#x2122;re up for a paleontology talk, tea-making workshop, square-dance hoedown, or just grilling your own choice steaks, the options at Terwilliger Plaza are only limited by . . . um, you.

INDIVIDUAL DONORS David & Mary Krug Sean & Naoko Krug Leonard Kuhl Carol La Brie Sharon LaCroix Veronique LaFont Sloane Lamb Nancy LaPaglia & Stephen Slusarski Laura Larsen & Skyler Bloxham Polly Lauser A.M. LaVey Donald Lawton Romani Lay & Neville Wellman Matt Levin Barton T. Lewis Greg & Kim Lind Carole E. Lindell-Ross Alice Lloyd Fred Locke Bill & Kate Lockwood Alex Logue Hugo Carey Long Henry Louderbough Kenneth Love Melissa Love Marcy & Richard Lowy Diane & Tom Macdonald Kate Machell Christine L. Mackert, MD The Mansell Family Lara Mar 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 Layla McLean John & Candace McMunn Katelyn Meithof Elizabeth J. Melching Josie Mendoza & Hugh Mackworth Courtney Mersereau

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 Shakir Najieb Beth & Charlie Nance Todd & Crystal Neal Karen & Bob Nelles Rose Neyman Alexander Nimri Hollie & Scott Nine Stu Oken & Laura Wozniak Robert Olds Kris Oliveira Liz & Tracy Olsen Madeline Olson Molly O’Neill, Vicki Threlfall & Tess O’Neill Paula Ousley Zac Padgett Rev. Dr. Rodney & Sandi Page Joan Paglin Elliot Palmer Tracey Palmer Veronica Paracchini Mark & Dorianne Paul Lanetta Paul Beth Paxson Alec Pemberton Thomas & Jane Pence Denise & Adam Pener Anne Frances Penfound Karen Perzanowski Gunnar & Kristin Peterson Marilyn & Gaynor Petrequin Sara Pickett Charles & Ruth Poindexter J. Scott Pritchard Karen Prohaska Brian & Carver Pugh, In Memory of Judy Parsons Zach Putnam William Ramirez & Roberta Staff Dick & Mary Raub, In Honor of Marianne Raub Julie Rawson Denise Reed Kristtine Reedy, In Honor of Abigail Reedy Sandra Reese & Alister Bazaz W.W. “Clyde” Reid Judy Renzema

Megan Reuther Sara & Charles Rice Martha & David Richards Edward & Katherine Richman Nancy Richmond & Bill Hughes Betsy & Norm Rickles Erica Rife Mrs. R.D. Riggs Judith Rimbey David Ritchie & LaJean Humphries Dr. & Mrs. Hector M. Rodriguez Charese Rohny Alison Roper Rosemarie F. Rosenfeld Catherine Rote Michael S. Parker Sagun & Dennis J. Sagun Parker Karen Salman & Gary McCune Dima Sammour Patricia Sanchez Kevin Sasse David & Julie Sauer Rick & Sharon Schaefer Brand Schlesinger & Victoria Geil Mark & Patti Schlesinger Colby & Christine Schlicker Daniel Schmidt Robert E. Schneider, PhD Clifford Schrock Bill Scott & Kate Thompson Kennon Scott Marlise & Robert Scotti 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 Kelsey & Will Sullivan Tim & Donna Sullivan Gary Taliaferro Susan & Bahram Tavakolian Sabrina Teays

Jeri Tess Vicki Thomas Jan Elizabeth Thorpe Judy Threefoot & Bill Schumann David Tillett Marc Tobin Allen Tomlinson Kelsey & William Tucker Lyle M. Tucker Bob & Nancy Ullrich Cindy L. Ulrich Mimi Underwood Joshua Urrutia Angela M. Vaandering Alberto Vaca Martinez Amy Van Hook Rob & Rachael Vidin Jose Vithayathil Jon Vorderstrasse Les Vuylsteke Patricia & James Walker Barbara Walsh Christine Warden Edward Washington Douglas Watson Lisa 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 Mark & Sophie Williams Julie Wilson Jacob Winkler Lisa Wish George Wittemyer Constance Wood Randy & Rebecca Woods Gail Woolf Fran & Mike Woolsey Judith B. Wunderlich Doreen Wynja Collette Yamaguchi & Tom Napier Gary P. Yencich Casper & Sarah Yu Sarah Zahn Evyn C. Zell Janet & Alan Zell Irene Zenev Jichuan Zhao Jean Zondervan & Terry Proctor

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COMMUNITY CORPS DE BALLET GIFTS OF $100,000 & UP 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, the Arts Education & Access Fund, and more than 1,000 donors to RACC’s Arts Impact 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 Accenture Argyros Foundation Artslandia* The Boeing Company Cascadia Foundation Dorothea M. Lensch Fund of The Oregon Community Foundation Hampton Family Foundation of The Oregon Community Foundation Jackson Foundation Jerome Robbins Foundation National Endowment for the Arts Northwest Natural Gas Opsis Architecture LLP

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PGE Foundation Schlesinger Family Foundation Starseed Foundation U.S. Bank Foundation

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* Morel Ink PosterGarden* Robert D. & Marcia H. Randall Charitable Trust The Standard Stoel Rives LLP Wells Fargo Foundation

GIFTS OF $2,000–$4,999 Alaska Airlines* Dr. Seth Alley* Bridgetown Chiropractic & Wellness Portland Clinic* Buckley Law P.C. Charles Fine Arts Portraits* 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* Markowitz Herbold Nel Centro* Oregon Chorale* Peddecord Photo* Portland Art Museum* Portland’5 Centers for the Arts Pro Photo Supply* Robert F. Ratzow, DC* Residence Inn Portland Downtown/Riverplace* Smith Teamaker

Solaris Bodyworks, Inc.* Star Park ThomCorp Town Car* Twelve Wine* Unitus Community Credit Union Utopia Vineyard* Wells Fargo Bank 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* Portland’5 Centers for the Arts Therapeutic Associates North Portland Physical Therapy* Meredith Thompson, MS, PT* Vista Capital Partners Yvonne Vleer, Kinesiologist, LMT*

GIFTS UNDER $1,000 AEG Presents* Artists Repertory Theatre* Ashland Springs Hotel* The Aspire Project Barrier Pest Control Bedford Brown* Breakside Brewery* Chamber Music Northwest* Nadia Chopra, Physical Therapist* Clipper Magazine* Craig’s* Elmer’s Restaurants First Interstate BancSystem Foundation First Interstate Bank Hollywood Theatre* Inland Electric, Inc. Intel Charitable Match Trust King Charitable Foundation

“A COMPANY OF SLICK, SKILLED DANCERS

– THE NEW YORKE

Recognizing gifts received through February 1, 2019

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 Foundation

CASUAL ACT SARAH SLIPPER

DRIFTING THOUGHTS

PATRICK DELCROIX

APRIL 25 - 27 / 2019

MATCHING GIFT CORPORATIONS

YIDAM

IHSAN RUSTEM

ENCORES

Luna Vineyards* Maryhill Winery* Monique’s Boutique NW Film Center* OHSU March Wellness & Fitness Center* OMSI* The Oregon Historical Society* Oregon Shakespeare Festival* Oregon State University Athletics* Oregon Symphony* PDX Jazz* Pok Pok Restaurants* Portland Baroque Orchestra* Portland Center Stage* Portland Japanese Garden* Portland Opera* Redhawk Vineyard & Winery* Richard Wasserman Photography* Rose City Ballet School San Francisco Ballet* Skamania Lodge* Slope & Stone Engineering Studio Blue* Stumptown Stages* Timberline Lodge* Torii Mor* Torso Vintages* University of Oregon Athletics* Vanport Jazz Festival* Watson Creative White Bird* Yamhill Valley Vineyards*

A TRIO OF OUR BEST LOVED WORKS

TICKETS

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IN-KIND SUPPORT ®

CURRENT/CLASSIC

ALLEGRO SOCIETY WEST PORTLAND PHYSICAL THERAPY

FEATURING:

RIP/TIDE

by Ashley Roland & Jamey Hampton of BodyVox

AND

SWAN LAKE ACT II

Katherine B. McCoy, PT, MTC M. Lena Thieme, PT, MPT Elizabeth Franklin, PT, LMT Jennifer Field, PT, DPT Patricia Koehler, PT, WCS Christine Krueger, PT Laura Luitje, PT, DPT, LMT Christopher J. Pullen, PT, DPT Abigail Richards, PT, DPT 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

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

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

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

BLUE OX ATHLETICS

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

RÉVÉRENCE CIRCLE

MAY 10 & 11 2019

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Julie E. Foster, FNP

ROBERT F. RATZOW, DC

NEW HEIGHTS PHYSICAL THERAPY PLUS

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

POHALA CLINIC

CATHERINE M. GURSKI, ND, MSOM, LAC

ANNA YARZAK, PT, DPT Scott Hagnas

OHSU MARCH WELLNESS & FITNESS CENTER

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

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

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

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THEN & NOW Lloyd Center Mall YES, it’s where Tonya Harding, our famed

1960

Lloyd Center spiral staircase into the open air plaza, 1960. Oregonian Photographs Collection, Org. Lot 1359 box 63, folder 7.

2019

Photo by Kristen Seidman, Artslandia.

hometown Olympic ice skater, learned to skate. Now, on to the fascinating history of the mall’s namesake, Ralph B. Lloyd — a pioneer among California business tycoons who invest in Portland real estate. After living in our fair city for several years, Lloyd returned home to the family ranch in California and struck oil. He invested his riches in commercial real estate in promising West Coast cities and bought parcels of Eastside Portland along with Willamette during the first couple decades of the 1900s. His dream of transforming his land holdings into a mix of residential and commercial buildings — much like the ubiquitous condo buildings and newly imagined neighborhoods of today — was unrealized before his death. His daughters took up his torch, and the Lloyd Center opened its doors in 1960: 100 stores. Open-air. Ice skating. It was the largest shopping center in the west, or the nation, or the world, and drew comparison to New York’s Rockefeller Center. The Lloyd Center’s heyday started to wane in the ’80s, and renovations have been ongoing ever since, including the addition of a roof. The latest plans include a cinema and a live-music venue with high-density residential development planned nearby — the full realization of Lloyd’s dream after all. .

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 at the Lloyd Center Mall? Post it! Don’t forget to tag #Artslandia and #ThenAndNow.

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#ARTSLANDIAWASHERE @bodyvox

@portland_5

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Great interview with author Daniel H. Wilson: we’re talking robots, writing & DANCE! How does it all fit together? Via the Pearl Dive Project! The Project melds creative worlds in a collaboration of movement and ideas. #portlanddance #pdxartscene #ArtslandiaWasHere #collab

Artslandia Managing Editor @seidwoman recently attended a preview of ENOUGH SAID, a collection of Mel Bochner’s work on loan at @_ojmche_ from the Collections of Jordan Schnitzer and @jschnitzerff. #artslandia #gallery #exhibit #curator #exhibition #arts #art #artistsoninstagram #artslandiawashere

@literaryarts presents: 2019 Verselandia! The seventh annual city-wide youth poetry slam • Thursday, April 25, 2019 • 7:00 pm • #ArleneSchnitzerConcertHall #pdx #verselandia #literaryarts #portland5 #pdxevents #ArtslandiaWasHere #downtownpdx #poetryslam #travelportland

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AN INTERVIEW WITH:

JAMEY HAMPTON

Jamey Hampton, Co-Artistic Director of BodyVox

Artistic Directors Jamey Hampton and Ashley Roland of BodyVox have invited a group of highly creative individuals who have never worked in dance before to take the choreographic reins in the return of the Pearl Dive Project. See the work of their collaborators, including Matt Mahurin, Ryan Noon, Susan Seubert, Daniel H. Wilson, and Sherrie Wolf at the BodyVox Dance Center.

Susannah: What has inspired you this last month? Jamey: Yesterday it snowed up at our house. It made me think about being in college in New Hampshire and being in the snow all winter. I thought about this bar where I used to play music. I’d play for three hours, and they’d pay me 15 bucks. If it was a slow night, they’d let me have any beer I wanted,

instead. Anyway, I was very inspired by the snow and the thought of music, so I went out yesterday and set up two cameras on my lawn in the snow. I sat on a piece of sculpture by my Michi, and I played to Stephen Still’s songs on my acoustic guitar because I remembered Stephen Still sitting out in a snowy garden and playing on one of his album covers. .

This podcast transcript has been edited for print.

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“A true breath of comic fresh air.” - DC Theatre Scene

Well-intentioned neighbors turn into feuding enemies as they clash over their approaches to gardening — and life.

Starts May 18!

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THE SCENE

THE ARMORY’S TINY BEAUTIFUL THINGS OPENING NIGHT Photos by Max McDermott, Artslandia. Artslandia rolled out the red carpet for the opening night of Tiny Beautiful Things at The Armory. A celebration of the pure beauty of being human, this funny and profoundly touching exploration of resilience is based on Cheryl Strayed’s (Wild) journey as the beloved anonymous advice columnist for “Dear Sugar.” The packed house treated the cast to a standing ovation, and the entire run was met with wide acclaim.

Brian Lindstrom and Cheryl Strayed.

Chris Murray and Kelly Godell.

Ericka Tyche Heidrick and Nicole Lane.

Jeff Hawthorne and his posse.

Scenic Designer Megan Wilkerson (right).

Ellyn Bye.

Opening night attendees.

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