Man / Woman - Oregon Ballet Theatre

The Swigert Warren Foundation and ESCO Foundation present

MAN/WOMAN ®

APRIL 12-21, 2018

Avery Reiners and Emily Parker Photo by Christopher Peddecord

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AT TH E P E R FO R M A N C E A CIT Y PL AYBILL AND PERFORMING ARTS MAGA ZINE

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CONTENTS 7

FROM THE ARTISTIC DIRECTOR

10 MAN/WOMAN PROGRAM 12 SEVEN MINUTES OF SILENCE 30 ARTSLANDIA

ARTS CALENDAR

34 FROM THE EDITOR-AT-LARGE

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38 CHRIS COLEMAN: EXIT TO DENVER

The Artistic Director for The Armory reflects on his tenure.

42 VEDEM: A JEWISH RESISTANCE ‘ZINE FROM THE HOLOCAUST

The story of a teen-written magazine that united a Nazi concentration camp.

49 THE GRASS DANCE

FLOURISHES

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Gerry RainingBird nurtures powwow dance tradition.

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54 WHO IS SUSANNAH MARS? Get to know the artist.

M A RCH | A PRIL 2018

A RT S L A N D I A .COM

MARCH | APRIL 2018

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LETTER FROM THE ARTISTIC DIRECTOR

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

Photo by Michael Slobodian

THANK YOU! Spring, at Oregon Ballet Theatre, signifies a palpable shift in the training, focus, and energy in our studios, as we leave behind the grand spectacles of works like The Nutcracker and ALICE (in wonderland) and prepare to reveal other fascinating aspects of ballet in action. The performance you are about to see is the culmination of a wide-ranging collaboration that included many artists, both in front of and behind the scenes – and I want to congratulate and thank all of them for contributing to what we hope will be both exhilarating dance and a way to engage with the world around us.

Planning for Man/Woman started long before #MeToo took hold of our national conversation, but from the start we intended to present various works that might function together to allow the issue of gender to “speak” through dance. It’s especially important that we include ballet’s own history at the start of this journey, because part of our story not told often enough is that of the strength, endurance, and power it takes to be a ballerina, even when portraying what many may see as a frail and delicate image. And important too because The Dying Swan is an iconic, immediately recognizable work (and perhaps a perpetuation of a stereotype, in an ironic twist) due to a truly remarkable woman, Anna Pavlova. Pavlova toured the world and performed The Dying Swan thousands of times before tens of thousands of people; that’s why it is remembered today – and it is precisely that kind of steely determination that is saluted by master choreographer Ji í Kylián in his instantly gripping Falling Angels, which closes the performance. OBT is thrilled to (at last!) add a work by Mr. Kylián to our repertory and to have it contrast so strikingly with The Dying Swan – and the icing on the cake for us is that we learned it from the absolute foremost of stagers, Rosyln Anderson, who was herself a star with Nederlands Dans Theater. Ballet is such a person-to-person tradition that the people who teach and share the insights of the masters are themselves generators of creation in our studios, and these bookends of our Man/Woman performance, Swan and Angels, have been and will be shaped as much by their interpreters as by their creators, it seems to me.

Of course, that statement is true for all ballets because a ballet does not exist on the page or in digital code but only in performance, which is why it is so exciting to see the men and women of OBT challenged and given material that exposes their incredible talent. James Canfield’s Drifted in a Deeper Land, returning to our repertory after an absence of 16 years, compels us, especially in the absence of music, to practically join with the seven men on stage. Darrell Grand Moultrie, in his second creation for the company, really dove into what an exploration of “maleness” might be, and I am incredibly grateful for the way he has embraced the idea behind this program – and for the different colors and energies he has coaxed from the men of our company. We are privileged here at OBT to have a caliber of dancer and a caliber of production that can stand shoulder to shoulder with the very best in the world – and to witness the deft and precise pivots the entire team makes, as we move from one demanding style of ballet to another, is one of the richest pleasures I can imagine.

Speaking of rich pleasures, Resident Choreographer Nicolo Fonte’s Left Unsaid has been blowing audiences away since it premiered in 2003 – it certainly did when OBT first performed it in 2009; I was there in the audience as a spectator. For a work as gendered as Left Unsaid is, there is also a curious and constant shift of the power dynamics between the men and women in the ballet – Fonte has said (another irony, given the theme of this program) that he was not aiming to explore inter-personal dynamics but rather intra-personal; he was inspired by the anima/animus opposition, as well as the tethering together of the male and the female energies. Left Unsaid, with its final image of a bonding, of a connecting of the two, may as well stand for a balance and a harmony that we hope can be experienced equally and fully by each and every one of us. Happy spring – and enjoy!

PRESENTING SPONSORS ESCO Foundation Swigert Warren Foundation Wendy Warren and Thomas Brown Harold & Arlene Schnitzer CARE Foundation Henry Lea Hillman, Jr. Foundation Rose E. Tucker Charitable Trust National Endowment for the Arts This project is supported in part by the National Endowment for the Arts

SEASON SPONSORS

The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, and the Arts Education & Access Fund

Work for Art, including contributions from more than 75 companies and 2,000 employees

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

OBT is supported in part by a grant from the Oregon Cultural Trust.

THOMPCORP

®

KEVIN IRVING

Artistic Director Oregon Ballet Theatre

Falling Angels Stager Roslyn Anderson in rehearsals with OBT Dancers. Photo by Yi Yin.

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Defy Your Expectaions

2018-2019 SEASON NAPOLI

October 2018

GEORGE BALANCHINE’S

THE NUTCRACKER December 2018

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CINDERELLA February 2019

DIRECTOR’S CHOICE April 2019

THE AMERICANS June 2019

OBT.ORG 503-222-5538 Kimberly Nobriga & Peter Franc Photo by Christopher Peddecord

Xuan Cheng | Photo by Yi Yin

CLOSER MAY 24 – JUNE 3, 2018

BODYVOX DANCE CENTER

A rare opportunity to experience the power and artistry of your favorite OBT dancers up close.

Featuring original music by Grammy Award Winner André Allen Anjos.

Peter Franc New Work

Makino Hayashi New Work

Katherine Monogue New Work

Helen Simoneau Departures

ANNUAL SCHOOL PERFORMANCE

Photo by Yi Yin

APRIL 21 – 22, 2018 | NEWMARK THEATRE

TICKETS START AT $32 | OBT.ORG

M AN/WOM AN • OREGON BALLE T THE ATRE

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TODAY’S PROGRAM

Left: OBT Dancers in Darrell Grand Moultrie’s Fluidity Of Steel. Right: OBT Principal Dancer Xuan Cheng in rehearsals for Ji í Kylián’s Falling Angels. Photos by Yi Yin.

CHOREOGRAPHY: MICHEL FOKINE STAGER: LISA SUNDSTROM MUSIC: CAMILLE SAINT-SAËNS,

The Carnival of the Animals XIII. The Swan

COSTUME DESIGN: SANDRA WOODALL LIGHTING DESIGN: MICHAEL MAZZOLA WORLD PREMIERE: December 22, 1905; Noblemen’s Hall; St. Petersburg, Russia OBT PREMIERE: April 12, 2018; Newmark Theatre; Portland, Oregon

CHOREOGRAPHY: DARRELL GRAND MOULTRIE MUSIC: EZIO BOSSO, Symphony No. 2 Under the Trees’ Voices III. Scherzo; KENJI BUNCH, Etude No. 8, Alpha Dog II. Moderate; OLIVER DAVIS, Fiddlelicks II, Airborne Dances I

COSTUME DESIGN: CHRISTINE JOLY DE LOTBINIERE LIGHTING DESIGN: MICHAEL MAZZOLA REHEARSAL ASSISTANT: LISA KIPP WORLD PREMIERE: April 12, 2018; Oregon Ballet Theatre;

Newmark Theatre; Portland, Oregon

This project is supported in part by the National Endowment for the Arts

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OREGON BALLE T THE ATRE • M AN/WOM AN

SYNOPSIS Michel Fokine’s classic The Dying Swan is an iconic four-minute ballet for one female dancer that epitomizes the ethereal beauty and delicacy of the romantic era ballerina. Created in 1905 for Anna Pavlova, the work was inspired in part by Alfred Tennyson’s poem The Dying Swan. Pavlova performed it more than 4,000 times as she toured the world, attracting countless new audiences to ballet. Her interpretation has influenced generations of ballerinas in Swan Lake.

SYNOPSIS Fluidity Of Steel examines maleness without conformity as the dancers explore their own identities in the context of a society that often has a narrow view of what masculinity should be. From birth, many American men are told what not to wear, want, or feel. There is a whole range of human emotions and experiences that men are rarely supposed to show: tears, doubt, unrestrained affection. This work aims to step beyond those confines by celebrating brotherhood, vulnerability, physicality, and the rich potential of what a man can be.

TODAY’S PROGRAM

CHOREOGRAPHY: NICOLO FONTE MUSIC: JOHANN SEBASTIAN BACH, Partita No. 2 in D Minor,

SYNOPSIS Nicolo Fonte’s Left Unsaid features six dancers and three chairs interacting in a series of shifting moods but always with an undercurrent of implicit human relationships. The irony is that while the work is explicitly gendered, it is not about gender at all: Fonte took his inspiration from the idea of the anima/animus and dynamics of both male and female energies within every person – with the implication that a sense of fulfillment comes from a balance and uniting of these forces.

BWV 1004 Allemanda, Sarabanda & excerpt from Ciaccona and Sonata No. 3 in C Major, BWV 1005 Largo & Adagio

COSTUME DESIGN: KATHERINE SCOGGINS LIGHTING DESIGN: MICHAEL MAZZOLA REHEARSAL ASSISTANT: LISA KIPP WORLD PREMIERE: July 25, 2003; Aspen Santa Fe Ballet;

The Lensic Performing Arts Center; Santa Fe, New Mexico

OBT PREMIERE: April 17, 2009; Newmark Theatre; Portland, Oregon Music From Bach Works; Lara St. John, violin performed courtesy Ancalagon Records and Lara St. John.

OBT dancers Avery Reiners, Jessica Lind, and Brian Simcoe in rehearsals for OBT Resident Choreographer Nicolo Fonte’s Left Unsaid. Photo by Yi Yin.

for Bill CHOREOGRAPHY: JAMES CANFIELD LIGHTING DESIGN: MICHAEL MAZZOLA REHEARSAL ASSISTANT: JEFFREY STANTON WORLD PREMIERE: November 2, 1990; Oregon Ballet Theatre; Civic Auditorium;

Portland, Oregon

Made possible by the generosity of Wendy Warren and Thomas Brown

DANCE PRODUCTION/CHOREOGRAPHY: JI Í KYLIÁN ASSISTANT TO THE CHOREOGRAPHER: ROSLYN ANDERSON MUSIC: STEVE REICH, Drumming: Part I (1970-1971) COSTUME DESIGN: JOKE VISSER STAGE CONCEPT: JI Í KYLIÁN LIGHTING DESIGN: JI Í KYLIÁN (concept), JOOP CABOORT (realization) TECHNICAL SUPERVISION LIGHT/SET: JOOST BIEGELAAR REHEARSAL ASSISTANT: JEFFREY STANTON WORLD PREMIERE: November 23, 1989; Nederlands Dans Theater (NDT I);

SYNOPSIS Drifted in a Deeper Land was choreographed by OBT Founding Artistic Director James Canfield for OBT in 1990. Created during the height of the AIDS crisis, the subdued and introspective ballet features seven men moving through abstract patterns against the backdrop of a dark stage. It was originally set to Ray Lynch’s Drifted in a Deeper Land, but for the current revival Canfield chose to have the dancers perform the seven and a half minute work in silence.

SYNOPSIS Ji í Kylian created Falling Angels as one of the five pieces that together make up his work Black and White. Falling Angels explores the female dancer’s drive for perfection. Steve Reich’s percussive score drives the dancers’ increasingly extreme and even frantic movements. This mesmerizing and occasionally humorous ballet demands intense athleticism from the eight women who make up its all-female cast.

AT&T Danstheater; The Hague, Netherlands

OBT PREMIERE: April 12, 2018; Newmark Theatre; Portland, Oregon Steve Reich, Drumming: Part I By Arrangement With Hendon Music, Inc., A Boosey & Hawkes Company, Publisher And Copyright Owner.

Made possible by the Henry Lea Hillman, Jr. Foundation M AN/WOM AN • OREGON BALLE T THE ATRE

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FEATURE

“WITHOUT THE MUSICʼS ATMOSPHERE, THE DANCING ITSELF BECOMES THE OBSERVERSʼ SOLE GUIDANCE. NEITHER DANCERS NOR AUDIENCE HAVE THE SUPPORT OF THE MUSIC— MOVEMENT ITSELF IS ALL THERE IS.”

OBT Founding Artistic Director James Canfield, in rehearsals for his work Drifted in a Deeper Land. Photo by Yi Yin.

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OREGON BALLE T THE ATRE • M AN/WOM AN

FEATURE

OBT Principal Dancer Brian Simcoe in rehearsals for James Canfield’s Drifted in a Deeper Land. Photo by Yi Yin.

M AN/WOM AN • OREGON BALLE T THE ATRE

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GUEST ARTISTS JAMES CANFIELD

CHOREOGRAPHER, DRIFTED IN A DEEPER LAND

James Canfield, founding artistic director of Oregon Ballet Theatre (1989-2003) and former artistic director of Nevada Ballet Theatre (NBT) and was born in Corning, New York and received his early dance training at the acclaimed Washington School of Ballet under the direction of Mary Day. During his career with The Joffrey Ballet and Washington Ballet, Canfield danced an extensive repertoire of works by noted choreographers such as Sir Frederick Ashton, Anthony Tudor, George Balanchine, Gerald Arpino, Robert Joffrey, William Forsythe, John Cranko, Marius Petipa, Ji í Kylián, José Limón, Agnes de Mille, Choo San Goh, and Val Caniparoli among others.

After leaving The Joffrey Ballet, Canfield was appointed Oregon Ballet Theatre’s (OBT) founding artistic director where he along with Haydée Gutiérrez established the School of Oregon Ballet Theatre to provide the best classical ballet training to young students and dancers throughout the Northwest.

In 1993, Canfield and Board Member Kiki Hillman, raised the capital for an original $1.2-million dollar production of The Nutcracker. Conceptualized and choreographed by Canfield, this undertaking proved to be a financial and artistic success for the company as well as the catalyst that introduced ballet to new audiences.

In August 1999, OBT made the first of its two New York City debuts when it performed to sold-out houses at the famed Joyce Theater.

In addition to his choreographing and teaching, Canfield also played a leading role in establishing OBT as a major arts institution in Portland through artistic programming, education and outreach, sound financial footing, community visibility, and national recognition.

To help establish OBT as one of Portland’s top performing arts organizations, Canfield and a committed group of individuals secured a permanent home for the future of OBT. In September 2000, the 21,000 square foot former Wells Fargo Bank, housed OBT’s offices and dance studios.

After leaving OBT, Canfield went on to further his studies and enrolled at the East West College of the Healing Arts. After graduating, he joined the team at West Portland Physical Therapy Clinic as well as opening his own massage therapy practice. During this period of time, at the invitation of friend and colleague Sarah Slipper (founding artistic director, Northwest Dance Project), he remained active by teaching and choreographing for her company.

In 2009, following an international search, Canfield was appointed artistic director of NBT and while there established several new initiatives for the company including NBT Unveiled, 4 x 8, The Studio Series and three appearances in Dance for Life: Palm Springs.

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MICHEL FOKINE

CHOREOGRAPHER, THE DYING SWAN

Michel Fokine, 1880–1942, was born in St. Petersburg-Russia.

He studied at the Imperial Ballet School and made his performing debut at the Mariinsky Theatre under the direction of Marius Petipa. Upon graduation he entered the company as a soloist, where he frequently partnered Anna Pavlova. He went on to teach at the Imperial Ballet School and choreographed a number of pupil’s performances and charity events. In 1905 he created one of his most iconic pieces of choreography, The Dying Swan.

Fokine went on to experience great success as a choreographer, creating works for a number of companies and theaters, including the Ballet Russes, the Imperial Theatre, Anna Pavlova’s company, Broadway, La Scala, the Paris Opera, les Ballets de Monte Carlo, Hollywood, and the Colon Theatre. Fokine also opened a ballet school in New York that was to become a training ground for the first generation of American ballet dancers and organized his first company, the “American Ballet,” which performed regularly at the Metropolitan Opera House, and toured the principal cities of the U.S. During his lifetime Fokine created over 80 ballets – many are considered masterpieces. In addition to his catalogue of work, he is most noted for the fact that he revolutionized the art of dance.

NICOLO FONTE

RESIDENT CHOREOGRAPHER, LEFT UNSAID

Nicolo Fonte was appointed Oregon Ballet Theatre’s resident choreographer in the Spring of 2016 marking the culmination of a nearly 10year relationship during which he created 5 world premieres for the company beginning with the opening of Bolero in 2008. Fonte’s 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 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 Compañia 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 companies large and small all over the world, such as The Dutch National Ballet, Houston Ballet, Royal Danish Ballet, Pacific Northwest Ballet, Ballet West, and Royal Ballet of Flanders, among many others.

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, Nicolo enjoyed an ongoing creative partnership with The Göteborg Ballet in Sweden, creating and staging numerous works that helped establish the company’s distinct profile. 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.

In addition to Oregon Ballet Theatre, Nicolo Fonte is currently the resident choreographer for Ballet West in Salt Lake City, which began with the 2012/13 season.

Photo by Jana Cruder

JIŘÍ KYLIÁN

CHOREOGRAPHER, FALLING ANGELS Ji í Kylián (Czech Republic 1947) started his dance career at the age of nine, at the School of the National Ballet in Prague. He left Prague when he received a scholarship for the Royal Ballet School in London in 1967. After this, he left to join the Stuttgart Ballett led by John Cranko and in 1975 Kylián became artistic director of the Nederlands Dans Theater in The Hague (NL). In 1978 he put NDT on the international map with Sinfonietta. That same year, he founded Nederlands Dans Theater 2, which was meant to function as a breeding ground for young talent. He also initiated Nederlands Dans Theater 3 in 1991, the company for older dancers from forty till ‘death.’ This three dimensional structure was unique in the world of dance. After an extraordinary record of service, with an oeuvre of almost 100 ballets, Kylián handed over the artistic leadership in 1999, and remained associated to the dance company as house choreographer until December 2009. In the last ten years, Kylián has directed four dance films, Car-Men (2006), Between Entrance & Exit (2013), Schwarzfahrer (2014) and Scalamare (2017).

In the course of his career, Kylián received many international awards including: Officer of the Orange Order (Netherlands), Honorary Doctorate (Julliard School New York), three Nijinsky Awards (Monte Carlo) for best choreographer, company and work, Benoit de la Dance (Moscow & Berlin), Honorary Medal

GUEST ARTISTS of the President of the Czech Republic, Commander of the Legion d’honneur (France), and in 2008 he was distinguished with one of the highest royal honours, the Medal of the Order for Arts and Science of the House of Orange given to him by Her Majesty the Queen Beatrix from the Netherlands. Kylián received the Lifetime Achievement Award in the field of dance and theater by the Czech Ministry of Culture in Prague and in this same year the documentary Forgotten Memories received the Czech Television Award. In 2017, Kylián received the prestigious gold penning as honorary citizen of The Hague, the Netherlands.

DARRELL GRAND MOULTRIE

CHOREOGRAPHER, FLUIDITY OF STEEL

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, 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, Point Park University, CalArts, New York University, Stanford University, and Dartmouth College. Dance Theatre of Harlem, Oregon Ballet Theatre, Ailey II, the University of Arizona, Boston Conservatory, and Nashville Ballet will premiere his works this spring.

Grammy Award-winning recording artist Beyoncé selected Moultrie as one of her choreographers for The Mrs. Carter Show World Tour. He also has collaborated with Tony Awardwinning hoofer, Savion Glover and director, Diane Paulus, who tapped Moultrie to choreograph the original musical Witness Uganda at American Repertory Theater. Most recently Moultrie choreographed the new opera El Público by Federico García Lorca at the world famous Teatro Real in Madrid, Spain.

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.

Darrellgrandmoultrie.com

ROSLYN ANDERSON STAGER, FALLING ANGELS

Born in Australia, Roslyn Anderson studied first with Phyllis Danaher, then at the Australian Ballet School, from which she graduated to the Australian Ballet with Artistic Director Dame Peggy van Praag. After six years, she joined Nederlands Dans Theater, then directed by Jaap Flier, as a result of their Australian tour in 1972. She danced until 1986, working with choreographers Robbins, Tetley, Butler, van Manen, Falco, Muller, Bruce, Duato, and of course, Kylián – having many works created for her. Since she ended her dancing

career in 1986, she has been rehearsal director for NDT I, until the end of 2008. Commencing in 1979, she has been assisting Kylián, and others, on numerous works, and has staged numerous ballets for Kylián all over the world.

The companies she has worked with include: American Ballet Theatre, San Francisco Ballet, Joffrey Ballet, National Ballet of Canada, Cullberg Ballet (Sweden), Royal Swedish Ballet, Ballet de Genève, Paris Opéra Ballet, Scottish Ballet, Australian Ballet, National Theatre of Prague, Hubbard Street Dance Chicago, Compañía Nacional de Danza (Madrid), Prague Chamber Ballet, Hamburg Ballet, Royal New Zealand Ballet, Stuttgart Ballet, Les Ballets de Monte Carlo, Lyon Opéra Ballet, Teatro Nuovo, (Torino, Italy), Wiener Staatsoper, Hungarian State Opera House, Opéra du Rhin (France), Ballet Basel (Switzerland), Singapore Dance Theatre, Bayerisches Staatsballett (Munich), Royal Ballet Covent Garden (London), Norwegian Ballet, Les Grands Ballets Canadiens, Finnish National Ballet, Goteborg Ballet (Sweden), Rambert Dance Company (London), Zürich Opera House, Houston Ballet, Introdans (Arnhem, Holland), Boston Ballet, Pacific Northwest Ballet, Baltic Opera Gda sk (Poland), Polish National Opera Ballet (Warsaw), and many others.

JOOST BIEGELAAR

TECHNICAL SUPERVISION LIGHT/SET, FALLING ANGELS Joost Biegelaar was educated in stage management studies at the Royal Scottish Academy of Music and Drama in Glasgow, Scotland. In 1992 he joined Nederlands Dans Theater I, where under the direction of Ji í Kylián, he worked, produced, and toured with NDT’s stage management and technical team worldwide.

After 10 years of working with Nederland Dans Theater I, he became technical director of the Lucent Danstheater in The Hague, the Netherlands for five years. Presently Biegelaar is a freelance light designer and often works with Kylián Productions B.V. to technically re-produce Kylián works with ballet companies around the world.

CHRISTINE JOLY DE LOTBINIERE

COSTUME DESIGN, FLUIDITY OF STEEL

Christine has designed costumes for production in Europe, USA, Asia, and Canada. Her credits include works for The National Ballet of Canada, Pacific Northwest Ballet, Göteborgs Operan Ballet, the Abai State Theater Kazakhstan, The Joffrey, Ballet BC, Atlanta Ballet, Aspen Santa Fe Ballet, and Tulsa Ballet amongst others. Trained in the performing and visual arts, her theater credits include designs for Robert Brustein, Tina Packer, Ron Daniels, Christopher Durang, David Wheeler, and Tina Landau. She has experience across other platforms – she is a textile designer, dyer, and

colorist as well as an illustrator and graphic designer. She is currently the costume director and designer for Teatro ZinZanni.

LISA SUNDSTROM

STAGER, THE DYING SWAN

Lisa Sundstrom received her early training in Astoria, Oregon and at The Marin Ballet in San Rafael, California. At 15, she was hand-picked by Mikhail Baryshnikov to dance on full scholarship at ABT School in New York. Sundstrom toured the U.S. with ABT II, making her New York debut at the Joyce Theater in the role of Lucille Grahn, coached by Robert Joffrey, in the revival of his Pas de Déesses. Baryshnikov invited her to join ABT, where she gained knowledge of the great classical and romantic ballets as well as modern and contemporary styles. Sundstrom joined Pennsylvania Ballet as a soloist and was promoted to principal dancer. After eight seasons, she rejoined ABT and toured worldwide performing featured roles.

Sundstrom has danced the principal roles in the classics Swan Lake, Romeo and Juliet, Don Quixote, Sleeping Beauty, The Nutcracker and Giselle, as well as numerous ballets by George Balanchine and works by William Forsythe, Paul Taylor, Alonzo King, John Neumeier, Jose Limon, and John Butler. In addition, she has worked with choreographers Kenneth MacMillan, Anthony Tudor, Merce Cunningham, Twyla Tharp, Lynne Taylor-Corbett and James Kudelka, and been coached by ballerinas Irina Kolpakova, Gelsey Kirkland and Suzanne Farrell. Sundstrom has been interviewed for radio, featured in Dance Magazine and appeared on PBS “Dance in America” with ABT and Pennsylvania Ballet.

After retiring from the stage, Sundstrom taught full time at The Rock School of the Pennsylvania Ballet and at University of the Arts in Philadelphia. She then returned to Oregon, where she attended college and directed Portland Festival Ballet. She has taught at Oregon Ballet Theatre School since 2015 and was named Program Director of OBT2 and Principal Instructor in 2016. She has been a guest teacher at numerous ballet schools around the country and abroad.

KATHERINE SCOGGINS

COSTUME DESIGNER, LEFT UNSAID

Katherine Scoggins has been designing and creating costumes for dance and theatre since 1994. She held the position of Wardrobe Manager for Oregon Ballet Theatre 2006-2010 and for David Taylor Dance Theatre (Denver, Colorado) 1997-2006. She has designed new works for Portland Playhouse, Oregon Ballet Theatre, Aspen Santa Fe Ballet, Opera Colorado, and David Taylor Dance Theatre. She has worked with a number of noted designers such as Sandra Woodall, Mark Zappone, Christine Darch, and George Peters creating their works.

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GUEST ARTISTS (cont.)

SANDRA WOODALL

COSTUME DESIGNER, THE DYING SWAN

Sandra Woodall is a visual artist and scenic & costume designer. Woodall has contributed scenic & costume designs to San Francisco Ballet, Frankfurt Ballet, Stuttgart Ballet, Bolshoi Ballet, National Ballet of Georgia, Norwegian National Ballet, State Opera Ballet of Austria, Dance Theatre of Harlem, Royal Winnipeg Ballet, Houston Ballet, Hubbard Street Dance Project, Singapore Dance Theatre, and other companies around the world. Recent productions include the visual design of Winter Journey (Beijing), Camino Real (Atlanta Ballet) and Games at New York’s Joyce Theater, and sets & costumes for the opening season of Theatre Above (Shanghai). Woodall is currently designing costumes for a 2018 Nutcracker Suite, choreographed by Yuri Possokhov at Atlanta Ballet.

Woodall’s artwork and designs have been shown in solo exhibitions at the Wadsworth Atheneum (Connecticut) and San Francisco’s Museum of Performance + Design, and in numerous group exhibitions, including the 2011 Wearable Art exhibit in Hong Kong. In 1999 and 2000, she was a Fulbright scholar teaching at what is now the Taiwan National University of the Arts; she contributed designs and visual consultation to 2009’s stadium-scale opening pageant for the Deaflympics and scenic designs for the 100th anniversary of Taiwan National Day.

ARTISTIC STAFF KEVIN IRVING

ARTISTIC DIRECTOR Kevin Irving began dancing with jazz classes in his hometown dance school (Long Island, New York), and later joined the school and training ensemble of Alvin Ailey. From 1982 to 1985, he danced with The Elisa Monte Dance Company of New York, but, at 24, he took a sharp turn toward classical dance and joined Les Grands Ballets Canadiens, in Montréal.

Promoted first to soloist and then to principal dancer, Irving became a well-known figure wherever LGBC performed. In 1993, Irving joined Twyla Tharp Dance for a project that included performances at L’Opera de Paris and the PBS television film of In the Upper Room.

From 1994 to 2002, Irving was ballet master and associate director with Nacho Duato’s Compañía Nacional de Danza in Madrid, Spain. From 2002 to 2007, he was artistic director of The Göteborg Ballet in Sweden. The company, under Irving’s tenure as director, was named the most important dance company in Sweden in Ballet International’s critics’ poll. From 2007 to 2013, he was a frequent guest ballet master with The

Royal Danish Ballet and has been a guest teacher with numerous other companies and schools. He has staged ballets by Nacho Duato and Nicolo Fonte on companies such as The Royal Ballet Covent Garden, Nederlands Dans Theater, Hubbard Street Dance Chicago, and The Australian Ballet, among many others.

Irving was also associate director at dance company Morphoses (2011–2012), coordinating special initiatives aimed at defining the company’s unique brand and profile in the dance world. In 2010, Irving founded I-DANCE (Inspiring Dance: American Nation Choreographic Exchange), a non-profit organization that has sent teachers and choreographers to dance communities in Central and South America. He was named Artistic 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, Ballet of Los

JOKE VISSER

COSTUME DESIGNER, FALLING ANGELS

After 10 years as a freelance designer for places such as the Dutch National Ballet, Nederlands Dans Theater, and the Dutch Opera Foundation, Joke Visser joined Nederlands Dans Theater officially in 1987.

In 1989, she was appointed head of the NDT costume department. Ji í Kylián worked with Visser to design and fabricate the costumes for almost all of his dance productions. Her work catalogue includes Kylián‘s: Bella Figura (NDT I, 1995), Wings of Wax (NDT I, 1997), A Way A Lone (NDT III, 1998), One of a Kind (NDT I, 1998), Indigo Rose (NDT II, 1998), Half Past (NDT I, 1999), Doux Mensonges (Opéra de Paris, 1999), Arcimboldo 2000 (NDT I, NDT II, NDT III, 2000), Click-PauseSilence (NDT I, ’2001), Birth-day (NDT III, 2001), 27’52” (NDT II, 2002), Claude Pascal (NDT I, 2002), When Time takes Time (NDT III, 2002), Far too close (NDT III, 2003), Last Touch (NDT I, 2003), Sleepless (NDT II, 2004), Toss of a Dice (NDT I, 2005), Chapeau (NDT II, 2005), Tar and Feathers (NDT I, 2006), Vanishing Twin (NDT I, 2008), Gods and Dogs (NDT II, 2008), and Mémoires d’oubliettes (NDT I, 2009). In addition to collaborating with other choreographers, Visser also supervises and organizes the costumes of Kylián works around the world.

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OREGON BALLE T THE ATRE • M AN/WOM AN

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Angeles, Ballet Chicago, and James Sewell Dance, and also 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 OBT in 2004, she was the ballet department head for the school of Spectrum Dance Theater in Seattle, as well as the company’s rehearsal director.

Kipp has been the ballet master for OBT for 10 years, and the company’s rehearsal director for 4 years. As a ballet master she has assisted James Kudelka, Lar Lubovitch, Lola de Ávila, Nicolo Fonte, Francia Russell, Bart Cook, Christine Redpath, Christopher Stowell, Yuri Possokhov, and Helgi Tomasson. She has staged George Balanchine’s Rubies, Square Dance, and Who Cares? for OBT and is responsible for the corps de ballet in OBT’s classical repertoire.

Photo by Tatiana Wills

JEFFREY STANTON BALLET MASTER

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

He joined San Francisco Ballet in 1989 and left to join Pacific Northwest Ballet in 1994.

He was promoted to soloist in 1995, made a 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; Kevin O’Day’s Aract and [soundaroun(d)ance]; Kent Stowell’s Carmen, Palacios Dances, and Silver Lining; and Christopher Stowell’s Zaïs.

Stanton has performed as a guest artist for Le Gala des Étoiles in Montréal, 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 series, dancing excerpts from Balanchine’s Episodes, coached by Melissa Hayden.

Photo by Tatiana Wills

MICHAEL MAZZOLA

RESIDENT LIGHTING DESIGNER Michael Mazzola’s critically acclaimed lighting and scenery has been seen in venues all over the U.S., Europe, and Asia, ranging from opera houses to amphitheaters to 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 of Seattle; Queensland Ballet; National Ballet of Finland; Stuttgart Ballet; Grand Rapids Ballet; Ballet West; Ballet Nacional de Cuba; Ballet Hispanico; Trey McIntyre Project; The Washington Ballet; Royal Winnipeg Ballet; Houston Ballet; Rachel Tess Dance at the Wanås Foundation in Sweden; Baryshnikov Arts Center in New York City, LMCC’s River to River Festival; Third Rail Repertory Theatre; Bebe Miller Company; and Liz Lerman’s Dance Exchange. For the National YoungArts Foundation Mazzola has designed scenery and lighting for their Miami Galas since 2015. For the 2015 and 2016 Presidential Scholars|YoungArts Awards he designed lighting and created media content at the Kennedy Center Concert Hall. Last season saw him off to Italy for a whirlwind tour with Tulsa Ballet and to Cuba for his second world premiere with Ballet Nacional de Cuba for Annabelle Lopez Ochoa. This season he heads to Winnipeg for the world premiere of a full-length ballet with the Royal Winnipeg Ballet by James Kudelka, then down south to Chicago for a new Giselle

by The Joffery Ballet among many others. Mazzola has been senior scenic designer on Comedy Central Celebrity Roasts as well as the 2015 Lincoln Awards at the Kennedy Center Concert Hall for Uplight, Inc., based in New York City.

Photo by Alison Roper

Portable Displays for Tradeshows and Events

EXECUTIVE DIRECTOR MICHAEL GREER Michael Greer comes to Oregon Ballet Theatre bringing leadership experience from both the forprofit and non-profit worlds. Most recently having led a nonprofit arts organization through a successful transition, and having previously led China side operations, projects, and sales teams for several multinational companies, Greer is excited to now be a part of Oregon Ballet Theatre.

A native of Missouri, Greer spent the early part of his life as a dancer at some of the world’s most prestigious dance institutions including Interlochen Arts Academy, School of American Ballet, San Francisco Ballet School, and The Royal Ballet School. Upon completing his training, he continued on to dance professionally with Ballet West in Salt Lake City, Utah under the direction of Mr. Jonas Kage.

After retiring from performing, Greer went on to complete a degree in economics with a focus in industrial organization as an Arturo Schomburg Scholar at Hampshire College in Amherst, Massachusetts. Greer also received an offer to continue his economics studies at Stanford University on a merit scholarship. He declined that opportunity in order to gain experience in international business as a Gilman Scholar (U.S. State Department). Greer went on to work with companies in both India and China over a nine-year span, managing teams and operations at several multinational corporations. As a Mandarin speaker, Greer enjoyed a fulfilling life in China with his wife and two children.

In 2015, Greer returned to the U.S. and to the dance world to take over the position of executive director at Portland Ballet in Portland, Maine. Combining his considerable business experience with his passion for the arts, Greer worked to increase earned and contributed revenue resulting in a major turnaround for the organization.

Greer and his family are excited to be part of the Portland, Oregon community.

He looks forward to bringing his experiences to Oregon Ballet Theatre and working with Kevin Irving and the exceptionally talented team already in place.

www.PosterGarden.com | 630 NW 14th Avenue | Portland, Oregon | 503.297.9982

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COMPANY PRINCIPAL DANCERS Xuan Cheng Sponsored by Melissa & Gary Hanifan 2. Peter Franc Sponsored by Elizabeth & Thomas Gewecke 3. Chauncey Parsons Sponsored by The Balletomanes 4. Brian Simcoe * Sponsored by Artslandia & The Brian Simcoe Fan Club 5. Jacqueline Straughan

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SOLOLIST Eva Burton Sponsored by Kathleen & Benoit de Montlebert 7. Ansa Capizzi * 8. Martina Chavez * Sponsored by The Crumpacker Family 9. Michael Linsmeier

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10. Thomas Baker *

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APPRENTICES

16. Katherine Monogue*

Sponsored by Jack Blumberg

11. Keenan English 12. Adam Hartley *

Sponsored by Sharon & Adam Mirarchi 13. Makino Hayashi Sponsored by Karen & Mike Weddle 14. Christopher Kaiser Sponsored by Bill Dickey 15. Jessica Lind * Sponsored by Jessica’s List

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Kate Kerns

All photos by Yi Yin unless otherwise noted

Sponsored by Alan Garcia & Lyn Reynolds Garcia Kelsie Nobriga * Kimberly Nobriga * Sponsored by Charles W. Webb, DO Emily Parker * Sponsored by Dean Richardson Colby Parsons Sponsored by Luwayne Sammons & Family Avery Reiners Sponsored by Charlie Jones & Marc Weaver Paige Wilkey * Sponsored by Paulo

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Sponsored by Marilyn L. Rudin, MD & Richard S. Testut, Jr. Abigail Diedrich Sponsored by Paulo Alexa Domenden * Sponsored by Nancy Locke & Don Harris Theodore Watler * Sponsored by Sandy & Stephen Holmes Andrew Wingert Sponsored by Dan & Don

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COMPANY Her major principal roles include: Giselle in Lola de Ávila’s Giselle, Odile /Odette in Christopher Stowell’s Swan Lake, Odile/Odette in Kevin Irving’s Swan Lake, Cinderella in Ben Stevenson’s Cinderella, Juliet in James Canfield’s Romeo and Juliet, Titania in Christopher Stowell’s A Midsummer Night’s Dream, Teresina in August Bournonville’s Napoli Act III, the Sugar Plum Fairy in George Balanchine’s The Nutcracker®, as well as roles in William Forsythe’s In the Middle, Somewhat Elevated and in contemporary works by Nacho Duato.

She has also originated roles in new works by acclaimed choreographers, including: Nicolo Fonte, Helen Pickett, James Kudelka, and Trey McIntyre.

OBT dancers in rehearsals for Ji í Kylián’s Falling Angels.

Photo by Yi Yin.

PRINCIPAL DANCERS

XUAN CHENG

Xuan Cheng was born in Chenzhou, Hunan Province of China. She started dance lessons at the age of 5 and at 10 joined the School of Guangzhou Ballet. After graduation she joined Guangzhou Ballet as a company member under famous Chinese prima ballerina Dan Dan Zhang, and quickly became a principal dancer, performing major roles in their repertoire.

In 2004, she won the Silver medal in the third Shanghai International Ballet Competition.

In 2005, she was a finalist in the 8th New York International Ballet Competition. Then in 2006, she was the recipient of the Gold medal at the National Tao Li Bei Dance Competition in China.

In 2006, she was invited by acclaimed Canadian choreographer Édouard Lock to join his Montreal based company La La La Human Steps.

She was in the original cast of Amjad in 2007.

While with the company, she performed in over 20 countries throughout Europe, Asia, and North America. She danced in famous theaters around the world, including Sadler’s Wells in London, the Théâtre de la Ville in Paris, deSingel in Antwerp, the Het Muziektheater in Amsterdam, the Festival ImPulsTanz in Vienna, the National Arts Centre in Ottawa, the Festival Montréal en Lumière, the LG Arts Center in Seoul and the Saitama Theater in Japan. In 2009, she was a guest performer with the international ballet Gala IX in Dortmund, Germany.

She then joined Les Grands Ballets Canadiens.

While there she danced Juliet in Jean-Christophe Maillot’s Romeo and Juliet, Princess Lena in Christian Spuck’s Leonce and Lena and the Sugar Plum Fairy in Fernand Nault’s The Nutcracker, and other leading roles in works by many world class choreographers, including Ohad Naharin, Ji í Kylián, Mats Ek , Mauro Bigonzetti, and Christian Spuck.

She joined Oregon Ballet Theatre as a principal dancer in 2011.

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PETER FRANC

Peter Franc received his early ballet training with Atlanta’s Metropolitan Ballet Theatre, the Louisville Ballet School, and graduated from the Houston Ballet Academy. He then joined Houston Ballet, rising to the rank of demi-soloist. Notable performances include works by Jerome Robbins, George Balanchine, Ji í Kylián, Hans Van Manen, and Stanton Welch. He continued dancing three seasons with Aspen Santa Fe Ballet, featuring in a variety of contemporary work by choreographers Jorma Elo, Nicolo Fonte, Cayetano Soto and Alejandro Cerrudo.

He joined OBT as a soloist in 2015 and was promoted to principal in 2016.

CHAUNCEY PARSONS

Born in Santa Barbara, California, Chauncey Parsons began dancing at age 12, at the Santa Barbara Ballet Center, under Michelle Pearson and Denise Rinaldi. At 15, he was accepted into the Kirov Academy of Ballet in Washington D.C. where he trained for three years under Vladimir Djouloukhadze. After graduating, he performed for State Street Ballet under Rodney Gustafson for two years. In 2002, he joined Colorado Ballet as a soloist under Martin Fredmann, and in 2004 was promoted to the rank of principal dancer. In 2008, he joined OBT as a soloist under Christopher Stowell, and was promoted to principal in 2009. Over the course of his career he has danced a wide variety of roles, including Basil in Don Quixote, Count Albrecht in Giselle, Prince Siegfried in Swan Lake, and Mercutio in Romeo and Juliet. Further, he has danced leading roles in Balanchine’s Rubies, Emeralds, Tarantella, The Nutcracker, and Stravinsky Violin Concerto, Michael Pink’s Dracula and The Hunchback of Notre Dame, Agnes de Mille’s Rodeo, Nicolo Fonte’s Bolero and Never Stop Falling (in Love), Paul Taylor’s Company B, and others.

BRIAN SIMCOE

Brian Simcoe was born in Grants Pass, Oregon.

He received his training from the School of Oregon Ballet Theatre, Pacific Northwest Ballet School, and Long Beach Ballet Arts Center. He joined OBT as an apprentice in 2004, was promoted to soloist in 2011, and promoted to principal in 2013. At OBT, he has appeared in Christopher Stowell’s Swan Lake, Nicolo Fonte’s

Petrouchka, James Canfield’s Romeo and Juliet, and Jerome Robbins’ Afternoon of a Faun.

JACQUELINE STRAUGHAN

Jacqueline Straughan is a native of Carson City, Nevada. She studied at the National Ballet School in Toronto, Canada where she was also the recipient of the Peter Dwyer Scholarship and Christopher Ondaatje Award. She began her professional career in 2000 with the National Ballet of Canada under the directorship of James Kudelka. While with the company she performed his works and other seminal ballets by Ashton, Cranko, MacMillan and Tetley. From 2006-2017 she performed with Ballet West, rising through the ranks to first soloist. Her notable principal roles in Dove’s Red Angels, Fonte’s Presto, Kylián’s Forgotten Land and Overgrown Path, Forsythe’s In the Middle, Somewhat Elevated, Balanchine’s Rubies and the title role of Giselle earned her critical acclaim. She was also a cast member of the docu-drama series Breaking Pointe seasons I & II based on Ballet West. Straughan joined OBT as a principal in 2016. Highlights of her first principal season include the world premiere of Fonte’s Giants Before Us, Duato’s El Naranjo and the dual role of Odette/Odile in Swan Lake.

SOLOISTS

EVA BURTON

Eva Burton was born in Los Angeles, California.

She received her training in Los Angeles from Patrick Frantz and at San Francisco Ballet School before joining OBT for the 2009/10 season.

She has been featured in works by George Balanchine, Nacho Duato, Nicolo Fonte, and Ben Stevenson. In the 2014/15 season she debuted as the Sugarplum Fairy in George Balanchine’s The Nutcracker®, as Cinderella in Ben Stevenson’s production, and in Nicolo Fonte’s Presto. In 2016 she danced in William Forsythe’s In the Middle Somewhat Elevated and the “Waltz Girl” in George Balanchine’s Serenade. She was promoted to soloist in 2016.

ANSA CAPIZZI

Ansa Capizzi is from Nagoya, Japan where she began studying dance at the age of 5. She later trained with Chika Goto Step Works Ballet and City Ballet School in San Francisco. She joined OBT as an apprentice in 2003 and was promoted to soloist in 2007. Some of her favorite roles with OBT include: William Forsythe’s The Vertiginous Thrill of Exactitude, George Balanchine’s Tarantella, James Canfield’s Romeo and Juliet, and Nacho Duato’s Por Vos Muero.

MARTINA CHAVEZ

Born in San Antonio, Texas, Martina Chavez began her training at age 9 under the direction of Buddy and Susan Trevino then continued her education at Maryland Youth Ballet. She joined OBT in 2006 as an apprentice, was promoted into the company in 2007, and to soloist in 2014. Her favorite roles have been in works created by George Balanchine, Nacho Duato, and Nicolo Fonte.

COMPANY MICHAEL LINSMEIER

Michael grew up on a family dairy farm near Manitowoc, Wisconsin where he began training at the Jean Wolfmeyer School of Dance. During high school he attended the Virginia School of the Arts. He spent seven years dancing with the Milwaukee Ballet before joining OBT in 2011.

Since joining, Michael has enjoyed dancing roles created by Nicolo Fonte, William Forsythe, Helen Pickett, Nacho Duato, George Balanchine, James Canfield, Ben Stevenson, and James Kudelka to name a few.

COMPANY ARTISTS

THOMAS BAKER

Thomas began his dance training at 15 years old in St. George, Utah under Bené Arnold. He then attended San Francisco Ballet School on full scholarship before joining OBT as an apprentice in 2010. Thomas has performed featured roles in works by Balanchine, Duato, Fonte, Pickett, Canfield, Bournonville, Forsythe, and others with OBT. Thomas has also danced professionally with Ballet San Jose, Barak Ballet, and the National Choreographers Initiative.

KEENAN ENGLISH

Keenan English trained with the Baltimore County Youth Ballet and then the Baltimore School for the Arts before joining the trainee program at Boston Ballet School on the Pao Scholarship, where he performed with Boston Ballet. In 2012, he attended the summer course at The School of American Ballet, and later enrolled as a full time student on the Carolyn Wright-Lewis Scholarship. While at SAB he performed in Balanchine’s Serenade, Coppélia, and Western Symphony, which was a Live at Lincoln Center PBS Broadcast. He joined the company at Dance Theatre of Harlem for the 2014/15 season, before joining Cincinnati Ballet for the 2015/16 season. He joined OBT as an apprentice in 2016 and was promoted to company artist in 2017.

ADAM HARTLEY

Adam Hartley is from Orange, California and began dancing at age 5. He joined OBT as an apprentice in 2009 and was promoted to company artist in 2011. Some of his favorite ballets to dance at OBT were William Forsythe’s The Second Detail, Nacho Duato’s Por Vos Muero, and Nicolo Fonte’s Bolero.

MAKINO HAYASHI

Makino Hayashi was born in Kumamoto, Japan.

She started ballet at The Kumamoto Ballet School when she was 9 years old. She joined Colorado Ballet in 2002 as an apprentice, was promoted to corps de ballet in 2004, and joined OBT in 2010. Her favorite roles at OBT are Rassemblement, Jardí Tancat by Nacho Duato, The Lost Dance by Matjash Mrozewski, Nurse in Romeo and Juliet by James Canfield, and Beautiful Decay by Nicolo Fonte. She has been featured in the role of Helena in A Midsummer Night’s Dream, In the Middle, Somewhat Elevated and The Second Detail by William Forsythe, Instinctual Confidence by Darrell

Grand Moultrie, Napoli by August Bournonville, and Terra and Petal by Helen Pickett.

in William Forsythe’s In the Middle, Somewhat Elevated and Nacho Duato’s Jardí Tancat.

CHRISTOPHER KAISER

EMILY PARKER

A native to Los Angeles, Christopher began training at Los Angeles High School for the Arts.

During his summers, he trained at The Joffrey Ballet, Boston Ballet, and Milwaukee Ballet.

From there, he was accepted to The Juilliard School in New York where he graduated with a Bachelor of Fine Arts, where he had the privilege to dance in the International Festival in Edinburgh. He danced with Alberta Ballet for three seasons before joining OBT. This is his second season with OBT. Some of his favorite performances include Nacho Duato’s Gnawa, William Forsythe’s Herman Shmerman, and Ji í Kylián’s Forgotten Land.

JESSICA LIND

Born and raised in San Jose, California, Jessica Lind began her ballet training at the age of 4 at Dance Theatre International. She trained for a year with San Francisco Ballet School before joining the professional division at OBT and then became an apprentice two years later.

She was promoted to company artist in 2016.

Some of her favorite works she has performed with OBT include George Balanchine’s Serenade, William Forsythe’s In the Middle, Somewhat Elevated, Nacho Duato’s Jardí Tancat, and the first act pas de trois from Swan Lake.

KATHERINE MONOGUE

Katherine Monogue was born in Tacoma, Washington. She trained at the Washington School of Ballet in Washington, D.C. under Key Juan Han. She joined OBT as a Professional Division student in 2012, was promoted to apprentice in 2013, and joined the company as a company artist in 2014. She has performed numerous roles, including Peasblossom in Christopher Stowell’s A Midsummer Night’s Dream, Helen Pickett’s Petal, and Nacho Duato’s Rassemblement.

KELSIE NOBRIGA

Kelsie Nobriga is from Orange County, California and began dancing at the age of 5. She was a professional division student with Pacific Northwest Ballet in 2010, performing in Kent Stowell’s Nutcracker, among other ballets with the company. In 2011, she joined OBT as an apprentice, and returned as a company artist in 2014. Previously, she danced with Colorado Ballet for one season. Highlights for her with OBT are dancing the role of the Sugarplum Fairy in George Balanchine’s The Nutcracker ®, performing William Forsythe’s In the Middle, Somewhat Elevated, and Nacho Duato’s Jardí Tancat.

KIMBERLY NOBRIGA

Kimberly Nobriga grew up in Orange County, California. In 2010 she joined the Pacific Northwest Ballet School to train and perform in their Professional Division before coming to OBT as an apprentice in 2013. Kimberly joined the company in 2015, and her favorite moments on stage include performing as the Dark Angel in George Balanchine’s Serenade, and dancing

Emily Parker was born in Boston, Massachusetts where she began dancing at age 4. After graduating from Indiana University, she joined OBT as an apprentice in 2014 and was promoted to company artist in 2016. Her favorite performances thus far with OBT include Nicolo Fonte’s Beautiful Decay, William Forsythe’s In the Middle, Somewhat Elevated, and Nacho Duato’s Jardí Tancat.

COLBY PARSONS

A native of Santa Barbara, California, Colby Parsons began dancing at the age of 13, studying ballet with Denise Rinaldi at the Santa Barbara Ballet Center. He continued his training on full scholarship at the Jacqueline Kennedy Onassis School at American Ballet Theatre in New York City. He danced with American Ballet Theatre II for three seasons, followed by dancing soloist and principal roles for Alberta Ballet in Calgary for another three seasons. For the 2014/15, season he joined OBT under Kevin Irving. For OBT he has danced the Lover in James Kudelka’s Sub Rosa, a lead in Bournonville’s Napoli, the Prince in Ben Stevenson’s Cinderella, a lead couple in Nicolo Fonte’s Presto, the Berceuse pas de deux in Nicolo Fonte’s Never Stop Falling (in Love), and the Cavalier in George Balanchine’s The Nutcracker®, among other roles. Colby is also a principal dancer with American Contemporary Ballet in Los Angeles during the summer seasons. He has performed as a guest artist in Japan, Costa Rica, Spain, Italy, Switzerland, and Canada as well as in several states in the U.S.

AVERY REINERS

Avery Reiners is from New Jersey. He started dance at The School of American Ballet and received further training at San Francisco Ballet School and Boston Ballet School before joining OBT as a company artist in 2013. Some of his favorite roles with OBT include: Matjash Mrozewski’s The Lost Dance, Gennaro in Bournonville’s Napoli, and Nicolo Fonte’s Presto.

PAIGE WILKEY

Paige Wilkey was born in Los Angeles, California where she began dancing at age 3. She moved to Boston at the age of 16 to train in the pre-professional program at Boston Ballet School. She joined OBT as a professional division student in 2013, was promoted to apprentice in 2014, and joined the company as a company artist in 2016. Her favorite roles with OBT thus far are Coffee in The Nutcracker, The Yellow Girl in Crayola, and the pas de deux from Nacho Duato’s Gnawa.

APPRENTICES

HANNAH DAVIS

Hannah Davis was born in Chapel Hill, North Carolina where she began dancing at age 3.

She continued her classical and contemporary studies at the University of North Carolina

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COMPANY (CONT.)

School of the Arts under Ethan Steifel, Brenda Daniels, and Susan Jaffe. Hannah joined OBT’s second company in 2015 where she enjoyed performing Teresina in August Bournonville’s Napoli and Swanilda in OBT’s Annual School Performance of Coppélia. She was promoted to apprentice in 2016.

ABIGAIL DIEDRICH

Abigail Diedrich is from Pasadena, Maryland.

She began dancing at the age of 8 under the direction of Dianna Cuatto at The Ballet Theatre of Maryland before continuing her training with Norma Pera at Baltimore School for the Arts from 2011-2013. In 2013, she joined the professional division at Pacific Northwest Ballet where she remained for two years before moving to Portland to dance with Oregon Ballet Theatre’s second company. She was promoted to apprentice in 2016 and has enjoyed performing both in the second company’s outreach programs as well as company productions.

ALEXA DOMENDEN

Born in Seattle, Washington, Alexa Domenden received her training with Pacific Northwest Ballet School starting off in their DanceChance program in 2004. In 2013, she danced under the direction of Kevin Kaiser and Louise Nadeau at Evergreen City Ballet. She joined OBT as a member of their second company in 2015 and was promoted to apprentice in 2017. Being in OBT2 she has had the opportunity to perform in works including George Balanchine’s Walpurgisnacht Ballet, excerpts from Nicolo Fonte’s Beasts, the trio from Nacho Duato’s Na Floresta, and Prayer in SOBT’s Annual School Performance of Coppélia.

ANDREW WINGERT

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A native of Dayton, Ohio, Andrew Wingert joined OBT in 2016 as an apprentice after spending a year as a freelance dancer, where he appeared in the corps de ballet with the Suzanne Farrell Ballet and as a guest artist with the Sacramento Ballet, Ballet Chicago and several other regional companies and schools.

He has enjoyed performing in a variety of featured principal roles including: George Balanchine’s Who Cares?, Divertimento No. 15, and Septime Webre’s Juanita y Alicia. Some of his other favorite performances include Septime Webre’s ALICE (in wonderland), and Michael Pink’s Giselle. Andrew is thrilled for his second season with OBT.

THEODORE WATLER

Born in Long Beach, California, Theodore Watler received his training at the Long Beach Ballet Academy. For three years, he attended the summer course at San Francisco Ballet School on scholarship. Theodore graduated from the University of Chicago with degrees in art history and law, letters, and society. He joined OBT as an apprentice in 2017.

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OBT STAFF ARTISTIC

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

ADULT CLASSES

WORKSHOPS & DROP-INS PRODUCTION

Bill Anderson, Director of Production Shannon Goffe, Production Administrator Victoria A. Epstein, Stage Manager Ian Rutledge, Assistant Stage Manager & Sound Coordinator Michael Mazzola, Resident Lighting Designer Ian Anderson-Priddy, Production Electrician & A/V Coordinator Matt Wilcox, Sound Engineer Eileen Ehlert, Costume Shop Supervisor Dejia Morrell, Alyssa Rands, Morgan Reaves, Stitchers Avery Bloch, Kerris Cockrell, Jeff Dines, Brian Keith, Peter Sherman, Lance Woolen, Production Support Staff Janet George, Orchestra Personnel Manager Kirsten Norvell, Head Music Librarian Rachel Rencher, Assistant Music Librarian Eva Richey, Assistant Music Librarian

ADMINISTRATION AND FINANCE

Michael Greer, Executive Director Neville Wellman, Director of Finance & Operations Donna Jackson-Siekmann, Accounting Manager Linda Brown, Business Office Coordinator

DEVELOPMENT

MARKETING

Jim Thomson, Senior Graphic Designer Mariah DeLude, Audience Services Manager Kate Kerns, Marketing Associate Kanda Mbenza-Ngoma, Patron Services Lead

OREGON BALLET THEATRE SCHOOL

Lisa Sundstrom, OBT2 Program Director OBT2 is underwritten by the M.J. Charitable Trust and John Van Buren James Holstad, School Administrator Colleen Hanlon, West Linn Studio Manager & Children’s Coordinator Natasha Bar, Peter Franc, Elise Legere, Valerie Limbrunner-Bartlett, Rachel Närhi, Chauncey Parsons, Jessica Post, Olivia Pyne, Alison Roper, Kembe Staley, Katarina Svetlova, Robyn Ulibarri, School Faculty Irina Golberg, Garnet Hayes, Karen Lam, Ayako Matsuo, Ray McKean, Alec Pemberton, Katie Pyne, Tiffany Sanford, Jordan Strang, Western-Li Summerton, Accompanists

Kasandra Gruener, Director of Education Outreach Sarah Brown, Administrative Assistant Linda Besant, Archivist/Historian Sarah Brown, Brook Manning, Robyn Ulibarri, Allison Wales, Teaching Artists Amy Stahl, Volunteer

SPECIAL THANKS Chris Balo, IATSE Local #28, Jennifer Hammontree, Portland’5 Centers for the Arts, Portland Opera

DANCER WELLNESS COMMITTEE Martina Chavez, OBT Soloist Michael Greer, OBT Executive Director Katherine B. McCoy, PT, MTC,

Alex Occhipinti, Northrup Corporation

Sharon Mirarchi, Committee Chair &

Amy Werner, PT, DPT, West Portland

Peter Northrup, Northrup Corporation

Katharine Zeller, MD, Legacy Health

OBT Board of Trustees President

Artistic Director

PRINCIPAL DANCERS

Xuan Cheng, Peter Franc, Chauncey Parsons, Brian Simcoe, Jacqueline Straughan

SOLOISTS

Eva Burton, Ansa Capizzi, Martina Chavez, Michael Linsmeier

COMPANY ARTISTS

Thomas Baker, Keenan English, Adam Hartley, Makino Hayashi, Christopher Kaiser, Jessica Lind, Katherine Monogue, Kelsie Nobriga, Kimberly Nobriga, Emily Parker, Colby Parsons, Avery Reiners, Paige Wilkey

APPRENTICES

Hannah Davis, Abigail Diedrich, Alexa Domenden, Theodore Watler, Andrew Wingert

EDUCATION OUTREACH

Alison Roper, Major Gifts Officer Justin N. Smith, Donor Relations & Events Manager Keely McIntyre, Grants Manager Emily Tucker, Development Associate

West Portland Physical Therapy Clinic

KEVIN IRVING

Assistant Vice President

Neville Wellman, OBT Director of Finance

& Operations

Physical Therapy Clinic

BOARD OF TRUSTEES Nancy Locke, Board Chair Cate Millar, Vice Chair Jimmy Crumpacker, Secretary Ken Ivey, Treasurer Ken Carraro Rita Duyn Peter Franc, ex officio William Gaar Alan Garcia Michael Greer, ex officio Gary Hanifan Brianne Hyder Kevin Irving, ex officio Cary Jackson Julia Winkler Jacobson Charles L. Jones Allison Lane Lyneham Kristin Malone Keith Martin Christina McNown Nancy J. Miller Sharon Mirarchi Angela Saunders Polin Reegan Rae Dean M. Richardson Tina Skouras Ashley Trimble Betsy Warren Matt Watson Mike Weddle

OREGON BALLE T THE ATRE

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INDIVIDUAL DONORS Oregon Ballet Theatre would like to express its sincere gratitude to those listed below for gifts received through March 15, 2018.

Donations received after this period will appear in the next playbill in May.

TOUR DE FORCE ($25,000 & UP)

Jack Blumberg, In Memory of Thomas P. Anderson Anne & James Crumpacker Jimmy Crumpacker Howard Hedinger Henry & Amber Hillman Sue Horn-Caskey & Rick Caskey Cary Jackson Nancy Locke & Don Harris Jean Pierce Arlene Schnitzer Jordan Schnitzer Bob Sweeney & Cate Millar and Stephen Sweeney John Van Buren Nani Warren David E. Wedge Trust Barbara Yeager

DIRECTORʼS CIRCLE

($10,000–$24,999)

Linda & Scott Andrews Walter Bowen Barbara & Bob Brady Kathleen & Benoit de Montlebert Bill Dickey, In Honor of David E. Wagner Cooper Dubois Rita Duyn Karen & Bill Early Ken & Ann Edwards Alan Garcia & Lyn Reynolds Garcia Thomas & Elizabeth Gewecke Melissa & Gary Hanifan Jeanette Heinz Gregory K. & Mary Chomenko Hinckley Sydney Holland Charles L. Jones John & Linda Lenyo Kenneth & Joyce Lewis Devin & Natalia Megy Brad & Nancy Miller Sharon & Adam Mirarchi Tom & Cynthia Mulflur Paul O’Brien

26

Loren Parks Marilyn L. Rudin, MD & Richard S. Testut, Jr. Elizabeth B. Warren Wendy Warren & Thomas Brown Mike & Karen Weddle

ÉTOILE POINTE SOCIETY ($5,000–$9,999)

Anonymous Anonymous, In Honor of Cate Millar Robert Aughenbaugh Dan Bergsvik & Don Hastler Linda Besant & Martha Goetsch Jasmin & Matt Felton Jessica & Mark Flaa Brian Forrester Fromm Family Charitable Fund William Gilliland Jamey Hampton & Ashley Roland Linda Rae Hickey Kiki, Juliet & Summer Hillman Sandra & Stephen Holmes Brianne & Zachary Hyder Kevin Irving & Nicolo Fonte Judy C. Kelley Diane Knudsen Elise Legere & James Mitchell Dr. Dolores Leon & Dr. Fernando Leon Peter & Allison Lyneham Kristin Malone Denise & James Parker Angela Saunders Polin Dean M. Richardson Luwayne Sammons Caleb Schlesinger Patti & Tommy Skouras Randy Squires Prashanth Vallabhanath & Evelyn Curioso Charles W. Webb, DO Ben & Alli Wood Dr. Kathy Zeller & Dr. David Hill

VIRTUOSO POINTE SOCIETY

($2,500–$4,999)

Anonymous The Ajitahrdaya Gift Fund Dr. Anna Bar Brent Barton & Liz Fuller

OREGON BALLE T THE ATRE • M AN/WOM AN

Adriane & Sam Blackman Richard Louis Brown & Thomas Mark Mark & Blake Bruun Sandra & Charles Carmeci Ken Carraro Guillermina & Arthur Chavez Debi Coleman Cameron & Dick Davis Gail Hayes Davis & Michael Davis Justin & Marisol Delaney Chuck & Barbara Edgerton Emily & Evan Ellis Gary & Yvonne Foster Nancy Frisch William E. Gaar & Lauren E. Barnes Ted & Cynthia Gaty Richard & Juliana Gellman Marilyn & Hans Grunbaum Andrew & Ilene Harris Ronna & Eric Hoffman Fund of The Oregon Community Foundation Bernice & Ken Ivey Julia Winkler Jacobson & Jonas Jacobson Carol Schnitzer Lewis Fund of The Oregon Community Foundation Kathleen Lewis Fund of The Oregon Community Foundation Jerome Magill Keith Martin Tania Mason Christina & Cade McNown Laura S. Meier Ellen & Carl Nielsen John & Ginger Niemeyer Steven P. & Eileen O’Neill Odum 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 Allison & Steven Pike Mary Rose & Maxwell Whipps Leslie Ann Sammons-Roth

Jone Sampson & Sam Weirich Hazel & Barry Schlesinger Daniel & Dawn Simcoe Tina Skouras Barb & Steve Spence Joan W. Sterrett Carol Streeter & Harold Goldstein David & Eileen Threefoot Peter & Ann van Bever Toby & Linda Warson Matt Weaver Jay Wilt Charlene Zidell

PRINCIPAL DANCERʼS CIRCLE

($1,000–$2,499)

Jen & Don Arancibia Susan T. Armentrout Patti & Lloyd Babler Natasha Bar Barbara & Sidney Bass Debora & Craig Beard Maria Borda & Ignacio Giraldo Matthew Boyes & Frederic Koeleman Ryan Bradshaw The Brousson Family Nancy & Andy Bryant Alex Carlson Jeff Chase & Patti Warner Fund of The Oregon Community Foundation Diane Collier The James & Nancy Dalton Charitable Fund Robert & Patricia Dant William Dolan & Suzanne Bromschwig Larry & Deborah Friedman Alexandra & Zan Galton Leonard & Yvonne Gionet Alix & Tom Goodman Rob Goodman Lora & Keith Gordon Jonathan Griffith & Mariia Pechenova Frank Groff Jesse & Leah Gronner Chris Grubb & Carrie Merritt Valarie Grudier & Richard Langdon Tom & Sandy Hageman Daniel Harmon & Jennifer Rabiah Beth Harper Kim & Chris Hasle

Betsy Henning John & Karen Hoke Maryanne & David Holman John & Tanya Hug Michael Hummel & Mamie Diaz Hummel Erika Ingbretson & Babak Mohammadi Steve Karakashian Kathleen & A.J. Kazimi Deneen & Raymond King Amy & Kevin Kohnstamm Derek & Lydia Lipman Fund of the Oregon Jewish Community Foundation Bill & Kate Lockwood Nobuko & Bryce Logan Vida & Jonathan Lohnes Whitney & Jonathan Malkiel M. and L. Marks Family Fund of The Oregon Community Foundation Adrienne & Ian McClellan Jani McCormick Keith & Kristin McInerney Marilyn J. McIver Laurie & Gilbert Meigs Kirsten & Richard Meneghello Angela & Rob Moneyhan Jeffrey Morgan Ken & Hana Moyle Margaret & Gordon Noel Jay & McKay Nutt Kelly & David Park Yale S. Popowich, MD Reegan & David Rae William & Nancy Rosenfeld Fund of The Oregon Community Foundation Lori & Mike Russell Virginia Sewell Megan & Tom Shipley Jinny Shipman & Richard Kaiser Carol & Tom Shults Lisa Sorenson Kembe Staley & Jim Hinkley Steve & Michelle Stapp Steinfeld Family Fund of The Oregon Community Foundation Wendy Lane Stevens & Dr. Jeffrey Stevens Koji & Hisami Toguchi John Thoren Misty & Derek Tompoles Evans Van Buren & Marsha Warner K. Vorderstrasse Pat & Macy Wall

INDIVIDUAL DONORS Matt Watson & Jessica Harkin Patrick Weishampel Robyn Williams & Roger Scarbrough Manami Yamaguchi & Jason Moore Zela & Elsa

SOLOIST DANCERʼS CIRCLE ($500–$999)

Anonymous Charles G. Barany Tom Bard Pat Behm & Gary Jacobsen Melanie Bjorge Annie & Todd Borus W. “Buzz” Braley, Jr. Charles Brasher & Betty Lavis Kay Bristow Irene & Patrick Burk Drs. James Chan & Jennifer Edman Phil & Glynis Chek Kyle & Alison Chown Bill Clodfelter & James Canfield Miguel Cobian Stephanie Copeland & Ken Weber Paris Coté Sandra & Douglas Cress Sue Darrow Grayson & Jack Dempsey Mark Diachok & Jamie Hendrikson Leigh & Leslie Dolin Josh Duncan Anton, Raylene, and Taylor Eilers Conrad Eustis & Roberta Kanter Mary & John Evans Charles & Zoe Foster Jeanine Fukuda & Kevin Walkush Alexandra & Zan Galton James R. Golden Luisa Guyer Karen & Jim Halliday Carl Halvorson Sheila Hamilton & Colin MacLean Donald Helfgott Thomas & Verna Hendrickson Karen Henell & Gregg McCarty Ken Hick & Cheri Cooley-Hick

Eva Hosseinion Vince & Michele Howell Jan Jacobsen & Paul Hart Pamela K. Johnston Alan T. & Sharon Y. Jones Becky & Jarrett Jones Marcia Kahn Ryoka Kim Mary Klein & Francis T. Schneider Barbara Lamack & James Kalvelage Gary S. Leavitt Nancy Lee Joan Levers & David Manhart Gerri & Yorick Lutes Marisa Mack Tom & Lori Malone John F. Mathews Nicole & Brad Miller Dan & Jackie Moore Doug & Malinda Moore Carol N. Morgan Martha Moyer Alex Nicoloff & Lesley Otto Katharine Noll & Frank Bryan David & Theresa Nute Karla Nutt Heidi & Randy O’Connor Susan Olson & Bill Nelson Milo & Beverly Ormseth Melissa & Steven Peterman Janet Plummer & Don Rushmer Alison Roper Miriam & Charles Rosenthal Jean & Stephen Roth, In Memory of Paul Frisch Davia & Ted Rubenstein Miriam Ruth Dan Ryan Lynette Sahnow Daniel & Kathleen Saucy John & June Schumann Diana Scoggins Debbie & Greg Sherwood Jonathan Singer Drs. Justin N. Smith & Christine Liu Rosemary Southwood Sue Stegmiller H. Richard & Pamalynn Steinfeld Jim Thompson & Meredith English Dr. & Mrs. Carl E. Trinca Peter Vennewitz Aimee Virnig Kjerstin & Mike Wallen

Naomi & Hans Wandel Richard Wasserman & Ann Coskey-Wasserman Weiss Fund of The Oregon Community Foundation Angela & Eric Williams Janet Williamson Vinh Wong Eumi & Keith Wymbs Cynthia A. Yee John & Nancy Zernel

COMPANY ARTIST DANCERʼS CIRCLE ($250–$499)

Anonymous Sheryl Acheson Abigail Alford Molly Anderson Gregory & Elizabeth Arntson Bryan Averill Susan Bailey & Mike Warwick Giovanni & Annie Bencomo Beth Blenz-Clucas & Richard Clucas Craig & Rachelle Boretz John Bosshardt & Diana Petty Mark Buser Connie Butler Stephanie Butts Casey & Lindsey Callinsky Irene Cancilla, In Honor of Sunny Guilliand Stephanie Celenza & Jeffrey Kinberg Drs. Timothy & Theresa Chen Jeremy Cochran Margery Cohn Kent Copeland Terri Cross Sarie Crothers Susan Cyganiak, In Honor of Selena Steinmetz Eloise Damrosch & Gary Hartnett Arthur & Winnifred Danner Kearny & Diane Davis, In Honor of Hannah Davis John & Rocio Deatherage Jody DeChaine Lonnie Dicus & Therese McCarthy-Dicus Abigail Diedrich Family Mrs. Jing DiPiero Ed & Marilyn Epstein Jennifer Fast Joshua Ferrer Philip Fidler & Jane Cummins Tim Finch & Nariyo Kono Rebecca Fleischman Doreen Flores Mr. & Mrs. Patrick Franc Jane Freres Jennifer Froistad Andrew Fromm Kristy & Donald Giles Sarah & Raul Gomez-Rojas Melissa & Robert Good Helen A. Goodwin Barbara & Marvin Gordon-Lickey Rebecca Granquist

Quinton Hallett & Dennis Gould Gail & Irv Handelman Jay Harter & Ken Salaman Antoinette Hatfield Makino Hayashi & Chauncey Parsons Celeste Henninger-Lindaman Jonika Horton Pam & Bob Howard Celas & Margaret Hug Kathryn Hummel Angela Irvine Darlyn Jablonski David C. Jensen Jonathan & Suzanne Jensen Brian C. Johnson Molly Jones Kathy Jorda Ernest & Susanne Kanning Allan Karsk Sanjiv & Cindy Kaul Kristan Knapp & Janna Auslam Nancy & Steve Kraushaar Mrs. Joseph A. Labadie Diane & Greg Landers Mary N. Laughlin Stanley & Joyce Loeb Martha J. Logan Anne Lynch & James Anderson Jackie MacGregor Linda J. Magness Linda L. Mann Bel-Ami & Mark Margoles Earlean Marsh Pamela Matheson Mason C. Mazzola Lori McAdoo Carolyn McMurchie Susan Sammons Meyer & Dennis Meyer Monica & Dale Monroe Cynthia Capps Morgan Robert & Dona Morris Denise Mullen Rob Nelson Rose Neyman David Nijhawan Harriet Norman & Jack Hollis Peter & Cassie Northrup Sean O’Neill & Elizabeth Le Rev. Dr. Rodney & Sandi Page Jack & Chris Pendleton Carol Peterkort & Richard Gibson Dennis Petrequin Staci Pfau Ryan & Sarah Pitman Jodee & Jerry Pittman Judith E. Posey & Edward J. Doyle, MD Suzanne Rague Bruce Ramseyer Carol & Walter Ratzlaf Carolyn & Hank Robb George & Mildred Robles Celeste Rose Cathy Rote Claire H. Russell Sam Sadler Michael S. Parker Sagun & Dennis J. Sagun Parker Tad Savinar, In Honor of Cate Millar Eric Schindler & Jenna Fallon-Schindler

Laurel & Philip Schmidt Ron Seymour & Mary Austin-Seymour Jeremy Shibley & Romalia Stickney-Shibley Robyn Shuey Juss Singh Tony Singmeuangthong Gary & Lydia Slangan John D. & Pamela Smith Sara & Jeremy Solly Lisa Sorenson Bob Speltz Albert & Victoria Starr Ms. Jennifer D. Strelkauskas Karen Sweet Graham & Kristi Taylor Michael Thomas Cindy Thompson & Brett Bender George & Nancy Thorn Judith & Gordon Umaki Drs. R. Bastian & Barbara Wagner Bruce Weber Shawn & Dave West Ann C. Whitehouse Chris & Maria Wilkey Laurie Williams Jenny & Christina Wilson Bruce & Susan Winthrop Keith Wood Linda M. Wood Jack Wussow & Kyle Adams Tamara & Chris Yunker Frances Zhao-Perez & Tavis Perez Kurt R. & Heather Zimmer Ernest ZumBrunnen & Grace Hawes

APPRENTICE DANCERʼS CIRCLE ($100–$249)

Anonymous Kathleen Allee Kathy & Guy Allee Rhonda Anderson, In Memory of Janice Kelley Grace & Paul Andrews Amanda Aponte Frances Araujo Gabriella Armstrong Sandra Armstrong David Arrow Armain & Michelle Austin Gennaro & Marilyn Manser Avolio Diane Babcock John Bagg Laura Barber Stephen Bardwell Thomas A. & Mary Bartlett Kathleen Bayer Nancy Beck, In Memory of Judy Parsons Nola & Paul Becket Esther Marie Beebe Dr. Diana Bell Family of Annastasia Beller Alan & Sherry Bennett Barry & Jacqueline Bennett Paul & Pat Benninghoff Hisiya Beppu & Matthew LaRocco

M AN/WOM AN • OREGON BALLE T THE ATRE

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INDIVIDUAL DONORS (CONT.) Patsy C. Berner Phil & Naomi Beymer Jonathan Bryce Black Dan & Michelle Blessinger Lorraine & Greg Borossay Richard Botney Candace Bouchard & Adam Lounsbury Kelsey Boyd Joyce Brehm Mr. & Mrs. Bresee Sue Brigman Karin P. Brocksbank Dr. & Mrs. Gerald J. Broock, MD Hadley Brooks Holly Brooks Laura Buckingham Tom Burkleaux Stephanie & Scott Byrd Maurine & Paul Canarsky Susan Carey Katelyn Carmack Jean Cauthorn CCD/ECB Friends of Doug Parsons, In Memory of Judy Parsons Bob Chamness Sandy Chamness Mr. & Mrs. Chappell Kenny Chinn Eugenia Chopyk Aria & Cody Clements Ilaine Cohen Jessica Columbo & Baker Paulshoc Sarah Conde Deniz & Austin Conger, In Honor of Ayse & Ayla Conger Harriet Cormack Nathan Corser & Kristen Minor Lisa Marie Coughran Lin Crimshaw Megan Crowhurst Tracy Curtis Susan Darrow Judy Dauble Diane David Wendy & Howard David Dr. & Mrs. Joseph Davids Brian & Nancy Davies Krystyna & William Davis Patti & Paul Demeter Shawn Dempewolf & Tom Hamman Niel DePonte Chuck & Patt DeRousie Adam & Emily Dew Jerry Dickason Mr. & Mrs. Jeff Dickerson Bonny Dickinson Susan Dixon Lora Dow Jeanette Dreyer Paul & Laura Dubose Susan & George Durrie Kristin DuVal Ruth Edsall Andrew Edwards Cydney Edwards John Elorriaga Doris Ennis Annette Erickson Douglas Ertner Lester & Audre Estrin Abraham & Pamela Farkas, In Memory of Mary Lou Cook Rochelle Farkas 28

Marjorie Ferry Melissa & Eric Fischer Dr. Harvey Fishman & Keiko Amakawa Tonya Flaming Brian & Katie Flanagan George Fleerlage Cindy Fletcher Genevieve & Bryce Foster Kelly Freuler Theresa Fritchle Peggy Garcia Ray & Joyce Gee JulieAnna Giannini Phil & Carole Gilbertson Arthur & Judith Ginsburg Julie & Dave Gordon Jenifer Gray-O’Connor Brenda Grootendorst Joachim & Liz Grube Penny Guest Anna & Jeff Haagenson Candace Haines Deanna Haley Barbara Halle Tanya Hanson Andy Harris & Ash Evans Gary & Lynne Hartshorn Ashley Hayden Marilyn Heiling Lisa, Jon & Amalia Held Bryce Helgerson & John Lowe Gina Henderson Rebecca Hicks & Greg Kuelgen Christian Hill & Laura Korman Laurel Anne Hill, In Honor of the Dancing Doctors Beverly Hoeffer Leslie Holder Kenneth L. Holford James Holstad Robin Hopmeier Howard Family Veronica Newton Hudson Carol & Tom Hull Rebecca Hundley Alexandra Huth Ida Imus Angela & Shane Jackson Jackson-Retondo Family Elizabeth A. Javens David & Margaret Jeans Lenka Jelinek & Geoff Peters Linda & Richard Jenkins Jack B. & Kathy A. Jensen Damien & Katie Jo Johnson Dennis C. Johnson Jan Johnson & Susan Olsen Shirley K. Johnson Caryn Jones & Jason Lander Olivia Jones Tony Jones Kristin Jordan Rebecca Jury Megan Kavanaugh Marla Kazell Arthur & Kristine Keil Doris & Eric Kimmel Meagen Kincaid Mary King Erin Kirby Meredith Koivisto Ronnie Kon Rebecca Koteen Sophia Kremidas Mariah Krevanko Vic & Tammie Krisciunas

David & Mary Krug Sean & Naoko Krug Leonard Kuhl Carol La Brie Sharon LaCroix Veronique LaFont Susan & Jeff Lain Mana & Isis Lamonte Nancy Lapaglia & Stephen Slusarski Lori Lawrence Abigail & Don Lawton Romani Lay & Neville Wellman James Lee & Rachel Drushella Krystal Lee Isidore & Kathleen Lefebvre Judy Lefebvre Matt Levin Jude Lieberman Nolan Lienhart Xinyuan Lin & Wei Lin & Wenzhu Jiang Greg & Kim Lind Carole Lindell-Ross Mr. Ziqiang Liu Alice Lloyd Greg Lockwood Alex Logue Henry Louderbough Marcy Lowy Elisabeth & Peter Lyon, In Memory of Paul Frisch Judy Lyons Diane & Tom Macdonald Kate Machell Christine L. Mackert, MD Joanne & Boyd MacNaughton Phillip Margolin Eileen Markson Demaris & Antonio Martinez Steven Master Amy Matson Shaune & Steve Mattsson Justin Maupin Oscar & Mary Mayer Margaret McConnell & Robert Griner Jeanann McCoy Dr. Louis & Judy McCraw McKenzie McDill Kathy McGrew Candace & John McMunn Susie & Michael McShane Elizabeth J. Melching Josie Mendoza & Hugh Mackworth Chena Mesling & Jonathan Rhodes Elise Meyers Janelle Meyers & Mark Brundage Margie Miller Una Miniter & Omar Nazir Laura Mitchell Tony Mix Barbara Modey Mark Moffett Sean & Corinne Monogue Larry & Taryn Markee Moore Gian & MaryKay Morelli Deven Morganstern Martin Muller Richard & Sarah Munro, In Honor of Nancy Locke Brittany & Corey Murry Will Naito Shakir Najieb Todd & Crystal Neal

J.J. & Sarah Needham Karen & Bob Nelles Alexander Nimri Hollie & Scott Nine Keith & Cindi Nobriga Cristin O’Brien Robert Olds Kris Oliveira Liz & Tracy Olsen Barry Olson & Barbara Telfold Madeline Olson Emily Omura Lisa O’Rourke Nancel Otsuka Joan Paglin Tracey Palmer Lyn Pangares Veronica Paracchini Lanetta Paul Amy Pellegrin Alec Pemberton Thomas & Jane Pence Anne Frances Penfound Karen Perzanowski Marilyn & Gaynor Petrequin Laury Phelps Carla & Jack Pickett Sara Pickett Charles & Ruth Poindexter Heidi Pozzo J. Scott Pritchard Karen Prohaska Brian & Carver Pugh, In Memory of Judy Parsons William Ramirez & Roberta Staff Jennifer Randolph Dick & Mary Raub, In Honor of Marianne Raub Denise & Andy Reed Betty & Jacob Reiss Hannah Reynders, In Honor of Nancy, Jim & Lauren Lindsay Reynolds & Zack Manning Anne Rice Martha & David Richards Edward & Katherine Richman Nancy Richmond & Bill Hughes Betsy & Norm Rickles David Ritchie & LaJean Humphries Lynn Roberge Caitlin Roberts Dr. & Mrs. Hector M. Rodriguez Brian Rogers & Cassandra Scholte Rosemarie F. Rosenfeld Malini Rossington Susan & John Rowan Jennifer Rupert Karen Salman & Gary McCune Katharine Sammons, In Honor of Luwayne Sammons Dima Sammour David & Julie Sauer Rick & Sharon Schaefer Anne Schagen Brand Schlesinger & Victoria Geil Mark & Patti Schlesinger Daniel Schmidt Robert E. Schneider, PhD Aaron Scott Bill Scott & Kate Thompson Cynthia Shafer Patricia Sheldon Victoria & Colin Shepard

Carol Sherbenou Donna & Sascha Siekmann Heather Simmonds Bridget & Jeff Sippel Gerald Skeels & Susan Albracht Kiviera Skiles-Petitjean & Arnaud Petitjean Katie Slick Margaret Smith David, Emily and Jonah Sokoloff Marcus & April Song Patricia A. Southard Dean Speer & Francis Timlin Tina Spencer Donald C. Springer, In Honor of Jean King Annette Steiner Ginger & Phil Stevens Joan Stevens-Schwenger Corinne & Lindsay Stewart Denise Stewart Julie Stickney Leslie & Elizabeth Stoessl Jacqueline Straughan Julie Sullivan Gary Taliaferro Susan & Bahram Tavakolian Sabrina Teays Jeri Tess Jan Elizabeth Thorpe Marc Tobin Cynthia Tomlinson Ashley & Dwayne Trimble Lyle M. Tucker Linda Twichell John & Cindy Ulrich Amy Van Hook Kysa & Kevin Vassily Rob & Rachael Vidin Jon Vorderstrasse Sherrie & Larry Wade Patricia & James Walker Barbara Walsh Christine Warden William Warren Douglas Watson Tracy Watson & Jonas Hjertberg Maureen & Frederick G. Wearn Duane & Cynthia Weaver The Webert Family Ruth Welch Judith Werner Diane Wernli Colleen Westphal Erleen Whitney Anthony & Marianne Wilcox Brooke Willcox-Jones Holly & Kenneth Williams Lou & Lisa Williams Jennifer Willis Julie Wilson Mary-Ann & Jim Wilson Jacob Winkler Jordan Winkler April Wirtz & Evan Wang Mary Ann Wish Constance Wood Chalayane Woodke Randy & Rebecca Woods Linda Gail Woolf Fran & Mike Woolsey Laura Wozniak & Stuart Oken Gary P. Yencich Haijing Yu Sarah Zahn Janet & Alan Zell Irene Zenev Jean Zondervan & Terrence Proctor

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 M.J. Murdock Charitable Trust The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County and the Arts Education and Access Fund

Jackson Foundation Jerome Robbins Foundation Mentor Graphics Foundation National Endowment for the Arts Northwest Natural Gas Oregon Cultural Trust PGE Foundation Schwabe, Williamson & Wyatt* The Standard Starseed Foundation U.S. Bank Foundation Wells Fargo Bank Work for Art, including contributions from more than 75 companies and 2,000 employees

GIFTS OF $50,000–$99,999

GIFTS OF $5,000–$9,999

Barron Liebman LLP* The Collins Foundation The Hearst Foundations 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

Cascadia Foundation Clark Foundation Coit Family Foundation ESCO Foundation Hedinger Family Foundation Henry Lea Hillman, Jr. Foundation Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts Rose E. Tucker Charitable Trust Russell Development/200 Market Street* Scan Design Foundation by Inger & Jens Bruun The Swigert Warren Foundation

GIFTS OF $10,000–$24,999

Accenture Artslandia* The Boeing Company Dorothea M. Lensch Fund of The Oregon Community Foundation Fred W. Fields Fund of The Oregon Community Foundation

American Medical Concept AT&T Auditorium Garage* The Autzen Foundation Mona Cordell, Artist* Crystal Lilies* First Republic Bank Freed of London Goldman Sachs & Co. Hampton Family Foundation of The Oregon Community Foundation Jonathan Lohnes, LMT* Juan Young Trust Markowitz Herbold Morel Ink PosterGarden* Solena Cellars* Wells Fargo Foundation

GIFTS OF $2,000–$4,999

Agger Chiropractic & Nutrition Clinic* Alaska Airlines* The Benson Hotel* Bridgetown Chiropractic & Wellness Portland Clinic* Buckley Law P.C. Abby Drinkard, LAc* Elemental Technologies* Elephants Delicatessen* English Physical Therapy* Nicolo Fonte, Choreographer* GamePlan Gentle Care Chiropractic* Grand Avenue Floral* Hotel Modera* Ivey Jacobson & Co. LLC* Leupold & Stevens Foundation LM Wine Co.* Mark Spencer Hotel*

RÉVÉRENCE CIRCLE Robert Aughenbaugh Brent Barton & Liz Fuller Pamela Jane Benso Pat Berg Dan Bergsvik & Don Hastler Linda Besant & Martha Goetsch Holly Brooks David & Elaine Brown Debi Coleman

Recognizing gifts received through March 15, 2018.

Nel Centro* New Heights Physical Therapy Plus* Oregon Chorale* Pabst Brewing Company Peddecord Photo* Portland Art Museum* Pro Photo Supply* Robert F. Ratzow, DC* Residence Inn Portland Downtown/Riverplace* Solaris Bodyworks, Inc.* ThomCorp Town Car* Twelve Wine* Unitus Community Credit Union Yvonne Vleer, Kinesiologist, LMT* Western Partitions Winkler Development Corporation Wintz Family Foundation

GIFTS OF $1,000–$1,999

Dr. Seth Alley* Arnerich Massena Broder Söder* Cushman & Wakefield Dossier Dream Hollywood Hotel* Explore Washington Park* Garden Vineyards* L&L Investment Partners Longbottom Coffee & Tea* Maitri Therapeutic Massage* Aaron Meyer, Concert Rock Violinist* New Deal Distillery* NW Wine Company* Portland’5 Centers for the Arts Rolf PDX* Star Park Therapeutic Associates North Portland Physical Therapy (PACE)* Veuve Clicquot* Vista Capital Partners

GIFTS UNDER $1,000

Ashland Springs Hotel* Emily Bartha, LAc* Breakside Brewery* Nadia Chopra, Physical Therapist* Clipper Magazine* Coopers Hall* Elmer’s Restaurants Exploratorium* First Congregational United Church of Christ* GRP Engineering, Inc. The Holzman Foundation Inland Electric, Inc. Intel Charitable Match Trust

King Charitable Foundation Larson Oregon LLC Maryhill Winery* Monique’s Boutique Montavilla Brew Works* Gretchen Rose Newmark, MA, RD* The Nielson Group, LLC OHSU March Wellness & Fitness Center* OnPoint Community Credit Union Opsis Architecture LLP The Oregon Historical Society* Oregon Shakespeare Festival* Oregon Symphony* Portland Center Stage* Portland Opera* Redhawk Vineyard and Winery Skamania Lodge* Slope & Stone Engineering Smith Teamaker* Studio Blue* Tavern on Kruse* Volunteers of America Oregon Watson Creative Yamhill Valley Vineyards*

MATCHING GIFT CORPORATIONS

AmazonSmile Foundation The Boeing Company Cambia Health Foundation Chevron Matching Employee Funds Fuerst Group, Inc. Give With Liberty Google, Inc. Intel Kayne Anderson Capital Advisors Kroger Rewards Mentor Graphics Foundation NIKE, Inc. Northwest Natural Gas Pacific Power Foundation PGE Company The Standard TE Connectivity Employee Charitable Match Program UBS Community Affairs & Corporate Responsibility Umpqua Bank U.S. Bank Foundation Verizon Employee Engagement *Donation in-kind

Derek & Lydia Lipman Martha J. Logan Marna McComb Kirsten & Richard Meneghello Brad & Nancy Miller Sharon & Adam Mirarchi Carol N. Morgan Virginia Nelson Suzann & Dennis Ott Rev. Dr. Rodney & Sandi Page

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

WEST PORTLAND PHYSICAL THERAPY Katherine B. McCoy, PT, MTC Amy Werner, PT, DPT Christine Krueger, PT Patti Koehler, PT, WCS Kelsie Ganshert-McCaffrey, PT, DPT Eryn Kirschbaum, PT, DPT, PRPC Amanda Land, PT, DPT, PRPC Laura Luitje, PT, DPT, LMT Anne Patron, PT, DPT, MEd Sarah Terpin, PT, DPT Lorelei Martin, PTA Eva Park, PTA Shalynn Robinette, PTA, CES

AGGER CHIROPRACTIC & NUTRITION CLINIC Simon J. Agger, DC

EMILY BOTTJEN, PTA BOUNDLESS HEALTH & WELLNESS Jennifer Reyna, LAc

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

NADIA CHOPRA, PT, DPT, OCS, COMT MEREDITH ENGLISH, MS PT GENTLE CARE CHIROPRACTIC Amanda Tipton, DC

LEGACY HEALTH Katharine Zeller, MD

JONATHAN LOHNES, LMT OHSU MARCH WELLNESS & FITNESS CENTER NEW HEIGHTS PHYSICAL THERAPY PLUS Liz Ruegg, PT, DPT

GRETCHEN ROSE NEWMARK, MA, RDN PACIFIC NORTHWEST ACUPUNCTURE & HERBAL CLINIC Abby Drinkard, MAcOM, LAc

POHALA CLINIC

Julie E. Foster, FNP

PURSUIT SPORTS MEDICINE Paul W. Johnson, DO

ROBERT F. RATZOW, DC SOLARIS BODYWORKS, INC. Neissan Saber, LMT

STUDIO BLUE PILATES

Dan Walton, Owner, Senior Pilates Instructor

SYLVAN CHIROPRACTIC CLINIC & WELLNESS CENTER

Seth Alley, DC, CCSP, CKTP

In recognition of those who have included OBT in their estate plan.

Nathan Conn William Dolan & Suzanne Bromschwig Karen & Bill Early Peter W. Edgerton Marilyn & Hans Grunbaum Charles L. Jones Belinda & Frederick Kinyon Diane Knudsen Perry Lee Dr. Dolores Leon & Dr. Fernando Leon

ALLEGRO SOCIETY

Jane S. Partridge Marilyn L. Rudin, MD & Richard S. Testut, Jr. Anne Stevenson Carol Streeter & Harold Goldstein David Wardell, In Memoriam David Wedge, In Memoriam

THERAPEUTIC ASSOCIATES NORTH PORTLAND PHYSICAL THERAPY (PACE) Kurt Marion, LMT David McHenry, PT, DPT, COMT Matthew Walsh, Bsc, PT Ian Wilkinson, LAc

TURNING POINTE ACUPUNCTURE Emily Bartha, LAc

YVONNE VLEER, KINESIOLOGIST, LMT 29

WHAT TO SEE IN ARTSLANDIA ARTS CALENDAR

ALICE (IN WONDERLAND)

OREGON BALLET THEATRE Follow an exuberant young girl as she plunges down a rabbit hole into an extraordinary, imaginative world. OBT is thrilled to bring you the West Coast premiere of a new full-length ballet suitable for families. Created in 2012 by Septime Webre with an original score by American composer and violinist Matthew Pierce, the mad adventure is brought to life with surreal sets, zany costumes, puppetry, and powerfully expressive dance. Don’t be late!

FEBRUARY 24–MARCH 4; KELLER AUDITORIUM

KODACHROME

PORTLAND CENTER STAGE AT THE ARMORY A world premiere from the 2015 JAW Festival! Welcome to Colchester, a small town where everybody knows each other, and the pace of life allows the pursuit of love to take up as much space as it needs.

Our tour guide is Suzanne, the town photographer, who lets us peek into her neighbors’ lives to catch glimpses of romance in all its stages of development.

A play about love, nostalgia, the seasons, and how we learn to say goodbye.

FEBRUARY 3–MARCH 18; PORTLAND CENTER STAGE AT THE AMORY, ELLYN BYE STUDIO

BLIND PILOT

OREGON SYMPHONY Since forming in 2008, Blind Pilot has emerged as one of the most innovative indie bands to arrive on the national scene. Now they return to Portland, sharing the stage with their hometown orchestra to perform from their third album, And Then Like Lions, as well as old favorites. Conducted by Norman Huynh.

MARCH 1; ARLENE SCHNITZER CONCERT HALL

THE MAGIC PLAY

PORTLAND CENTER STAGE AT THE ARMORY A theater is a realm of illusion. So is a magic show.

Playwright Andrew Hinderaker mashes these traditions together with alluring results. The Magic Play follows a young magician trying to get through a live show, just hours after his partner has left him. As the performance progresses, he confronts the fact that the spectacular tricks that impress people onstage don’t serve him as well when it comes to building truthful personal relationships. This mesmerizing new play questions the extent to which we must be honest with ourselves to be so with those we love.

MARCH 3–APRIL 1; PORTLAND CENTER STAGE AT THE ARMORY, U.S. BANK MAIN STAGE

ALONG THE OREGON TRAIL

OREGON SYMPHONY Young travelers head out on a musical journey that spirits them on an adventurous musical tour of the Wild West and the great Northwest. Conducted by Norman Huynh.

MARCH 4; ARLENE SCHNITZER CONCERT HALL

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ARTSL ANDIA AT THE PERFORM ANCE

MUSIC

DANCE

THEATER

VERDI’S REQUIEM

OREGON SYMPHONY Verdi’s Requiem combines the dramatic thrust of opera with powerful symphonic music, vocal solos, and choruses of breathtaking emotional intensity. Conducted by Carlos Kalmar.

MARCH 10–12; ARLENE SCHNITZER CONCERT HALL

HEDDA

NW DANCE PROJECT Sarah Slipper’s distinctly dark, theatrical, and vivid choreography takes on Henrik Ibsen’s incomparable 19th-century play, Hedda Gabler, a classic of realism and world drama, with an original score by Owen Belton and a striking set

by Luis Crespo.

For the first time since his U.S. choreographic debut with NW Dance Project in 2007, world-renowned choreographer Cayetano Soto, Ballet BC Resident Choreographer, makes his way back to unveil a full-company work filled with whimsy and pounds of pink.

MARCH 15–17; NEWMARK THEATRE

BRAHMS’ VIOLIN CONCERTO

OREGON SYMPHONY One of the greatest violin concertos ever written, Brahms’ work is a stunning display of the violin’s emotional and virtuosic qualities. A colleague of Brahms’ exclaimed, “It is a concerto for violin against the orchestra—and the violin wins!”

Conducted by Carlos Kalmar.

MARCH 17–19; ARLENE SCHNITZER CONCERT HALL

A CELTIC CELEBRATION (BAGPIPES, GREEN BEER, AND CELTIC-INSPIRED MUSIC)

VANCOUVER SYMPHONY ORCHESTRA Extend your St. Patrick’s Day observance an extra day by joining The VSO for their jamboree in celebration of all things Celt. Bagpipes and green beer round out this presentation of music inspired by the Celtic speakers of Ireland, Scotland, Wales, Brittany (France), and Galicia (Spain). Distinct in rhythm and melody, the genre dates back to the 1600s and is known for both its rousing dance tunes and heartbreaking ballads.

MARCH 18; KIGGINS THEATRE, 1011 MAIN ST., VANCOUVER

JURASSIC PARK IN CONCERT

OREGON SYMPHONY One of the most exhilarating science fiction adventures ever made, Jurassic Park transports audiences to a wondrous island theme park of cloned dinosaurs. What could go wrong?

Masterfully directed by Steven Spielberg and featuring one of John Williams’ most iconic scores performed live by the Oregon Symphony, the only thing more thrilling might be Jurassic Park itself! Conducted by Norman Huynh.

MARCH 24 & 25; ARLENE SCHNITZER CONCERT HALL

CULTURE

ONE NIGHT ONLY

FAMILY SHOW

AND SO WE WALKED

PORTLAND CENTER STAGE AT THE ARMORY A frank, funny, and sometimes misguided story of a contemporary Cherokee woman who goes on a sixweek, 900-mile journey with her father along the Trail of Tears in search of her heroic self. Through this personal odyssey, her sense of identity—both as a contemporary Cherokee and as a woman—is tested by the people and places she encounters.

MARCH 31–MAY 13; PORTLAND CENTER STAGE AT THE AMORY, ELLYN BYE STUDIO

RAVEL’S DAPHNIS AND CHLOE

OREGON SYMPHONY Enjoy the rare opportunity to hear Ravel’s complete score for his 1912 ballet. Widely regarded as his finest orchestral music, Ravel’s self-titled “choreographic symphony” is full of passion and the gorgeous, color-saturated harmonies of French impressionism. Conducted by Carlos Kalmar.

APRIL 7–9; ARLENE SCHNITZER CONCERT HALL

RICK SPRINGFIELD

OREGON SYMPHONY Don’t miss Grammy-winning singer/songwriter Rick Springfield—whose 17 Top 40 hits include Jessie’s Girl, Don’t Talk to Strangers, An Affair of the Heart, I’ve Done Everything for You, Love Somebody, and Human Touch—with the Oregon Symphony. Conducted by Norman Huynh.

APRIL 12; ARLENE SCHNITZER CONCERT HALL

MAN/WOMAN

OREGON BALLET THEATRE This five-part program juxtaposes all-female and all-male ballets to explore gender stereotypes, and adds in one of Resident Choreographer Nicolo Fonte’s most successful works to bring the two sexes together. They open with one of the most iconic female roles in all of ballet, that of The Dying Swan. Created by Michel Fokine for the legendary Anna Pavlova, this masterpiece epitomizes the ethereal beauty and fragility of a romantic-era ballerina.

APRIL 12–21; NEWMARK THEATRE

VSO POPS SERIES: ADVENTURES IN FILM & FANTASY

VANCOUVER SYMPHONY ORCHESTRA The musicians of The VSO showcase their versatility with the performance of music from legendary films and symphonic video games.

Selections from Lord of the Rings, Back to the Future, Magnificent Seven, Legend of Zelda, and more ensure a delightful family outing for all generations. Please visit The VSO website for additional information.

APRIL 14 & 15; SKYVIEW CONCERT HALL, 1300 NW 139TH ST., VANCOUVER

MARCH & APRIL 2018 MAJOR BARBARA

PORTLAND CENTER STAGE AT THE ARMORY When her daughters Sarah and Barbara are both engaged to be married, Lady Britomart decides to ask her estranged industrialist husband for support.

Barbara, a Major in the Salvation Army, agrees to let her father visit her mission in the East End of London. In exchange, she promises to visit his munitions factory. The clash between Barbara’s philanthropic idealism and her father’s hardheaded capitalism are at the heart of this witty and timely appraisal of capitalism, war, religion, and politics.

APRIL 14–MAY 13; PORTLAND CENTER STAGE AT THE ARMORY, U.S. BANK MAIN STAGE

ANNUAL SCHOOL PERFORMANCE

OREGON BALLET THEATRE The School of the Oregon Ballet Theatre showcases student dancers with inspiring works that demonstrate the versatility and artistry of this program.

APRIL 21 & 22; NEWMARK THEATRE

SAINT-SAËNS’ ORGAN SYMPHONY

OREGON SYMPHONY Saint-Saëns’ most popular symphony combines a full orchestra, the emotional quality of a tone poem, and the majestic sound of the organ. So powerful is the grand finale that film composers, Disney World, and pop musicians alike have adapted it. Conducted

by Sascha Goetzel.

APRIL 21–23; ARLENE SCHNITZER CONCERT HALL

THE HOT SARDINES

OREGON SYMPHONY Called “simply phenomenal” by The Times (London), The Hot Sardines add a hip, modern twist to the sounds of New York speakeasies, Parisian cabarets, and New Orleans jazz halls, making those wonderful old sounds new again. Conducted by Jeff Tyzik.

APRIL 28 & 29; ARLENE SCHNITZER CONCERT HALL

LOOKING AHEAD.

3RD ANNUAL EVENING OF JAZZ

VANCOUVER SYMPHONY ORCHESTRA The VSO’s Third Annual Evening of Jazz, a live benefit concert, features the extraordinary jazz clarinetist and saxophonist Ken Peplowski. From the Tommy Dorsey Orchestra and the Benny Goodman Band to Dixieland and jazz, the award-winning Mr. Peplowski has played with legendary figures from Mel Torme and Peggy Lee to Madonna and Woody Allen. His life on the road has taken him from small clubs to the Hollywood Bowl, headlining in Las Vegas, the Newport Jazz Festival, pops concerts, and European festivals and clubs. On this night, he’s all yours.

APRIL 28; CLARK COLLEGE, 1933 FORT VANCOUVER WAY, VANCOUVER

JOSHUA BELL

OREGON SYMPHONY There’s not much Joshua Bell hasn’t done throughout his phenomenal career.

The Avery Fisher Prize winner and bestselling recording artist has played for First Lady Michelle Obama, commissioned and premiered new concertos, and performed the solo violin role in John Corigliano’s Oscar-winning filmscore for The Red Violin. Now Bell returns to Portland to perform Leonard Bernstein’s Serenade with the Oregon Symphony, a work that won him a Grammy nomination and a reputation as one of Bernstein’s greatest interpreters.

MAY 12–14; ARLENE SCHNITZER CONCERT HALL MARCH | APRIL 2018

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®

AT TH E P E R FO R M A N C E

M ARCH | APRIL 2018

PUBLISHER + FOUNDER Misty Tompoles EDITOR-AT-LARGE Barry Johnson MEMBERSHIP MANAGER Katrina Ketchum COPY EDITOR Kristen Seidman DESIGNERS Lisa Johnston-Smith Dan Le Jackie Tran EDITORIAL COORDINATOR Blanche Minoza MEDIA DIRECTOR Chris Porras SALES DIRECTOR Lindsey Ferguson PUBLISHING COORDINATORS Bella Showerman Janelle Bonaficio CONTRIBUTING WRITERS

Hannah Krafcik Nim Wunnan PHOTOGRAPHERS Christine Dong Max McDermott PODCAST HOST Susannah Mars

Artslandia at the Performance is published by Rampant Creative, Inc. ©2018 Rampant Creative, Inc. All rights reserved. This magazine or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher.

Rampant Creative, Inc. /Artslandia Magazine 6637 SE Milwaukie Ave. #207 | Portland, OR 97202

ARTSLANDIA.COM 32

ARTSL ANDIA AT THE PERFORM ANCE

FROM THE EDITOR-AT-LARGE

HELLO, NEW YORK TIMES !

Who is Poppy?

“Poppy is...an Android-themed pop star.”

If The New York Times had a digital assistant, it might sound like Poppy: The content would be less important than the autonomous sensory meridian response (ASMR) her voice generates, that “tingling sensation on the skin that typically begins on the scalp and moves down the back of the neck and upper spine,” as Wikipedia defines it. And yes, the assistant’s voice would “sound feminine.” Thus, the gender-specific pronouns.

She would sound like Siri or Alexa or Cortana or the nameless Google Assistant. She would supply information that is readily available. Her voice would have the faintest of computer-generated catches and a fetching computer stiffness. And it would generate the same ASMR effect as they do.

And as Poppy does…

Poppy is not a robot, not computer-generated.

She’s a YouTube star. She’s a pop music star.

She’s an internet pop phenomena. She’s also an actress who is difficult to dislodge from her Android theme, but human nonetheless.

In her pop single, Bleach Blonde Baby, she sings, in her breathy monotone, “Being flawless every day, that’s my only skill.” Her long, straight blonde hair is immaculate; so is her make-up and the gloss on her full lips; and on her model-thin body, her expressive little-girl fashions hang as perfectly as though Poppy were a mannequin.

But Poppy is a human playing a robot.

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ARTSL ANDIA AT THE PERFORM ANCE

“Humans are merging with the technological world—not just adapting to it but taking on the aspects of the technological themselves, just as technology has produced increasingly persuasive simulacra of humans.”

That’s the point of Amanda Hess’ Critics Notebook article, The Rise of the Social Media Fembot, in The Times online on Feb. 4, 2018. Humans are merging with the technological world—not just adapting to it but taking on the aspects of the technological themselves, just as technology has produced increasingly persuasive simulacra of humans. We, tech interfaces with the human, and humans themselves imitate each other.

Pinocchio wanted to be a real boy. Poppy wants to be a puppet.

Or a human playing a puppet. Lots of people want to see her do it: According to the article, Poppy’s videos, masterminded by her creator/handler/director Titanic “Not My Real Name” Sinclair, have had 257 million views. Why? Poppy herself suggests an

“We’re just a bunch of monkeys with big brains swiping on glowing rectangles.”

answer: “Poppy’s world is a magical place... and it’s the most free part of the entire universe.” Maybe Poppy and Titanic are offering us an escape, an internet dream vacation, where nothing truly bothersome ever happens, and if it did, you just wouldn’t like it.

Titanic admits that Poppy can make even the pop-besotted uncomfortable at times.

In an interview with NPR’s Scott Simon: “I think it’s fun to be uncomfortable sometimes—being able to have that kind of Goldilocks zone where you’re not too hot, not too cold with comfort is missing a lot. I think it motivates a lot of what we make.”

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That discomfort is revelatory: Titanic and Poppy are making art, a splendid homage to Warhol that uses Japanese and Korean pop forms and attitudes, merging them with the fembots that Hess names in her article. Later on in the interview with Simon, Titanic observes, “We’re just a bunch of monkeys with big brains swiping on glowing rectangles.” Poppy is his way of showing that to us. Maybe.

But what if we really embraced it, that “magical place,” that “flawless” place, where we could go and escape the ugliness around us in “real” life, fight it with fashion and cosmetics. Hess observes that Kylie Jenner (and lots of other celebrities) uses Instagram and Snapchat constantly to update her image, push her cosmetics line, represent a specific representation of herself. And her affect is...blank. Hess quotes Chris Wallace of Interview magazine, who called Kylie (NOT Poppy) “sex-doll sanguine.” And she notes the similarity to the CGI fembots of recent science fiction films and TV series (Ex Machina, Westworld, Humans)—who only become dangerous when they develop minds of their own.

Minds of their own. >>>>

oregoncf.org

QUIETLY

by Owen McCafferty Directed by Gemma Whelan

Apr 13 – May 6, 2018 Thu – Sat 7:30pm, Sun 2pm

at New Expressive Works, 810 SE Belmont St, Portland Two middle-aged men meet in a Belfast bar where a horrific event transformed their lives over 30 years before. A powerful story of violence and forgiveness in the aftermath of The Troubles.

Contemporary Irish theatre in Portland, Oregon

corribtheatre.org

Use code “Artslandia” for $3 off

MARCH | APRIL 2018

35

Grand opera returns to Portland this spring!

Photo by Cory Weaver/Portland Opera

VERDI

May 4 – 12

Keller Auditorium DIRECTED BY

Christopher Mattaliano CONDUCTED BY

George Manahan

A Season of Legendary Tales APRIL 14

BIG NIGHT Keller Auditorium

Don’t miss it: a one night only celebration of opera’s greatest hits!

JUNE 8, 10m, 14, 16

JULY 13, 15m, 19, 21, 25, 28

JULY 27, 29m, 31 | AUG 2, 4

GOUNOD

ROSSINI

GLUCK

Keller Auditorium

Newmark Theatre

Newmark Theatre

FAUST

A haunting new vision inspired by the art of John Frame—with Angel Blue and Jonathan Boyd.

LA CENERENTOLA Rossini’s classic opera will glitter as brightly as Cinderella’s royal ball gown.

ORFEO ED EURIDICE Celebrate the transformative power of love and music in this epic myth.

Single tickets start at $35 portlandopera.org | 503.241.1802 concierge@portlandopera.org 36

ARTSL ANDIA AT THE PERFORM ANCE

FROM THE EDITOR-AT-LARGE Continued from page 35

“I think people are getting to a point where they don’t want to think, and this is easier.”

>>>> Here’s Warhol in a 1963 radio interview: Q: “Do you think pop art could survive, let’s say, without PR people?”

A: “Oh, yeah.”

Q: “You do?”

A: “Well, because I think people who come to the exhibition understand it more. They don’t have to think. And they just sort of see things, and they like them, and they understand them easier. And I think people are getting to a point where they don’t want to think, and this is easier.”

Think how much more mediated the space we share is now. Poppy offers an escape— from thinking too deeply about things, from worrying. We’re living in the dystopia. We want to escape it.

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Hello Google/Siri/Alexa! What is the relationship between “art” and “beauty”?

“I’m not sure. I have noticed that you’ve spent a lot of time hovering over Tolstoy’s What Is Art?, which demolishes any argument equating the two. Has that helped you get more friends or followers, clicks, likes, or shares? Are you a YouTube star yet? (I know the answer to that one!)”

Like Poppy, Lil Miquela is another YouTube sensation. Unlike Poppy, she’s computer-generated. My favorite line from her pop hit, Not Mine: “I’m just out here living my life.”

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That’s because “here” and “living” and “my life” put me in a Goldilocks zone, not too real and not too virtual, and yet never “just right.” And that gives Poppy and me an autonomous sensory meridian response. .

MARCH | APRIL 2018

37

Chris Coleman:

EXIT to

DENVER

By Barry Johnson Photo by Christine Dong

WHEN PEOPLE LEAVE PORTLAND for jobs in another city, all good journalists understand that they have just opened a door, not just on a new future for themselves but on the past, too.

Or at least a more candid view of the past they shared with us while they were here. Nothing like putting a city and a job in the rearview mirror for loosening the tongue about the place they are leaving.

Not that anyone leaving Portland for Denver these days—as Portland Center Stage Artistic Director announced he was doing last November after 17-anda-half years here—can feel entirely unrestrained in conversation with a journalist. The more “dynamic” parts of such an interview will inevitably cross the Rockies. But still, at the very least, the leave-taking interview, the exit interview, can lead to a reflective state of mind that can be very valuable for those of us who remain.

In February, just after Coleman’s epic farewell to Oregon, Astoria: Part Two, opened, we got together on the mezzanine level of The Armory building, home to PCS to talk about anything Coleman wanted to discuss. For our purposes here, I’ve focused on the very first topic and slightly edited Coleman’s responses for length and clarity.

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ARTSL ANDIA AT THE PERFORM ANCE

WHAT WERE THE BIGGEST CHALLENGES YOU FACED WHEN YOU STARTED AT PORTLAND CENTER STAGE? THE BIGGEST CHALLENGE YOU FACED IN THE MIDDLE OF YOUR RUN HERE? THE BIGGEST CHALLENGE YOUR SUCCESSOR WILL FACE? The biggest challenge when I got here was moving the programming. I think the board was hungry for more adventure; the staff was hungry for more adventure, but nobody had checked in with the audience. And so I leaned forward at their encouragement, and I leaned too far forward, I think, initially.1 If I had to do it over again? Julie Vigeland [who was the board President of Center Stage when Coleman was hired] and I have wrestled with this over and over. If I had it to do it over again, I think I would have been a little more evolutionary than revolutionary, because I think I could have kept more people in the fold longer, and it would have made for a less difficult first couple of years. Julie feels like, you know what, we needed to say things have changed, and this is where we’re going.

It was painful emotionally. It was painful financially. And it was scary initially. So it was definitely trying to figure out, where is this community or this audience for this organization aesthetically, and how does that fit with what I want to do, and how do we line up a little bit better? That was huge.

And then, the organization was tremendously under-resourced for a company that was trying to fill 900 seats [in the Newmark Theatre]. The budget my first season was $3.2 million, and boy, that is a brutal equation. So selling the vision, trying to figure out where the community was, and trying to increase our resources so we could put better work onstage, those were the biggest challenges early on.

WHAT ABOUT THE BIGGEST CHALLENGE IN THE MIDDLE OF YOUR TIME HERE? We’re sitting in the middle of the biggest challenge, in the middle. It’s profoundly challenging to build a new building, and it ended up being a $38.6 million project.

And that in itself, if you have all the winds at your back, is profoundly challenging.

we needed to say things have changed, and this is where we’re going.

There were so many people in the community—and probably rightly so—who didn’t believe we were ready or that we could pull it off.2 We were 15 years old at the time, and we didn’t have the deep donor base that could give those big gifts. So that was hugely challenging. And there were so many times when it looked like we just should have said, ‘OK, it’s not going to work. Good try.’ But luckily we’re here in Year 11 in the building [The Armory], and it’s been humongously successful. It’s a fantastic building. >>>>

1. Coleman’s first show as Artistic Director of Center Stage was Elizabeth Egloff ’s adaptation of Dostoyevsky’s The Devils, which featured simulated sexual molestations and other sexual activity onstage. A few years later, a Merchant of Venice that included male nudity generated angry emails, too, Coleman said.

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MARCH | APRIL 2018

39

EXIT TO DENVER Continued from page 39

>>>> WHAT CHALLENGES ARE YOU LEAVING CENTER STAGE WITH THAT YOUR SUCCESSOR IS GOING TO HAVE TO WRESTLE WITH? They are just beginning the search for my successor. What will they have to wrestle with? Luckily, there’s not much to fix right now. The senior management team is super strong and talented and creative and funny.

Ticket sales are up: Ten thousand more tickets last year than the year prior. And subscriptions are up this year by almost a thousand. Donations are increasing. So there are a lot of trendlines that are moving in really good directions. I think the challenge will be coming in and inspiring the board and the audience base and patron base through the work and through your vision to take it to the next level. Because I really do think the organization is poised.

I think it’s really thought of very well nationally, and it’s poised to be one of the top five, six, theaters in the country. And that’s going to take a deeper financial investment than we have inspired yet. But the pieces are in place if the next person comes in and inspires people.

WHAT DOES THAT NEXT LEVEL LOOK LIKE? It’s more resources to say “yes” to more work of scale, so Astoria is not such a once-in-alifetime thing, and it is the ability to say yes to more development of new work, perhaps the development of new musicals. That is the area that I think we’re just right behind the top five or 10 regional theaters in the country. They just have deeper resources to be able to say yes to projects that then go on to raise the profile and create more of a national conversation about the work that the organization is doing.

Every play you do is a risk. Whether it’s Hamlet or Oklahoma, every play you do is a risk.

www.PosterGarden.com | Portland, OR

40

ARTSL ANDIA AT THE PERFORM ANCE

2. A Willamette Week article about The Armory project attacked the financial arrangements, the role of Bob Gerding (who was both developer of the Brewery Blocks, including The Armory, and President of Center Stage at the time), and the use of public money in the project. Coleman: “Some guy that I vaguely knew said, ‘Oh, my God, I read that article. What are you going to do now?’ I said, ‘Well, we’re going to raise a bunch of money and rehab The Armory. What do you think we’re going to do? Do you think we’re going to sit down and cry?’”

“just when you think you’ve figured out what the audience is going to show up for, they surprise you, and I think that’s just the nature of this business.”

March 20

ROSENCRANTZ & GUILDENSTERN ARE DEAD Lake Theater & Cafe 106 N State St Lake Oswego April 22

CAT ON A HOT TIN ROOF World Trade Center 26 SW Salmon St Portland April 29

HAMLET

You cannot predict who is going to show up, [whether you’ve] set your income numbers well, but a new work that’s untried with an author that may or may not have marquee value is an added risk. Like any R & D in any organization, you have to have financial support that lets you invest in a way that you are not expecting an ROI (Return On Investment) immediately the way you would on a regular production.

For tickets and info–and a full list of dates and titles– visit thirdrailrep.org/hi-definition-screenings

Captured live onstage and presented locally in high-definition video

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“The dancers are sumptuous...a national treasure.”

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ALVIN AILEY

AMERICAN DANCE THEATER

I think artistic risk is the same question. It is a lot easier to have the appetite to lean forward if your financial house is in good order, and you know that you are not endangering the solvency or long-term health of the organization by putting the play onstage. OK, maybe you’re going to take a hit on that one, maybe the audience didn’t show up for that one. OK, what can we learn from it? But it’s not putting the organization’s future at risk.

TUE - WED | 7:30 PM

APRIL 24 & 25 Photo by Andrew Eccles

I learned it over and over and over. I think just when you think you’ve figured out what the audience is going to show up for, they surprise you, and I think that’s just the nature of this business. So especially on new work, you try to be conservative on your income goals. But there’s always a battle in my head between the part that just wants to leap forward and go for it artistically, and the part that is really aware of the institutional costs if the audience doesn’t show up or it alienates a particular pocket of the audience too deeply. .

World Trade Center 26 SW Salmon St Portland

ARLENE SCHNITZER CONCERT HALL

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41

VEDEM

A JEWISH RESISTANCE ‘ZINE FROM THE HOLOCAUST

By Nim Wunnan

The first exhibits at the new home for the Oregon Jewish Museum and Center for Holocaust Education include the story of a teen-written, underground magazine

T

he Oregon Jewish Museum and Center for Holocaust Education has a new home and big plans.

Founded in 1990 as a “museum without walls” in the Multnomah County Central Library, the museum has been “peripatetic” ever since, according to Director Judith Margles. It has found temporary homes at Montgomery Park, an Old Town storefront, and a more comfortable, longer-term but still-temporary location on Northwest Kearney street.

They’ve now found their forever home in the former location of the Museum of Contemporary Craft, on the North Park Blocks at the corner of Northwest Davis Street.

Many of us in Portland still feel the sting of the sudden closure of the beloved contemporary craft museum that was considered, in the words of Oregon ArtsWatch’s Bob Hicks, “a pacesetting institution [by] both the city and a tightknit national craft art scene.” Luckily, the unexpected announcement of MoCC’s closure came at a time when the Oregon Jewish Museum had already begun a formal study to find a permanent location. That space was “too good to miss,” according to Margles. After initial discussions with the owner, Pacific Northwest College of Art, a 45-day exclusivity period was extended to OJM, giving them much-needed time to complete a fast, dedicated, and ultimately successful fundraising campaign that raised more than $5 million, mainly in large donations.

The new location is part art gallery, curated by Bruce Guenther, and part historical museum, with engaging exhibits from Bryan Potter Design and Janice Dilg at HistoryBuilt, and part cozy café. Add those parts together, and it sums to something more like a cultural center—a place for history, issues, and exploration of what it means to be Jewish and Jewish in Oregon. They’ve already begun hosting events in their 100-seat auditorium, most recently the panel discussion, “Never Again: A Jewish Response to the Rohingya Crisis.”

The new location of the OJMCHE at 724 Northwest David Street includes museum exhibits, an art gallery, gift shop, café, and a children’s play area. Photo by Max McDermott.

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ARTSL ANDIA AT THE PERFORM ANCE

Most of the second floor of the museum is dedicated to their three “core exhibits.” The first, Discrimination and Resistance, An Oregon Primer, looks at the history of official state discrimination—against Jews, African Americans, and others—while documenting and celebrat-

ing the resistance techniques that have been used to combat it. The second, Oregon Jewish Stories, gets specific and personal about the stories of the Jewish community of Oregon with a collection of artifacts, photographs, and historical accounts arranged to encourage exploration and curiosity.

Next to these exhibits, which directly address current issues of oppression and discrimination, The Holocaust, An Oregon Perspective presented by the Center for Holocaust Education offers a somber and weighty cautionary tale with stories of Oregon and southwest Washington residents who survived.

Egypt in the context of Holocaust survivorship. Wander’s prints use iconography from concentration camps and World War II to link the story of liberation from Ancient Egypt to the living memory of the Jews who survived the Holocaust.

captives of Terezin, who had been taken from their lives in the thriving intellectual culture of pre-war Prague. Vedem itself was more than a publication—the boys who produced it, led by Ginz and later also Sidney Taussig, called themselves “The Republic of Shkid” in reference to a Russian book about a children’s orphanage shared with them by Walter Eisinger. Eisinger supervised the boys in the foster home where they lived together in a converted schoolhouse on three-tier bunks. There, they found a discarded typewriter.

The initial issues of Vedem were typewritten on smuggled supplies, and when the typewriter ribbon wore out, the boys of Shkid handwrote the magazine.

THESE READINGS BECAME AN IMPORTANT SOCIAL AND CULTURAL HUB FOR THE CAPTIVES OF TEREZIN, WHO HAD BEEN TAKEN FROM THEIR LIVES IN THE THRIVING INTELLECTUAL CULTURE OF PRE-WAR PRAGUE. VEDEM ITSELF WAS MORE THAN A PUBLICATION.

The first floor hosts the main gallery, which recently closed I AM THIS, an excellent collection of paintings and sculptures by Jewish artists with a connection to Oregon, including Mark Rothko. A promising R.B. Kitaj retrospective will be opening in June, following two remarkable, newly installed book-arts exhibits—To Tell the Story: The Wollach Holocaust Haggadah and Vedem: The Underground Magazine of the Terezin Ghetto.

To Tell the Story: The Wollach Holocaust Haggadah Commissioned by Helene and Zygfryd B. Wolloch, the Wollach Pessach Haggadah in Memory of the Holocaust is a richly illustrated modern take on the Haggadah. With lithographic prints by David Wander and calligraphy by Yonah Weinreb, this beautiful, handmade tome places the traditional text of the Jewish liberation from slavery in

Vedem: The Underground Magazine of the Terezin Ghetto Called “the Dead Poets Society of Terezin” by the Jewish Journal, Vedem was an extraordinary, vibrant, handmade magazine produced by a collective of teenagers under terrifying conditions in the Terezin ghetto/concentration camp during WWII. With a title that means “in the lead” in Czech, Vedem was founded in Terezin by a 14-year-old artistic prodigy, Petr Ginz. Born in Prague, Ginz was a writer, poet, and artist who had written several novels while still a child. Creating Vedem and driving its weekly production became his final and most influential achievement before he was deported to Auschwitz and killed at the age of 16.

Vedem ran for 83 issues, published every Friday and distributed by being read aloud at secret meetings. These readings became an important social and cultural hub for the

More than 60 boys contributed under various pseudonyms over the run of Vedem, and Ginz was the engine behind the project. Many of the printing supplies came from Ginz’s parents, who still lived in Prague and were thus protected by the Nuremberg Laws. They regularly sent their son packages of art materials and food. He assigned projects to other children such as interviewing other residents of Terezin, writing poetry, or drawing illustrations of their daily life. As these were children risking their lives to produce the articles, they were often delivered as notes scribbled in secret on scraps of paper. Ginz groomed them to the editorial standards of Vedem. When there weren’t enough articles for the week’s issue, he’d bribe children to write with treats from his parents.

If that didn’t work, he’d write the whole thing himself, under multiple pseudonyms. >>>>

Vedem Editor, Petr Ginz (age 12).

Photo courtesy of Rina Taraseiskey.

Pages from the Holocaust Haggadah, commissioned by Helene and Zygfryd B. Wolloch, illustrated with lithographic prints by David Wander and calligraphy by Yonah Weinreb.

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VEDEM Continued from page 43 >>>> Taussig first joined as a sports writer but became essential to the magazine’s survival.

His father was employed in the administration of the camp, and Taussig himself had the job of delivering corpses to the crematorium.

Urged by Ginz to write something more substantial than his sports column, he eventually produced an account of the operations of the crematorium, one of the most harrowing and significant contributions to Vedem. Partially because of his father’s position, he was the only member of the Shkid boys to remain after the rest of them were shipped to Auschwitz about two years after the founding of the magazine.

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Alone, Taussig retrieved all the existing magazine material from the empty schoolhouse where his friends once lived and, with the help of his blacksmith father, built a metal box to store the archive along with 120 of Ginz’s paintings. He then smuggled the box to the edge of the city, where he interred it in the wall of the city moat, out of sight but above the waterline. After liberation, Taussig dug the box up and carried it with him on the journey back to Prague by horse and carriage, preserving the legacy of Vedem and Petr Ginz.

Taussig currently lives in Florida.

In the years since, Vedem has been recognized as a singular artifact of the Holocaust. The first Israeli astronaut, Ilan Ramon, even carried a drawing by Ginz into space. However, this traveling exhibition is the first major survey of the art and history of Vedem.

The exhibit is the brainchild of Rina Taraseiskey. A documentarian and granddaughter of Holocaust survivors and resistance fighters, Taraseiskey was moved to begin work on a documentary about Vedem and Petr Ginz after learning about the magazine at the Los Angeles Museum of the Holocaust. She flew to Prague with survivors, including Taussig, and interviewed Ginz’s sister.

While working on the documentary, the richness of the material in Vedem made her feel “selfish that she was keeping it all to herself.” Taraseiskey partnered with designer Michael Murphy and writer Danny King to create a dynamic, highly visual exhibition.

Cartoons from the pages of Vedem are blown up to wall-sized graphics that frame the facts of life in the Terezin ghetto/camp. Sixteen of the Shkid boys, including Ginz and Taussig, are profiled in the “masthead” section, identified by their nicknames and drawn portraits. The highly-designed presentation of this material emphasizes the subversive, youthful nature of Vedem. Taraseiskey wants to show how the

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THIS IS AN EXCELLENT OPPORTUNITY TO CONSIDER THE DEEPLY POLITICAL ROOTS OF INDEPENDENT PUBLISHING IN PORTLAND, BEYOND THE CONTEMPORARY “ZINESTER” CULTURE.

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rebellious humor, subversive art, and spirit of resistance that drove Vedem is as energetic and vital as the youth movements of resistance, independent publishing, and music of today.

It’s very clear from the museum’s current programming, updated collection, and these upcoming exhibits that, though the stories the Oregon Jewish Museum tells are from a Jewish perspective, they with all of us, one way or another, regardless of our beliefs or backgrounds. .

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Given how prominent independent publishing and progressive politics are in Portland’s present identity, this exhibit shouldn’t struggle for relevance here. Just as the museum encourages connections between the history of Jews in Oregon and the present issues facing all marginalized populations and voices, this is an excellent opportunity to consider the deeply political roots of independent publishing in Portland, beyond the contemporary “zinester” culture. For example, influential anarchist newspaper, the Firebrand, was published out of Sellwood in the 1890s before being shut down for “obscene materials,” which included a Walt Whitman poem. Then there’s Oshu Nippo, a Japanese-language daily that became essential to the large Japanese community in Portland in the first half of the 20th century.

Oshu Nippo was seized by federal agents the day that Pearl Harbor was bombed, and its printing press was later used by the U.S. government to print anti-Japanese propaganda while its founder, Iwao Oyama, was held in an internment camp in New Mexico. It’s worth noting that The Oregon Jewish Museum now stands just a few blocks from the waterfront Japanese American Historical Plaza, which commemorates the executive order that destroyed Portland’s Japantown by sending its residents, including Oyama, to internment camps. Likewise, the exhibits documenting the forced demolition of Jewish neighborhoods in Southwest Portland in the 1950s make the obvious connections to the destruction of Black communities after the Vanport flood, using the same language that we currently use to discuss the economic displacement of gentrification.

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ARTSL ANDIA AT THE PERFORM ANCE

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Tickets at pcs.org, by phone at 503.445.3700 or drop by 128 NW Eleventh Avenue.

MAR. 31 – MAY 13

THE GRASSf lourishes DANCE GERRY RAININGBIRD NURTURES A POWWOW DANCE TRADITION

“OH, I FOLLOW ALL KINDS OF DANCE,” says Gerry RainingBird of the Nehiyaw Tribe (Cree) of his eclectic interest in the subject after casually mentioning that American Ballet Theatre’s Misty Copeland had recently taken a ballet class in town at BodyVox. “The expression through physical movement can be really emotional, and it’s very dynamic for me.”

By Hannah Krafcik. Photos courtesy of the artist.

TOP: CEREMONIAL DRUM. LEFT: GERRY RAININGBIRD DANCING IN FULL REGALIA.

RainingBird, the new Executive Director of Portland-based nonprofit Wisdom of the Elders, Inc., has cultivated his practice as a grass dancer for more than five decades.

Grass dance has historically been practiced mostly by young men at powwows—gatherings of Native communities in North America. This style sits within an array of powwow dances, each with their distinctive traditional elements. Grass dancers move swiftly, sometimes with legs swinging in arcing motions and feet skimming, alighting, and touching down to the earth, again and again, on the beat of the drum. “I think, because it was such a powerful dance, that people were pulled to it,” says RainingBird, noting that he and many of his peers were drawn to practice the dance at a young age.

Unlike ballet or other proscenium dance performance, a powwow is “not a show,” according to RainingBird. “It’s a very spiritually based and symbolic connection to our culture, our history, and our ancestors.” RainingBird describes participation in powwows as both an “important part of being Native,” and also an opportunity to share with the general >>>> MARCH | APRIL 2018

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THE GRASS DANCE FLOURISHES Continued from page 49

>>>> public “that we’re still here—Native people are still alive. They’re still very much a part of this particular community.”

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RainingBird grew up with the powwow experience. He remembers watching his father create regalia for powwows at the local community center in Rocky Boy’s Indian Reservation, located in north central Montana, where the community and tribe would come together weekly to feast and socialize during the winter months. Dancers in regalia were joined by drummers—usually of four to eight men each— surrounding large, traditional drums. As with other forms of dance, the movements tell a story. RainingBird offers a beautiful example: There was once a young man who was without the full use of one of his legs. He turned to his grandfather for wisdom because he could not join his peers for activities such as hunting parties. Upon receiving advice, the young man went to a hill where he had a vision in which horses, excited by an impending storm, began to jump and move in response to the thunder and lightning. Strong winds swayed the surrounding tall grass, and as the storm subsided, a rainbow appeared in the sky, and the horses began grazing peacefully.

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ARTSL ANDIA AT THE PERFORM ANCE

The young man shared the experience with his grandfather, and his grandfather interpreted it as relating to the young man’s purpose— part of which was to share this “dance” of the horses from his vision. With the support of his grandfather, the young man danced for his tribe, repeating all movements with both the right and left sides of his body—miraculously healing his leg in the process. From then on, the young man led teams of men to scout out new hunting and camping grounds, stomping down the tall grass in advance of the tribe.

– THE NEW YORKER

In fact, the tradition of the powwow is also a symbol of the Native peoples’ resilience. Given a history of systemic oppression by the U.S. government, it is also no surprise that Native dances fell under scrutiny. In 1923, for instance, the Commissioner of Indian Affairs, Charles H. Burke, worked to cap the number of times per year that Native peoples could gather in dance.

“The ceremonies that we performed and held dear were outlawed and basically forbidden, and our people were punished, taken to jail,” RainingBird reflects. However, he continues, “our people, especially those that were very connected to our spiritual principles, continued to practice and to encourage our people not to be deterred.”

According to RainingBird, the grass dance will always be a “healing dance for ourselves and for the people.” In describing his own practice, he expresses a desire to create movement that allows for a spiritual connection to those present who are not dancing or are unable to dance. “That’s when the real power and the sense of healing takes place, for both dancer and spectator.”

“It’s all about being a part of the circle where everyone has a voice; everyone has an opportunity to contribute,” he explains. “It’s not just about dancing. It’s not just about attending a powwow or putting on some moccasins. It’s about the values, the principles, the philosophy, and the spiritual power of the whole.” .

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RainingBird emphasizes that the dancers’ regalia is not a “costume.” The ceremonial dress has direct ties to the stories surrounding the tradition—fringe reminiscent of swaying grass; porcupine hair, eagle feathers, and beadwork or other elements representing the rainbow color spectrum and connection to the animal world. “Many people make that mistake of asking about our costumes.”

In response, RainingBird finds it especially important to share “about something cultural that many people may see as just being a public display of entertainment or a dance recital...It’s more than that.”

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ARTSL ANDIA AT THE PERFORM ANCE

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WHO IS

SUSANNAH MARS?

Artslandia podcast host and Portland theater arts luminary SUSANNAH MARS pulls back the curtain on her long and illustrious career.

When playing a widow of a “certain age,” I want to challenge potential groupthink about who she can be based on her age.

How is this role or project a different experience than any you've done previously?

New work is thrilling, and the opportunity to be engaged with the playwright and composer (in this case, they are one person) is a real delight. Michelle (Horgen) is very generous and interested in conversing about the process and my character’s storyline.

What would you consider one or two highlights of your career thus far?

I’d say singing with the Oregon Symphony has been of the greatest thrills of my career, in addition to playing Diana in Next to Normal at Artists Rep, which (sadly) was a confluence of events, including the death of 54

ARTSL ANDIA AT THE PERFORM ANCE

my father. Being able to work on that show, at that particular time, was very healing and gratifying.

What role has been the most out of your comfort zone?

Recently, I’d say that the role that was out of my comfort zone, so to speak, was Mrs. Lovett in Sweeney Todd at Portland Opera. Not that it was really out of my comfort zone, but my expectations for myself were so high. I have seen, in the past, such great actors in the role—Angela Lansbury, Patti LuPone—that I challenged myself probably more than ever. It was an absolute thrill, and now that I think of it, belongs in the top two most thrilling opportunities in my career! Knowing that I blasted through the same pie shop door as Ms. Lansbury was a thrill!

How do you work most effectively and efficiently?

I am a firm believer that whatever I am doing in the moment is where I am most efficient, and I continue to practice that idea. When I am in the zone, I am in the zone.

Who has been an exceptionally memorable guest on the podcast so far?

Each podcast is unique; for instance, yesterday I interviewed three comedians, two players from the Oregon Symphony, and an independent producer. All three provided me total enjoyment. I may be a Pollyanna, but I guess I was in the zone! That’s where I hope to be when I’m keeping company with any of these amazing artists with whom I have the pleasure to connect.

What do you hope the rest of 2018 has in store?

More compassion, more love, more art! .

See Susannah in Scarlet, a world premiere musical in partnership with Bitch Media and PHAME, at Portland Playhouse, 602 NE Prescott St., Portland, February 28– March 25. Call (503) 488-5822 for tickets.

Subscribe to Adventures in Artslandia with Susannah Mars at podbean.com or iTunes.

Photos by Max McDermott

What are the most fun and challenging parts of your current production, Portland Playhouse's Scarlet ?

I love having the opportunity to work with a large cast. That, coupled with the fact that it is a new work, is very exciting and energizing.

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