Napoli - Oregon Ballet Theatre by Artslandia

PRESENTS AUGUST BOURNONVILLE’S

NAPOLI ®

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52 IN THE SPOTLIGHT: SAMANTHA WALL

9 FROM THE

ARTISTIC DIRECTOR A history-making production to open OBT’s 29th Season... Kevin Irving introduces the company’s most ambitious season yet, beginning with the full U.S. production premiere of Napoli.

14 VELVETY POWER:

EMBRACING THE CHALLENGE OF BOURNONVILLE Former OBT principal dancer Gavin Larsen introduces the technique that infuses Napoli with rigor and charm.

16 NAPOLI 36 FROM THE

EDITOR-AT-LARGE An actor should be able to play any part, and yet... Barry Johnson steps through the challenges impeding much-needed progress toward equality in the arts.

Celebrated visual artist Samantha Wall unveils her latest deeply personal exhibit.

56 IN THE SPOTLIGHT: 40 IN THE SPOTLIGHT: LILA DOWNS Activist and musician Lila Downs brings authenticity to the stage and Portland.

44 #ARTSLANDIAWASHERE 47 ART DEPARTMENT: CAPAX INFINITY

The first installment of our new feature aimed at demystifying Portland’s street art.

51 WEEKEND SCRIPT: RACHEL RANDLES

Also new for the 2018–19 performing arts season, Portland personalities share their perfect weekend arts and culture itinerary.

JIMMIE HERROD

We looked into having the magazine play Herrod’s silky smooth vocals when the page is turned to his profile but had to shelve the idea to meet our press deadline. We’ll keep working on it but, in the meantime, get to know this spectacular artist.

61 SEEN ON THE SCENE 62 OUR STAGES, THEN AND NOW: THE ARLENE SCHNITZER CONCERT HALL

Three cheers for history! Unearthed among the treasures at Oregon Historical Society, Artslandia shares vintage photos of our favorite spots in Portland alongside presentday images and a brief tale of yore.

LEFT TO RIGHT: Lila Downs, photo by Marcela Taboada; Samantha Wall, photo by Christine Dong; Jimmie Herrod, photo by Ernie Sapiro.

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729 SW ALDER ST. 5 0 3.2 2 3 .6 6 4 9 M ERC A N TI L E P OR T L A N D . COM

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GION MATSURI 祇園祭

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THE WORLD’S OLDEST URBAN FESTIVAL Kyoto has celebrated its vibrant Gion Matsuri festival for more than a thousand years. For the first time

Arlene Schnitzer and Jordan Schnitzer

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ever, the sights and sounds of this colorful celebration – Japan’s largest festival – come to life in Portland for a one-of-a-kind exhibition.

SPEND THE DAY WITH US. On October 20th join us for a WORKSHOP on The Changing Family at the Old Church Concert Hall followed by a TOUR of six homes ARCIFORM remodeled for wonderful northeast Portland families. Wrap up the day at the AFTER PART Y at Christiane Millingerâ&#x20AC;&#x2122;s Showroom of artisan rugs. $20, Saturday, Oct. 20th, ArciformHomeTour.eventbrite.com All proceeds benefit the Oregon Humane Society.

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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!

“You are a poet, and I put much store in this little word.”

UNDERWRITING SUPPORT FOR NAPOLI

—Hans Christian Andersen, in a letter to his friend August Bournonville

WELCOME to OBT’s 29th Season! And what an extraordinary kickoff we are giving it — with a history-making production of a 19th-century ‘hit’ intact through the present day: August Bournonville’s joyful Napoli. That OBT is the very first American company to stage and build this iconic romantic ballet makes us enormously proud because the core of our mission is to share the wonder and grandeur of our art form with you. In the Bournonville style, virtuosity is seemingly downplayed, yet it is very much present in the demanding steps passed down through generations. Learning the exact phrasing, the precise placement of head, hands, and feet, along with intricate mime, has been a process guided by the illustrious Danish master Frank Andersen. Andersen’s right hands are Eva Kloborg and Dinna Bjørn: two highly respected former dancers and stagers from The Royal Danish Ballet in Copenhagen. There aren’t enough words to express the love and generosity with which this Danish team, alongside costume and scenery designer Marie í Dali, have imparted Bournonville’s world to us… It is exhilarating to make history with this production and we could not have even contemplated it without their enthusiasm for Portland and OBT. Notable, too, in the Bournonville canon is the cast of characters: laborers and tradesmen, rather than the nobles and royalty in Russian ballets from the same period. That alone is striking. But the excitement in the story of Napoli comes when Bournonville snatches the vigorous protagonists from their ‘real’ world, and puts them into a hypnotic underwater realm, defining their quest as not only the fulfillment of love for each other, but also a return to the vitality of life lived in the real world. That, to me, is one of many virtues in this masterpiece, evoking the phrase painted above the stage in Denmark’s Royal Theatre (where Bournonville worked): “Ej Blot Til Lyst” or “Not Just For Pleasure.” Napoli and reality meet at the height (and depth) of poetic perception: where color is vibrant, where beauty is substantive, and where the expanse of human imagination is explored, yet balanced by the delight of temporal experience. This life-affirming production is just the start of an incredible season ahead. We’ve expanded the number of performances, and the number of shows with the mighty OBT Orchestra, AND we’ve added an exciting new annual series called The Americans, which we launch next June with our first-ever work by the iconic Alvin Ailey. Your OBT is expanding the boundaries of what a ballet company can and should be — all thanks to your support. We hope you’ll take in all of the wonders we have in store for you, starting with this gorgeous full-length ballet from long ago.

MARILYN L. RUDIN, M.D. & RICHARD S. TESTUT, JR.

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

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

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

ELIZABETH POWNALL SWINDELLS Family Fund of The Oregon Community Foundation

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DIRECTOR’S CHOICE

April 11-14, 2019 | Newmark Theatre

Gioconda Barbuto | Nicolo Fonte | Nacho Duato featuring pianist Hunter Noack OBT’s Repertory Favorites. Our most loved contemporary works, curated by artistic director Kevin Irving, in an ambitious and intimate program.

THE AMERICANS

June 7-15, 2019 | Newmark Theatre Alvin Ailey | Trey McIntyre Jamey Hampton & Ashley Roland A New Annual Series. The Americans captures the unique voices and rich history of American choreographers.

on sale now | obt.org/season | 503.222.5538

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FEATURE

VELVETY POWER Embracing the Challenge of Bournonville BY GAVIN LARSEN

Kelsie Nobriga and Matthew Pawlicki-Sinclair in rehearsal for August Bournonville’s Napoli. Photo by Yi Yin.

IN 2015, Katherine Monogue had the chance of a dancer’s lifetime: Along with a small group of fellow OBT dancers, she traveled to Copenhagen, Denmark, for a weeklong immersion in that country’s balletic trademark: the technique of August Bournonville. OBT was slated to perform Act 3 of the Danish choreographer’s classic Napoli that season, but most of the dancers had only a vague familiarity with Bournonville’s devilishly hard style of classical ballet. Frank Andersen, former artistic director of The Royal Danish Ballet (and undisputed expert on Danish ballet), who staged Napoli in 2015 and again in its full version this season, initiated the exchange to prepare them. “I was intimidated,” Monogue, now an OBT soloist, recalls. “But to learn the technique, repertory, acting, and mime directly from the Danes, who have such pride in their tradition and hold it so close to their hearts, was absolutely inspiring. It was an honor to experience.” Classical ballet, at its most fundamental, is ballet. All over the world, young dancers are taught the same inviolable principles: turn out your legs, point your feet, straighten your knees. The five

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basic positions of the feet and the vocabulary of steps transcend national boundaries. But if you look very closely, from there the strands of classical ballet divide. The French, Russian, Italian, English, Danish — and now, American — varieties, if seen in demonstration side-by-side, are strikingly distinct. And since the melting pot of Americana extends to ballet, too, for today’s dancers versatility is more than an asset — it’s a requirement. Any audience member can see the differences between, say, the precise classicism and pointe shoes of the 19th-century Swan Lake (even in its re-imagined 21st-century version) and the heated, earthen physicality of the barefoot works of Nacho Duato. It’s a marvel the same dancers can perform both. The Danish style, known (and sometimes notorious) for its endlessly buoyant jumps, precision footwork, and impeccably controlled pirouettes — all presented to the audience with a genuine joy and warmth, believable acting, and readable mime — is a challenge even for the multi-talented, multi-faceted roster of OBT.

What’s hardest for the already-versatile OBT dancers? It may be the extremely specific épaulement — carriage of the head, neck, and shoulders — and arm placement. Ballet masters Lisa Kipp and Jeffrey Stanton are responsible for helping OBT navigate this new dialect of classicism. “The arms have to be precise, rounded just so, and held — so you can’t use them to help you jump,” says Kipp. “And because the arms are so restricted, your lower body has to be really, really strong.” This upper body stillness draws attention to the fantastically complex footwork. “It’s all designed to show off the dancers’ feet,” Stanton explains. The choreography is full of small, fast jumps with lots of beats, which create this look of lightness. Everything, even the men’s shoes — they’re painted to a point at the toes — contribute to that illusion.” For North American dancers, whose training most likely prioritized lower body work, paying such keen attention to their head and arm placement feels stifling at first, but it’s the key to achieving a look of ease when performing a musclenumbing variation. “Frank [Andersen] was very exact about where the head should be tilted for each step,” says Stanton. “It was hard for our dancers to get used to, but it really helps the flow of movement.” Irving sees the magic of Bournonville in its expressivity. “The velvety power down below and the friendly generosity above are embedded in the choreography,” he says. “It’s pure but not precious, rigorous but innately charming. It really reaches to and welcomes the audience. The jumps are so well-known, but the acting and mime are just as important.” The abundance of neoclassical works in OBT’s rep (which often emphasize speed), may give these dancers an edge in embodying the letter and spirit of Bournonville. Its purity and joyousness — a bright and clean impression washes over the viewer — come naturally to them. “They’re warm, authentic, and honest in their demeanor onstage. That lends itself well to the nature of Napoli, which is so bright and peppy,” Kipp says. “In class, we’ve been doing a lot more jumping and incorporating actual steps from the ballet so they grasp the idea of the port de bras, the épaulement. They’re capable of this.” But even principal Brian Simcoe, whose clean technique and easygoing demeanor are suited to the style, is being tested. “The

most challenging part of it for me is the stamina of the legs,” he says. “I’m working on new exercises to focus on gaining more jumping power. But I love the technique, the calm and lush upper body that belies the work that’s going on, and the inherent joy in the movement.” And Monogue? “Just because Bournonville is joyful doesn’t mean it’s easy!” she says. “I struggle with how fast and detailed the footwork is, so I’m ramping up my physical therapy exercises to build the necessary strength. Our calves get so sore…” Ultimately, as with all dancing, the technique is in service to the artistry. The essential generosity of Bournonville, its spirit of joy in life, is built into the genius of the steps themselves. “Everything in Bournonville is for the audience,” says Monogue. “I really love performing, and this style makes it easy to express that. It’s about giving and opening your heart to the audience. I absolutely adore it.” Former OBT principal dancer Gavin Larsen teaches and writes about dance from Asheville, North Carolina.

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TODAY’S PROGRAM

NAPOLI The Fisherman and His Bride A ballet in 3 acts by August Bournonville

CHOREOGRAPHY: August Bournonville;

SCENERY & COSTUMES: Marie í Dali

STAGERS AND PRODUCERS: Frank Andersen, Dinna Bjørn, & Eva Kloborg

Act 3 scenery & costumes incorporate original designs by Gene Dent & Christine Meyers

WORLD PREMIERE: March 29, 1842; The Royal Danish Ballet; the Royal Theatre; Copenhagen, Denmark

LIGHTING DESIGN: Michael Mazzola

OBT PREMIERE: October 6, 2018;

Act 2 re-imagined by Dinna Bjørn

MUSIC: Edvard Helsted, Holger Simon

Paulli, Niels W. Gade, François Henri Prume, & Hans Christian Lumbye

VIDEO DESIGN: Ramón B. Ivars PROP MASTER: Sumi Wu

Oregon Ballet Theatre; Keller Auditorium; Portland, Oregon

REHEARSAL ASSISTANTS: Lisa Kipp

& Jeffrey Stanton

SYNOPSIS

CHARACTERS

The story is set in the middle of the 19th century and divided into three acts:

Gennaro, a fisherman Veronica, a widow Teresina, her daughter Fra Ambrosio, a friar Giacomo, a macaroni seller Peppo, a lemonade seller

1. Largo di Santa Lucia in Naples (an Italian coastline). At night and in the morning. 2. Grotta Azzurra of Capri (an island sea cave south of Naples). 3. Madonna dell’Arco near Naples (a shrine for the Madonna).

Giovanina, a baker girl Pascarillo, a street singer Carlino, a puppet player Golfo, a sea demon Coralla and Argentina, sea naiads

Underwriting support for Napoli from Scan | Design Foundation and Marilyn L. Rudin, M.D. & Richard S. Testut, Jr.

ACT 1 A bell strikes six o’clock at night. Retreat is sounded from Castel dell’Ovo (Egg Castle). Santa Lucia Pier is lit by lamps and residential fireplaces. The bay is obscured by early darkness.

a worthy contribution and Teresina gives the silver heart necklace around her neck. The necklace will ornament Fra Ambrosio’s monastery altar, and he blesses the young couple.

On the left is Veronica’s residence; on the right, a restaurant; and in the background, the pier. Teresina enters with her mother Veronica. Giacomo and Peppo are in love with the young girl, yet her focus is on the bay. Hopefully, her lover Gennaro will return from his fishing trip with a big catch. Meanwhile, the two suitors flatter Teresina’s mother, and ask in vain for her daughter’s hand in marriage.

Gennaro is also a successful merchant. Among the buying audience is Giovanina, a beautiful baker girl. Gennaro kisses her hand, which upsets Teresina. Peppo and Giacomo say Veronica made a mistake by giving Teresina to Gennaro. Teresina is upset, but when Gennaro places a small engagement ring around her finger, she becomes gentle as if by magic. Peppo and Giacomo are convinced of witchcraft and they slander Gennaro.

A barcarole (boat song) announces the fishermen’s return. People gather for a good catch while Gennaro runs to his beloved Teresina. Veronica prevents him from embracing her, and points at the rich suitors. Gennaro becomes angry and Teresina cools his temper. Both beg her mother to give her consent. A quarrel breaks out between fishermen. Gennaro divides the catch fairly and sacrifices the best parts to the Madonna. Fra Ambrosio is a mendicant friar walking through Naples. Some contribute to his humble lifestyle; others avoid him. Gennaro gives

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Veronica leaves to rest. Dance and hilarity ensue. Teresina and Gennaro participate, yet dream of sailing into the bay. Gennaro fetches his oar, Teresina lifts up her guitar, and they go for a row. Everyone listens to Gennaro’s favorite tune: Ti voglio bene assai (I love you very much) E tu non pienze a me (And you do not pity me) Street singer Pascarillo arrives and gives an excellent performance.

Everyone is happy. But then a march is heard: It is Carlino and his puppet theatre! Both artists cannot be present, yet neither leaves. A fight starts, but the crowd is interrupted by a thunderstorm. Shops close and lights are extinguished. Both square and pier become empty.

ro ashore. Veronica comes out of her house. She cries out for Teresina: Where is she?

donna of the Arch), who listens. He kneels and prays before her image.

Through carelessness, Gennaro has caused Teresina’s death. Everyone remembers what Peppo said about the witchcraft in Teresina’s ring from Gennaro. Veronica curses Gennaro and he is left to die.

The storm rages. Fishermen protect their ships but remember Gennaro and Teresina. They see Gennaro fight the waves, and they rush to his aid. They pull an unconscious Genna-

Gennaro demands his bride be returned from the sea, the heavens, and the grave. He nearly throws himself in the waves again, before seeing the Madonna dell’Arco (Ma-

The storm ceases, the sea becomes calm, and Fra Ambrosio enters the pier. He finds Gennaro and gives him an anchor. He encourages Gennaro to go to the sea and look for his bride with trust in the holy mother. He offers a medallion inlaid with the Madonna’s image. The medallion will help him overcome obstacles and dangers. Gennaro sails toward sunlight.

– PAUSE – ACT 2 In the Grotta Azzurra (Blue Grotto), water plays with color and reflects the cave’s interior. Morning sunlight dims upon entering the low, narrow entrance. Golfo the sea demon is here. His naiads (water spirits) hold Teresina, who was washed into the grotto overnight. They give Teresina to Argentina and Coralla, Golfo’s favorite naiads. They carry her ashore and prepare for her a willow. She is disheveled, yet firmly holds her guitar.

a naiad who no longer asks for home. Coralla and Argentina decorate her with jewelry. Golfo presents her with a crown. Teresina dances with other naiads. She sees her guitar, yet prefers conch shell tones instead. Yet, alone with Golfo, Teresina becomes anxious: He wants to share power and riches, but she cannot return his love… Gennaro’s boat approaches the cave. Golfo orders naiads to interfere. Coralla and Argentina take Teresina away.

Golfo is charmed by Teresina’s beauty. Coralla brings a magical sea flower with a scent that awakens everything. Teresina regains consciousness. She is horrified by these strange creatures and wants to flee. There is nowhere to run but into the deep water. Naiads try to calm her and introduce her to their ruler, the mighty Golfo.

Gennaro rows into the quiet cave. With mixed feelings and a beating heart, he searches for his lost bride. He finds Teresina’s guitar, and is overjoyed; she must be near. The cave is disturbed as naiads swirl, yet he stays calm. The horror disappears and naiads tempt him instead. Gennaro demands Teresina; Coralla and Argentina return with her.

Teresina pleads for Golfo to return her to Naples and her groom. Golfo demands she come closer. On cue, she is transformed into

Teresina does not recognize Gennaro, yet her sympathy is awakened. He tries to help her remember their love. They hold hands

and he feels her ring from Naples. He remembers Fra Ambrosio’s gift (the medallion) and removes it from his neck. Teresina looks at the medallion’s image. She kneels as Gennaro places the medallion around her neck. By magic, she transforms again and realizes what happened. Tears pour down her face. She recognizes her groom. Golfo prevents them from fleeing: He orders naiads to bring Gennaro to a stone chamber. Teresina breaks loose, clings to Gennaro, and trusts the Madonna to help them. Teresina raises the medallion, and bids the sea demon to surrender to the queen of Heaven. Golfo, forced to surrender, orders Teresina and Gennaro’s departure. Treasure is loaded onto Gennaro’s boat as a reward for faithful love. Gratefully, the lovers board the boat, salute the cave inhabitants, and leave.

– INTERMISSION (25 MINUTES) – ACT 3 In the afternoon, near Naples, at a shrine for the Madonna dell’Arco (Madonna of the Arch), a bridge leads from one hill to another. Behind this bridge is the bay of Naples. On the right is a trattoria (tavern). Shrine pilgrims are present. Everyone greets each other. They pray to the Madonna, protector of Naples. Afterward, they discuss the incident that took away Teresina. Giacomo spreads the rumor of the evil spirit.

Everyone remains disgusted. More pilgrims approach: Teresina and Gennaro in beautiful Sunday clothes. Witchcraft is suspected by suitors and the crowd. They demand the couple leave. Even Veronica is convinced of magic. Teresina and Veronica leave. Gennaro becomes angry. Guards are called, yet flee. Finally, Fra Ambrosio steps forward

and embraces Gennaro. Fra Ambrosio explains Teresina’s salvation is thanks to Gennaro and the Madonna dell’Arco. Fra Ambrosio blesses the bridal couple. The crowd cheers. Even rival suitors accept and congratulate the couple. One dance follows another until it is time to return to Naples. Shepherds transform a cart into a vehicle for the hero and heroine. Happily, they head home.

August Bournonville 1842 and Frank Andersen 2018

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ARTISTIC & EXECUTIVE STAFF KEVIN IRVING

ARTISTIC DIRECTOR Sponsored by Bob Sweeney & Cate Millar

A rare dancer whose career spanned multiple disciplines, Kevin Irving began dancing with jazz classes in his hometown dance school (Long Island, New York), before joining the school and training ensemble of Alvin Ailey – an experience that impacted him deeply. From 1982-1985, he danced with The Elisa Monte Dance Company of New York, a company often referred to as “post-modern” but, at 24, he took a sharp turn toward classical dance, and joined Les Grands Ballets Canadiens in Montréal. Promoted to soloist and principal, Irving became a well-known figure wherever LGBC per formed, excelling in classical, neoclassical, and contemporary roles – including roles and ballets created by LGBC’s resident choreographer James Kudelka. In 1993, Irving joined Twyla Tharp Dance, touring the U.S. and Europe with the acclaimed choreographer, including performances at L’Opéra de Paris, and the PBS filming of Tharp’s much-lauded ballet In the Upper Room. From 1994-2002, Irving was ballet master and associate director with Nacho Duato’s Compañía Nacional de Danza in Madrid. From 2002-2007, he was artistic director of The Göteborg Ballet in Sweden. The company, during Irving’s tenure, was named the most important dance company in Sweden in Ballet International’s critic poll. From 2007-2013, Irving was a frequent guest ballet master with The Royal Danish Ballet, where he staged and rehearsed works by Ji í Kylián, George Balanchine, and Jerome Robbins. He has also been a guest teacher with numerous companies and schools in the U.S. and abroad for over 20 years. Additionally, he staged ballets by Nacho Duato and Nicolo Fonte for companies such as The Royal Ballet Covent Garden, Nederlands Dans Theater, Hubbard Street Dance Chicago, Lyon Opera Ballet, and The Australian Ballet, to name just a few. In the U.S., Irving became associate director at Morphoses (formerly The Wheeldon Company) from 2011-2012, coordinating special initiatives aimed at defining the company’s unique profile in the dance world. In 2010, he founded I-DANCE (Inspiring Dance: American Nations’ Choreographic Exchange), a nonprofit that sends teachers and choreographers to

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dance communities in Central and South America. Irving was named artistic director of Oregon Ballet Theatre in July 2013. Photo by Michael Slobodian

MICHAEL GREER

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

LISA KIPP

REHEARSAL DIRECTOR Lisa Kipp began studying ballet in Olympia, Washington, and finished her training at Pacific Northwest Ballet School. She danced with Pacific Northwest Ballet, Pacific Ballet Theatre, Ballet Oregon, City Ballet of Los Angeles, and James Sewell Ballet, as

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

JEFFREY STANTON

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

MICHAEL MAZZOLA

RESIDENT LIGHTING DESIGNER Michael Mazzola’s critically acclaimed lighting and scenery have been seen in

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

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

For the National YoungArts Foundation’s Miami Galas, Mazzola has designed lighting and scenery since 2015. For the 2015 and 2016 U.S. Presidential Scholars Program and YoungArts Awards, he

MUSIC DIRECTOR AND CONDUCTOR Niel DePonte has been the music director for OBT and its predecessor, Pacific Ballet

Photo by Alison Roper

NIEL DEPONTE

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

GUEST ARTISTS AUGUST BOURNONVILLE

CHOREOGRAPHER August Bournonville was born in Copenhagen, Denmark, on August 21, 1805. A dancer, choreographer, ballet director, and teacher who directed The Royal Danish Ballet for nearly 50 years, he established the Danish style of dance based on bravura dancing and expressive mime. His distinctive style is noted for its precision, neatness, lightness, and gaiety. It is filled with bouncy jumps, speedy footwork, small quick steps, and beats done while the upper body is held still. He was trained by Vincenzo Galeotti, the Italian dancer and choreographer who became the founder of The Royal Danish Ballet, as well as by his father, French dancer Antoine Bournonville, who arrived in Copenhagen from Stockholm in 1792. Bournonville became a solo dancer at an early age at the Royal Ballet in Copenhagen. He created a style, although influenced from the Paris ballet, entirely his own in which elegance and grace dominated. As a choreographer, he made original ballets with varied settings: Denmark, Italy, Scotland, Russia, and South America.

In Le Conservatoire, Bournonville dramatized memories of his years of study in Paris; key themes were harmony and grace. In his ballets, harmony of the dance reflects harmony of the soul: Ballet steps are infused with joyful exuberance. Among his ballets still performed, three are treasures of the Danish ballet repertoire. Napoli, La Sylphide, and A Folk Tale represent the essence of Bournonville’s artistic outlook. In these ballets, he maintained that art should be positive – with the purpose to elevate us and make us harmonious human beings. The ballets are dedicated to a world of order, meaning, and beauty – in which balance prevails.

BARRAN LIEBMAN IS PROUD TO PLAY A SUPPORTIVE ROLE WITH

Celebrating Nearly Two Decades of Pro Bono Partnership

Bournonville also directed the Royal Swedish Opera (1861-1864), and staged several of his works in Vienna (1855-1856). In 1877, following his return to Denmark, he retired and was knighted. He was a central figure in Danish culture, who fought to improve the social status and security of his dancers. He died on November 30, 1879 in Copenhagen.

Source: International Dictionary of Ballet.

Employment | Labor | Benefits | Higher Education www.barran.com | 503.228.0500

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GUEST ARTISTS (CONTINUED) FRANK ANDERSEN

STAGER AND PRODUCER Frank Andersen became artistic director of The Royal Danish Ballet in 1985. In 1994, he took over as artistic director for the Royal Swedish Ballet until 1999, and then he resumed his post at The Royal Danish Ballet from 2002 until 2008, all together more than 20 years. In 2002, Andersen received the Dance Magazine Award in recognition of outstanding contribution to the field of dance. In 2004, the American Scandinavian Foundation made Andersen “Man of the Year” in the U.S. In 2017, he received the Premio Positano Dance Award for preserving the August Bournonville heritage. Born in Copenhagen, Denmark, Andersen began training at The Royal Danish Ballet School at the age seven. He studied under Vera Volkova and Stanley Williams. He was accepted to The Royal Danish Ballet in 1971 and became a principal in 1977. In 1976, Andersen and Dinna Bjørn founded “Soloists of The Royal Danish Ballet.” This ensemble of 8 to 18 dancers toured the world for 10 years as ambassadors of Denmark and Bournonville’s work. They performed in the U.S., Canada, Central America, France, Italy, Sweden, Holland, Korea, Hong Kong, the Philippines, and Thailand. Andersen has staged over 40 productions of August Bournonville’s ballets for many internationally recognized companies: The Royal Danish Ballet, the National Ballet of China, Cuban National Ballet, the Vietnam National Opera and Ballet, the Royal Swedish Ballet, the Finnish National Ballet, the State Ballet of Georgia, Les Ballets de Monte Carlo, Inoue Ballet, Liaoning Ballet, Estonian National Ballet, the National Ballet of Prague, Stanislavsky Theatre Ballet, Slovenian National Theatre Opera and Ballet, Macedonian Opera and Ballet, and English National Ballet. From 1997-2002, Andersen has been artistic advisor to the National Ballet of China, and since 2008, artistic advisor for Beijing Dance Academy and Beijing Dance Theater. In 2014, Andersen published the first book in Chinese about The Royal Danish Ballet and August Bournonville. In 2013, he was the first Dane to become a professor with Beijing Dance

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Academy. Andersen is thrilled to share his passion for August Bournonville’s choreography with Portland audiences – in this Oregon Ballet Theatre premiere production of Napoli. Photo by Henrik Stenberg

EVA KLOBORG

STAGER AND PRODUCER Eva Kloborg was educated at the Ballet School of the Royal Danish Theatre. She became an apprentice in 1964, and in 1966 a dancer of The Royal Danish Ballet, where she was appointed character dancer in 1992. In 2007, she celebrated her 40th anniversary as a dancer with The Royal Danish Ballet. In 2017, she celebrated her 50th anniversary as a dancer with a gala performance in her honor. She has danced a large number of roles with The Royal Danish Ballet since her debut as Calliope in Apollo in 1966; they include: Aureole, Chopiniana, Opus 1, The Moors Pavane, Lady Capulet in Romeo and Juliet, the Swan Queen in Swan Lake, the Queen and Carabosse in The Sleeping Beauty, the Stepmother in Cinderella, Madame Larina in Onegin, the Pianist in The Lesson, and Bertha in Giselle. In the Bournonville repertory, Kloborg has danced almost everything: Andrea and Louise in The King’s Volunteers on Amager, Elisa and Victorine in Le Conservatoire, the pas de deux from The Flower Festival in Genzano, Teresina in Napoli, Effy in La Sylphide. As a character dancer, she also performed Madge and Anna in La Sylphide, Muri in A Folk Tale, and Veronica in Napoli. From 1990-2008, she was a fulltime ballet mistress and teacher at The Royal Ballet School, as well as The Royal Danish Ballet in the Bournonville repertoire. Kloborg is also a permanent guest teacher with Inoue Ballet in Tokyo, the National Ballet of China in Beijing, and with Nina Ananiashvili at the State Ballet of Georgia in Tbilisi. Kloborg and Frank Andersen coproduce Bournonville ballets around the world: Florence, Tallinn, Beijing, Tokyo, Prague, Shenyang, Moscow, Ljubljana, Hanoi, Havana, Stockholm, Wellington, Helsinki, Montevideo, Vancouver, Lisbon, and Tbilisi. Kloborg is a Knight of the Order of Dannebrog, first degree. Photo by Henrik Stenberg

DINNA BJØRN

STAGER AND PRODUCER Dinna Bjørn is one of few distinguished Bournonville specialists in the ballet world today. After private studies in Copenhagen with Edite Frandsen, former ballerina of The Riga Opera Ballet (now Latvian National Ballet), she joined The Royal Danish Ballet in 1964. In 1968, she won the bronze medal at Varna International Ballet Competition in Bulgaria, having danced the pas de deux in Bournonville’s Flower Festival in Genzano. In 1975, she began teaching Bournonville classes and delivering Bournonville lectures. In 1976, she and Frank Andersen formed the touring Bournonville group called “Soloists of The Royal Danish Ballet,” and toured worldwide every summer until 1989. After leaving The Royal Danish Ballet in 1987, Bjørn became artistic director of Norwegian National Ballet (1990-2002), and the Finnish National Ballet (20012008). Since 1987, she has actively staged Bournonville productions, arranged seminars, and taught Bournonville courses for companies and schools worldwide, including: Bavarian State Ballet, Boston Ballet, Milwaukee Ballet, Hong Kong Ballet, Mexico City Ballet, Ballet Capitole Toulouse, Universal Ballet, Bulgarian State Ballet, Dutch National Ballet, Paris Opera Ballet School, the Royal New Zealand Ballet, The Australian Ballet, English National Ballet School, Ballet du Rhin, Ballet Nice Méditerranée, Ural Ballet, Vaganova Ballet Academy, and the National Academy of Dance. For the second Bournonville Festival in Copenhagen in 1992, Bjørn reproduced Act 2 of Napoli. In 1995, she collaborated with her father, Niels Bjørn Larsen, and Kirsten Ralov on the revival of Le Conservatoire. From 1997-2000, she was the Bournonville consultant to The Royal Danish Ballet where, in 2000, she and Anne Marie Vessel Schlüter directed a new production of The Kermesse in Bruges. She collaborated with Frank Andersen on Napoli productions for the Finnish National Ballet and Stanislavsky Theatre Ballet, with the reconstruction of From Siberia to Moscow in Tbilisi in 2009. Their latest collaboration was their reconstruction of Ponte Molle for the Royal Swedish Ballet in Stockholm in 2016.

LETTER FROM THE CHAIRWOMAN OF THE BOARD OF TRUSTEES DEAR FRIENDS,

Photo by Jeff Lee

Bjørn is also a choreographer and created five Hans Christian Andersen fairy tale ballets for The Pantomime Theatre in Copenhagen with Queen Margrethe II of Denmark as designer. Bjørn is the recipient of the Order of Dannebrog, the Royal Norwegian Order of Merit by King Harald, and the Order of the White Rose of Finland.

On behalf of the Board of Trustees, and all of us in the OBT family, welcome to Napoli, the opening performance of our 2018/2019 Season.

Photo by Olivier Wecxsteen

MARIE Í DALI

COSTUME AND SCENERY DESIGNER Marie í Dali’s designs span many genres from feature films to classical ballets. She studied theatre science at Copenhagen University; she moved to London and studied theatre design at Wimbledon School of Art. Her professional career began with Andorra at Hampstead Theatre. í Dali’s first major commissions in opera include The Queen of Spades at the Royal Danish Opera, and Der Rosenkavalier for Opéra National de Lyon. Other notable works include: The Firebird, with Alexei Ratmansky at the Royal Swedish Ballet; A Clockwork Orange 2004 at Dramaten in Stockholm; Steen Koerner’s hiphop version of The Nutcracker, restaged for six years running; and Ole Bornedal’s The Substitute, a science fiction thriller film. í Dali also designed the set and costumes for Maskarade composed by Carl Nielsen, and My Fair Lady directed by Kasper Holten for the Royal Danish Opera. She has an ongoing design collaboration with Steffen Aarfing. Their work includes production design for: I Am Dina (film); and Richard Wagner’s Der Ring des Nibelungen, directed by Kasper Holten for the Royal Danish Opera, from 2003-2006. í Dali also designed the costumes for Juan, an opera film by Holten. Recently, í Dali had tremendous success with her historical costume designs for Molière’s Le Misanthrope at the Royal Playhouse, and Molière’s Tartuffe at Grønnegårds Teatret, both directed by Thomas Bendixen. Designs for Fanny and Alexander in Bergen, Norway show her sharp control over form, style, and character description. Photo by Steffen Aarﬁng

Thank you for choosing to enjoy this performance with us today. By doing so, you are also helping to support OBT, one of our city’s signature cultural institutions, to develop the next generation of dance artists and audiences, and to take arts education to schools throughout the Northwest. We are grateful and would like to recognize our generous friends and supporters who help us to make all of this possible; it indeed takes a village! Thank you to: • Our Pointe Society members, whose financial support makes possible our artistic achievements; • Our Reverence Circle members, whose long-time dedication has led them to include us in their estate planning, so their support continues even after they are no longer with us; • Our Allegro Society, whose medical professionals donate their time and services to ensure our dancers’ health; • Our volunteers who help – in our office, in our costume shop, and in the theater; • Our dedicated staff who work in patron services, marketing, development, costuming, production, and artistic – all helping to bring this production and others to the stage; • Our school staff and families, for their development and support of young artists; • Our in-kind sponsors who support us with donations of many essential goods and services. We hope this performance inspires you to return for the other exciting programs scheduled this season and, perhaps, to become involved yourselves in one of these (or other) important ways. Thank you, once again, for being here – and enjoy the show! CLOSING,

NANCY LOCKE

Chairwoman of the OBT Board of Trustees

If you would like to learn more about other ways to help, contact Lauren Watt at: Lauren.Watt@obt.org or (504) 227-0977 Ext. 259.

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COMPANY PRINCIPAL DANCERS

ANSA CAPIZZI

XUAN CHENG

PETER FRANC

Sponsored by Nancy Locke & Don Harris

Photos by Joni Kabana

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COMPANY PRINCIPAL DANCERS

ANSA CAPIZZI

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

XUAN CHENG

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

PETER FRANC

Peter Franc is from Lancaster, Pennsylvania. He trained with Metropolitan Ballet Theatre and Houston Ballet Academy, where he received the Michael Wasmund Award upon graduation. He then joined Houston Ballet for eight years and rose to the rank of demi-soloist. He later moved to Aspen Santa Fe Ballet (2012), before joining OBT as a soloist (2015) and principal (2016). He regards his role in Jerome Robbins’ Afternoon of a Faun as a favorite, as well as: Romeo in James Canfield’s Romeo & Juliet; and Prince Siegfried in Kevin Irving’s Swan Lake. Other favorites include features in works by: Ji í Kylián, Hans Van Manen, Stanton Welch, Christopher Bruce, Nicolo Fonte, Cayetano Soto, and Alejandro Cerrudo.

CHAUNCEY PARSONS

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

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

BRIAN SIMCOE

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

EVA BURTON

Eva Burton was born in Los Angeles, where she received training from Patrick Frantz, followed by San Francisco Ballet School. In 2010, she joined OBT as a dancer in the corps de ballet; in 2016, she was promoted to soloist. She cites OBT’s Giants program as especially significant: She performed in George Balanchine’s Serenade and William Forsythe’s In the Middle, Somewhat Elevated, and was promoted after the first show. By extension, favorite roles include the Waltz Girl in Balanchine’s Serenade, as well as The Nutcracker’s Sugarplum Fairy.

MICHAEL LINSMEIER

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

KATHERINE MONOGUE

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

KELSIE NOBRIGA

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

MATTHEW PAWLICKI-SINCLAIR

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

THOMAS BAKER

Thomas Baker is from San Jose, California. He began training at Westside Studio of Performing Arts under Bené Arnold, and attended San Francisco Ballet School on full scholarship. While he joined OBT as an apprentice in 2010, and returned as a company artist in 2014, he sandwiched in two seasons at Ballet San Jose. He has collaborated with Barak Ballet and National Choreographers Initiative. With OBT, he has performed roles such as the Cavalier in George Balanchine’s The Nutcracker®, and White Rabbit in ALICE (in wonderland) – as well as principal roles in works by George Balanchine, William Forsythe, Nacho Duato, and Nicolo Fonte.

HANNAH DAVIS

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

ABIGAIL DIEDRICH

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

KIMBERLY FROMM

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

ADAM HARTLEY

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

MAKINO HAYASHI

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

CHRISTOPHER KAISER

Christopher Kaiser is from Los Angeles, California, where he trained at Los Angeles High School for the Arts. He spent his summers training at The Joffrey Ballet, Boston Ballet, and Milwaukee Ballet. Afterward, he was accepted to The Juilliard School, where he graduated with a Bachelor of Fine Arts, and

danced in the Edinburgh International Festival. He joined Alberta Ballet for three seasons before joining OBT. This will be his third season with OBT. He has enjoyed performing roles in Nacho Duato’s Gnawa, William Forsythe’s Herman Schmerman, and Paul Taylor’s Sunset.

favorite roles include Tea in George Balanchine’s The Nutcracker®, and Fish in Septime Webre’s ALICE (in wonderland).

JESSICA LIND

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

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

EMILY PARKER

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

COLBY PARSONS

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

THEODORE WATLER

Theodore Watler is from Long Beach, California, where he trained at Long Beach Ballet under Johnny Zhong. He attended summer courses at San Francisco Ballet School, Oregon Ballet Theatre, and Hubbard Street Dance Chicago. He holds degrees in art history and Law, Letters, and Society from the University of Chicago. In 2017, he joined OBT as an apprentice, and he was promoted to company artist in 2018. His

APPRENTICES

ALEXA DOMENDEN

MARC LAPIERRE

Marc LaPierre is from Stratford, Connecticut. He trained at Ballet Academy East, and the School of American Ballet at Lincoln Center; he regards Nanette Vallas as an early favorite mentor. Prior to OBT, he joined Los Angeles Ballet, where he performed the pas de six and Tarantella (solo role) from Napoli’s third act. His solo role in Alejandro Cerrudo’s PACOPEPEPLUTO is another personal favorite, along with Aszure Barton’s Second to Last and George Balanchine’s Stravinsky Violin Concerto. OBT welcomes Marc as a 2018-2019 apprentice.

ZUZU METZLER

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

THEODORE SKYE STOUBER

Theodore Skye Stouber is a Portland, Oregon native. He began training at The Portland Ballet under Alex Ballard, as well as Jason Davis and Nancy Davis Lane. He continued training at Houston Ballet Academy and San Francisco Ballet School. In SF Ballet School’s 2013 Showcase, he performed a principal role in Christopher Wheeldon’s Danses Bohemiennes. After a knee injury paused his career for five years, he joined skinner/kirk DANCE ENSEMBLE in 2018. He joined OBT as a guest artist for Septime Weber’s ALICE (in wonderland), and was promoted to apprentice.

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CHILDREN’S CAST & SUPERNUMERARIES GIRLS

CHILDREN’S CAST

Madeleine Brooks Charlotte Pener Coco Pike Arwyn Stech Malvina Summers Gracelyn Webert Lilliana Wilson Poppy Yue

GIACOMOʼS ASSISTANT Luke Hanifan

PEPPOʼS ASSISTANT Paul Hanifan

PASCARILLOʼS VIOLINIST Twylo Landey

COUPLES

FISHER BOYS

Lila Beard* Madeleine Brooks Alexos Carabas Samuel Coté Zooey Ford-Burris* Luke Hanifan Troy Hartwig Evelyn Keatley* Lucy Krug* Isla Mallison* Kiera Oliver* Danger Ocampo Diego Ocampo Xavier O’Donnell Charlotte Pener Coco Pike Henry Roth Annali Smith* Arwyn Stech Malvina Summers

Alexos Carabas Finnegan Grab Troy Hartwig Danger Ocampo Samuel Pettinger Henry Roth

INNKEEPERʼS ASSISTANT Elliana Kluherz

TOURIST

Mika Blandy

ABATES

Marlee Cook London Heyerman Clara Metzler Ellie Nine Apolena Summers Sadie Williams OBT-9-18.pdf

8/21/18

Mia Thrower* Gracelyn Webert Lilliana Wilson Poppy Yue

Annali Smith Linnea Smith Apolena Summers Mia Thrower Sadie Williams

BASKET GIRLS

Neah Lim Annika Vallabhanath Anjali Weerasinghe

SUPERNUMERARIES

NEAPOLITAN MEN

KIDS ON THE BRIDGE

Tim Halloran Joe Norvell Bobby Nove Rob Roth

Lila Beard Madoka Blandy Madeleine Brooks Alexos Carabas Marlee Cook Zooey Ford-Burris Finnegan Grab Luke Hanifan Paul Hanifan London Heyerman Evelyn Keatley Lucy Krug Isla Mallison Clara Metzler Ellie Nine Kylin Nine Kiera Oliver Maya Otsuka Samuel Pettinger Addie Rodriguez

PRIESTS

Tim Halloran Joe Norvell

TOURIST MEN

Kevin Smith David Threefoot

INNKEEPER

Neissan Saber

POLICEMAN

FLOWER SELLER Elsa Pollock

WET NURSES

Christina Gratchner Bryn Perry

LONG SKIRT LADIES Karenna Hall Emily Hug Marie Millard Tracey Sartorio

SHEPHERDS

Tim Halloran Joe Norvell Bobby Nove Rob Roth

TOURISTS

Kevin Smith David Threefoot

PAINTER

Jim Blandy

William Doster

CARABINIERI

Themios Carabas John Thoren

*Understudy

2:09 PM

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OPB TV | opb.org/artbeat

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ORCHESTRA VIOLIN I

Nelly Kovalev, Concertmaster Hae-Jin Kim, Assistant Concertmaster Robin Baldino Della Davies Jenny Estrin Casey Bozell Elizabeth Peyton Emily Sokoloff Paloma Griffin HÃ©bert Sarah Roth

VIOLIN II

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

VIOLA

Angelika Furtwangler, Principal

Daphne Gooch, Assistant Principal Brenda Liu Kim Burton Adam Hoornstra Shauna Keyes

CELLO

Hamilton Cheifetz, Principal Katherine Schultz, Assistant Principal Jae Choi Heather Blackburn

BASS

David Parmeter, Principal Dave Anderson, Assistant Principal

FLUTE

Georgeanne Ries, Principal Sarah Tiedemann

OBOE

Kelly Gronli, Principal Alan Juza

CLARINET

TIMPANI

Louis DeMartino, Principal Melanie Yamada

Jeff Peyton, Principal

BASSOON

Jennifer Craig, Principal*

Adam Trussell, Principal Danielle Goldman

FRENCH HORN

Steve Hayworth, Principal Matt Monroe Mike Hettwer Leander Star

TRUMPET

HARP

ORCHESTRA PERSONNEL MANAGER

Janet George

MUSIC LIBRARIANS

Kirsten Norvell Rachel Rencher Eva Richey

Charley Butler, Principal* Robert Rutherford

TROMBONE

Henry Henniger, Principal Lars Campbell Dave Bryan

PERCUSSION

Gordon Rencher, Principal Brian Gardiner

*Acting title Italics denote substitute

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BOARD OF TRUSTEES

OREGON BALLET THEATRE STAFF

Nancy Locke, Board Chair

ARTISTIC

Jimmy Crumpacker, Vice Chair Cate Millar, Co-Secretary Allison Lane Lyneham, Co-Secretary Ken Ivey, Treasurer Ken Carraro Brian Forrester Peter Franc, ex officio William Gaar Michael Greer, ex officio Gary Hanifan Brianne Hyder Kevin Irving, ex officio Julia Winkler Jacobson Charles L. Jones Kristin Malone Keith Martin Christina McNown Angela Saunders Polin Reegan Rae Tina Skouras Ashley Trimble Betsy Warren Matt Watson Mike Weddle 28

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

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

PRODUCTION Bill Anderson, Director of Production Shannon Goffe, Production Administrator Victoria A. Epstein, Stage Manager Ian Rutledge, Assistant Stage Manager & A/V Coordinator Michael Mazzola, Resident Lighting Designer Ian Anderson-Priddy, Production Electrician Matt Wilcox, Sound Engineer Eileen Ehlert, Costume Shop Supervisor Starr Fish, Annika Schindler, Drapers Morgan Reaves, First Hand Barbara Casement, Milliner Janet Cadmus, Costume Technician Leah Bierly, Elsa Dye, Ariana Head, Natalie Leavenworth, Fuchsia Lin, Jennifer Park, Kimberly Raynor, Stitchers Hillary Barsky, Sue Morgan, Marilyn L. Rudin, Ginger Kidwell, Costume Shop Volunteers Diane Trapp, Wigmaker Sara Beukers, Wig & Makeup Marjorie Anderson, Leslie Bernhard, Dan Handleman, Brian Keith, Elizabeth Kowash, Peter Sherman, Jason Tragger, Tony Travis, Lance Woolen, Production Support Staff Elecia Beebe, Scenic Artist Sumi Wu, Props Master Janet George, Orchestra Personnel Manager Kirsten Norvell, Head Music Librarian Rachel Rencher, Assistant Music Librarian Eva Richey, Assistant Music Librarian

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

MARKETING Camille Spaccavento, Director of Marketing & Communications Jim Thomson, Senior Graphic Designer & Video Producer Claire Bassett, Marketing Associate

PATRON SERVICES Mariah DeLude, Patron Services Manager Kristin Dillon, Patron Services Lead Julieta Castro, Patron Services Representative

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

OREGON BALLET THEATRE SCHOOL Marion Tonner, School Director James Holstad, School Administrator Sean Surprenant, School Registrar Lisa Sundstrom, OBT2 Program Director Colleen Hanlon, West Linn Branch Manager & Childrenâ&#x20AC;&#x2122;s Coordinator Kembe Adam, Natasha Bar, Phillip Carman, LeeWei Chao, Peter Franc, Elise Legere, Valerie Limbrunner-Bartlett, Chauncey Parsons, Jessica Post, Olivia Pyne, Alison Roper, Katarina Svetlova, Robyn Ulibarri, School Faculty Irina Golberg, Garnet Hayes, Karen Lam-America, Ayako Matsuo, Raymond McKean, Katie Pyne, Tiffany Sanford, Jordan Strang, Western-Li Summerton, Accompanists

INDIVIDUAL DONORS Oregon Ballet Theatre would like to express its sincere gratitude to those listed below for gifts received through August 20, 2018. Donations received after this period will appear in the next playbill in December.

BRAVURA CIRCLE ($50,000 & UP)

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

TOUR DE FORCE

($25,000–$49,999)

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

DIRECTORʼS CIRCLE ($10,000–$24,999)

Linda & Scott Andrews Dan Bergsvik & Don Hastler Barbara & Bob Brady Kathleen & Benoit de Montlebert Cooper Dubois Karen & Bill Early Ken & Ann Edwards Alan Garcia & Lyn Reynolds Garcia Melissa & Gary Hanifan 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 Loren Parks Marilyn L. Rudin, MD & Richard S. Testut, Jr. Caleb Schlesinger Hazel & Barry Schlesinger Mike & Karen Weddle

ÉTOILE POINTE SOCIETY ($5,000–$9,999)

Anonymous Anonymous, In Honor of Cate Millar Robert Aughenbaugh Linda Besant & Martha Goetsch Richard Louis Brown & Thomas Mark Bill Dickey, In Honor of David E. Wagner Jessica & Mark Flaa Brian Forrester Fromm Family Charitable Fund William Gilliland Kiki, Juliet & Summer Hillman Sandra & Stephen Holmes Diane Knudsen Dr. Dolores Leon & Dr. Fernando Leon Peter & Allison Lyneham Kristin Malone Keith Martin Denise & James Parker Allison & Steven Pike Angela Saunders Polin Dean M. Richardson Luwayne Sammons, In Memoriam Patti & Tommy Skouras Prashanth Vallabhanath & Evelyn Curioso Charles W. Webb, DO Ben & Alli Wood Dr. Kathy Zeller & Dr. David Hill

VIRTUOSO POINTE SOCIETY

($2,500–$4,999)

Anonymous The Ajitahrdaya Gift Fund Dr. Anna Bar

Brent Barton & Liz Fuller Adriane Blackman Walter Bowen Mark & Blake Bruun Irene Cancilla Charles & Sandra Carmeci Ken Carraro Debi Coleman Cameron & Dick Davis Gail Hayes Davis & Michael Davis Rita Duyn Jasmin & Matt Felton Gary & Yvonne Foster William E. Gaar & Lauren E. Barnes Ted & Cynthia Gaty Richard & Juliana Gellman Marilyn & Hans Grunbaum Jamey Hampton & Ashley Roland Andrew & Ilene Harris Kevin Irving & Nicolo Fonte Bernice & Ken Ivey Julia Winkler Jacobson & Jonas Jacobson Stephen Karakashian Carol Schnitzer Lewis Fund of The Oregon Community Foundation Kathleen Lewis Fund of The Oregon Community Foundation Tania Mason Mark Moffett, In Honor of Jacqueline Straughan Ellen & Carl Nielsen John & Ginger Niemeyer 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 Mary Rose & Maxwell Whipps Jone Sampson & Sam Weirich Daniel & Dawn Simcoe Tina Skouras Joan W. Sterrett David & Eileen Threefoot Ashley & Dwayne Trimble The Peter & Ann van Bever Charitable Fund

Toby & Linda Warson Jay Wilt Charlene Zidell

PRINCIPAL DANCERʼS CIRCLE

($1,000–$2,499)

Anonymous Jen & Don Arancibia Patti & Lloyd Babler Barbara & Sidney Bass Maria Borda & Ignacio Giraldo Matthew Boyes & Frederic Koeleman Ryan Bradshaw Nancy & Andy Bryant Alex Carlson Jeff Chase & Patti Warner Fund of The Oregon Community Foundation Diane Collier Justin & Marisol Delaney William Dolan & Suzanne Bromschwig Larry & Deborah Friedman Nancy Frisch Alexandra & Zan Galton Christine Diana Gay Leonard & Yvonne Gionet Rob Goodman Frank Groff Jesse & Leah Gronner Chris Grubb & Carrie Merritt Valarie Grudier & Richard Langdon Beth Harper Kim & Chris Hasle Ronna & Eric Hoffman Fund of The Oregon Community Foundation John & Karen Hoke Gretchen Holce Maryanne & David Holman Michael Hummel & Mamie Diaz Hummel Jina Kim & Hyung-Jin Lee Amy & Kevin Kohnstamm Jerome Magill M. and L. Marks Family Fund of The Oregon Community Foundation Adrienne & Ian McClellan Keith & Kristin McInerney Christina & Cade McNown Laurie & Gilbert Meigs Kirsten & Richard Meneghello Angela & Rob Moneyhan Jeffrey Morgan

Margaret & Gordon Noel Jay & McKay Nutt Carolyn & Hank Robb Lori & Mike Russell Leslie Ann Sammons-Roth Jinny Shipman & Richard Kaiser Carol & Tom Shults Lisa Sorenson Kembe Staley & Jim Hinkley Steve & Michelle Stapp Wendy Lane Stevens & Dr. Jeffrey Stevens Carol Streeter & Harold Goldstein Stephen Sweeney John Thoren Dr. & Mrs. Carl E. Trinca Evans Van Buren & Marsha Warner K. Vorderstrasse Richard Wasserman & Ann Coskey-Wasserman Matt Watson & Jessica Harkin Matt Weaver Zela & Elsa

SOLOIST DANCERʼS CIRCLE ($500–$999)

Anonymous Susan Thompson Armentrout Gregory & Elizabeth Arntson Charles G. Barany Tom Bard Pat Behm & Gary Jacobsen Max Birnbach Charity Fund of the Oregon Jewish Community Foundation Melanie Bjorge Jim Blandy Annie & Todd Borus W. “Buzz” Braley, Jr. Charles Brasher & Betty Lavis Kay Bristow Irene & Patrick Burk Drs. James Chan & Jennifer Edman Kyle & Alison Chown Bill Clodfelter & James Canfield Margery Cohn Jeanie McGuire Coleman Stephanie Copeland & Ken Weber Sandra & Douglas Cress Sue Darrow Grayson & Jack Dempsey Mark Diachok & Jamie Hendrikson

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INDIVIDUAL DONORS Doris Ennis Conrad Eustis & Roberta Kanter Jeanine Fukuda & Kevin Walkush James R. Golden Luisa Adrianzen Guyer & Leigh J. Guyer Karen & Jim Halliday Carl Halvorson Dan Harmon & Jennifer Rabiah Donald Helfgott Susan & Richard Helzer Karen Henell & Gregg McCarty Eva Hosseinion Vince & Michele Howell Pamela Johnston Mary Klein & Francis T. Schneider Barbara Lamack & James Kalvelage Gary S. Leavitt Nancy Lee Vida & Jonathan Lohnes Gerri & Yorick Lutes Marisa Mack Tom & Lori Malone John F. Mathews Dan & Jackie Moore Doug & Malinda Moore Carol N. Morgan David & Theresa Nute Susan Olson & Bill Nelson Milo & Beverly Ormseth David & Kelly Park Melissa & Steven Peterman Janet Plummer & Don Rushmer Davia & Ted Rubenstein Miriam Ruth Dan Ryan Lynette Sahnow John & June Schumann Diana Scoggins Debbie & Greg Sherwood Jonathan Singer Rosemary Southwood Albert & Victoria Starr Sue Stegmiller H. Richard & Pamalynn Steinfeld Corinne & Lindsay Stewart Jim Thompson & Meredith English Misty & Derek Tompoles Judith & Gordon Umaki Peter Vennewitz

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Patrick Weishampel Weiss Fund of The Oregon Community Foundation Angela & Eric Williams Janet Williamson Cynthia A. Yee

COMPANY ARTIST DANCERʼS CIRCLE ($250–$499)

Anonymous Sheryl Acheson Abigail Alford Molly Anderson Susan Bailey & Mike Warwick Natasha Bar Paul & Pat Benninghoff John Bosshardt & Diana Petty Mark Buser Connie Butler Casey & Lindsey Callinsky Stephanie Celenza & Jeffrey Kinberg Drs. Theresa & Timothy Chen Richard Clucas & Beth Blenz-Clucas Jeremy Cochran Kent Copeland Terri Cross Susan Cyganiak, In Honor of Selena Steinmetz John & Rocio Deatherage Jody DeChaine Jeff & Barbara Dickerson Abigail Diedrich Family Mrs. Jing DiPiero Lora Dow Peter W. Edgerton Edward & Marilyn Epstein Charitable Fund Joshua Ferrer Philip Fidler & Jane Cummins Tim Finch & Nariyo Kono Rebecca Fleischman Doreen Flores Mr. & Mrs. Patrick Franc Andrew Fromm Morris J. Galen Sarah & Raul Gomez-Rojas Melissa & Robert Good Helen A. Goodwin Barbara & Marvin Gordon-Lickey Dennis Gould & Quinton Hallett Rebecca Granquist

Gail & Irv Handelman Jay Harter & Ken Salaman Jeanette Heinz Thomas & Verna Hendrickson Celeste Henninger-Lindaman Beverly Hoeffer James Holstad Pam & Bob Howard Kathryn Hummel Brianne & Zachary Hyder Angela Irvine Darlyn Jablonski Keith & Jane Johnson Shirley Johnson Becky & Jarrett Jones Molly Jones Kathy Jorda Sanjiv & Cindy Kaul Ryoka Kim Heather Kmetz & Stanley Cocke Nancy & Steve Kraushaar Mrs. Joseph A. Labadie Isis & Mana Lamonte Diane & Greg Landers Mary N. Laughlin Elise Legere & James Mitchell Joan Levers & David Manhart Stanley & Joyce Loeb Martha J. Logan Anne Lynch & James Anderson Jackie MacGregor Linda J. Magness Linda L. Mann Earlean Marsh Pamela Matheson Oscar & Mary Mayer Margaret & Robert McMillan Carolyn McMurchie Susan Sammons Meyer & Dennis Meyer Monica & Dale Monroe Denise Mullen Rob Nelson David Nijhawan Storry Norman & Jack Hollis Peter & Cassie Northrup Jack & Chris Pendleton Carol Peterkort & Richard Gibson Dennis Petrequin Ryan & Sarah Pitman Jodee & Jerry Pittman Judith E. Posey & Edward J. Doyle, MD

Alice & Michael Powell Suzanne Rague Celeste Rose Miriam & Charles Rosenthal Claire H. Russell Sam Sadler Daniel & Kathleen Saucy Virginia Sewell Ron Seymour & Mary Austin-Seymour Jeremy Shibley & Romalia Stickney-Shibley Robyn Shuey Juss Singh Gary & Lydia Slangan John D. & Pamela Smith Bob Speltz Karen Sweet Cindy Thompson & Brett Bender George & Nancy Thorn Drs. R. Bastian & Barbara Wagner Shawn & Dave West Ann C. Whitehouse Chris & Maria Wilkey Laurie Williams Jenny & Christina Wilson Bruce & Susan Winthrop Mary Ann Wish Linda M. Wood Jack Wussow & Kyle Adams Tamara & Chris Yunker Kurt R. & Heather Zimmer

APPRENTICE DANCERʼS CIRCLE ($100–$249)

Anonymous Kathleen Allee Kirby & Amy Allen Rhonda Anderson, In Memory of Janice Kelley Mary A. Andrews Sandra Armstrong Paula Arsenault Sharla Attey Bryan Averill 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 Becket Janice Belknap Alan & Sherry Bennett Barry & Jacqueline Bennett Phil & Naomi Beymer Jonathan Bryce Black Richard Botney Candace Bouchard & Adam Lounsbury Joyce Brehm Blaine Brennan Rand & Michelle Bresee Karin Brocksbank Hadley Brooks Kelly & Tommy Brooks Rick Browning Marianne Buchwalter Maurine & Paul Canarsky Themios & Liz Carabas Tim & Susan Carey Mary Carr Zachary Carroll & Anne Huffington-Carroll CCD/ECB Friends of Doug Parsons, In Memory of Judy Parsons Bob Chamness Sandy Chamness Kenny Chinn Eugenia Chopyk Ilaine Cohen Amber Cole & David Hall Sarah Conde Deniz & Austin Conger Harriet Cormack Nathan Corser & Kristen Minor Lin Crimshaw Megan Crowhurst Tracy Curtis Eloise Damrosch & Gary Hartnett Arthur & Winnifred Danner Judy Dauble Diane David Wendy & Howard David Dr. & Mrs. Joseph Davids Brian & Nancy Davies Shawn Dempewolf & Tom Hamman Niel DePonte Chuck & Patt DeRousie Dagmar Dettinger & Alan Artman Adam & Emily Dew Jerry Dickason Bonny Dickinson Susan Dixon

Jeanette Dreyer Kim Duncan Ruth Edsall Andrew Edwards Anton, Raylene, and Taylor Eilers John Elorriaga Annette Erickson Douglas Ertner Etuk Family Abraham & Pamela Farkas, In Memory of Mary Lou Cook Rochelle Farkas Marjorie Ferry Dr. Harvey Fishman & Keiko Amakawa Tonya Flaming Katie & Brian Flanagan George Fleerlage Genevieve & Bryce Foster Kelly Freuler Theresa Fritchle Jennifer Froistad Peggy Garcia Julianne Garza Ray & Joyce Gee Phil & Carole Gilbertson Arthur & Judith Ginsburg Rolf Glerum Julie & Dave Gordon Lora & Keith Gordon Barbara Gottschalk J. & Lisa Grab Brenda Grootendorst Jeanne-Marie Guise & Alex Herzberg Tasca & Paul Gulick Anna & Jeff Haagenson Candace Haines Andy Harris & Ash Evans Antoinette Hatfield Ashley Hayden Lisa, Jon & Amalia Held Bryce Helgerson & John Lowe Gina Henderson Shirley Hess Rebecca Hicks & Greg Kuelgen Christian Hill & Laura Korman Laurel Anne Hill, In Honor of the Dancing Doctors Leslie Holder Kenneth L. Holford Carol & Tom Hull Jonah Hymes Ida Imus Angela & Shane Jackson Elizabeth A. Javens

David & Peggy Jeans Joanne Jene, MD Linda & Richard Jenkins David C. Jensen Jonathan & Suzanne Jensen Brian C. Johnson Damien & Katie Jo Johnson Dennis C. Johnson Linda & Paul Johnson Katelin Johnstun Olivia Jones Rebecca Jury Marcia Kahn Megan Kavanaugh Marla Kazell Arthur & Kristine Keil Belinda & Frederick Kinyon Erin Kirby Maria & Eric Kluherz Kristan Knapp & Janna Auslam Meredith Koivisto Patricia & Rick Kozak Sophia Kremidas David & Mary Krug Sean & Naoko Krug Leonard Kuhl Sharon LaCroix Veronique LaFont Sloane Lamb Nancy LaPaglia & Stephen Slusarski Abigail & Don Lawton Romani Lay & Neville Wellman Matt Levin Nolan Lienhart Greg & Kim Lind Mark Lindau Carole Lindell-Ross Alice Lloyd Fred Locke Bill & Kate Lockwood Alex Logue Henry Louderbough Kenneth Love Diane & Tom Macdonald Kate Machell Christine L. Mackert, MD The Mansell Family Phillip Margolin Demaris & Antonio Martinez Steven Master Amy Matson Justin Maupin Amy Maxwell Dennis & Molly McCarty Margaret McConnell & Robert Griner

Dr. Louis & Judy McCraw McKenzie McDill Dorothy A. McGregor Kathy McGrew John & Candace McMunn Katelyn Meithof Elizabeth J. Melching Josie Mendoza & Hugh Mackworth Chena Mesling & Jonathan Rhodes Elise Meyers Janelle Meyers & Mark Brundage Tony Mix Cynthia Capps Morgan Patricia Moss Martin Muller P & I Munro Sarah & Richard Munro Brittany & Corey Murry Will Naito Shakir Najieb Beth & Charlie Nance Todd & Crystal Neal Karen & Bob Nelles Rose Neyman Alexander Nimri Stu Oken & Laura Wozniak Robert Olds Kris Oliveira Liz & Tracy Olsen Madeline Olson Molly O’Neill, Vicki Threlfall & Tess O’Neill Sean O’Neill & Elizabeth Le Paula Ousley Rev. Dr. Rodney & Sandi Page Joan Paglin Tracey Palmer Veronica Paracchini Lanetta Paul Beth Paxson Alec Pemberton Thomas & Jane Pence Denise & Adam Pener Anne Frances Penfound Karen Perzanowski Marilyn & Gaynor Petrequin Mike & Rebekah Pettinger Sara Pickett Charles & Ruth Poindexter J. Scott Pritchard Karen Prohaska Brian & Carver Pugh, In Memory of Judy Parsons William Ramirez & Roberta Staff

Dick & Mary Raub, In Honor of Marianne Raub Julie Rawson Denise Reed Kristtine Reedy, In Honor of Abigail Reedy Lindsay Reynolds & Zack Manning Sara & Charles Rice Martha & David Richards Edward & Katherine Richman Nancy Richmond & Bill Hughes Betsy & Norm Rickles Mrs. R.D. Riggs David Ritchie & LaJean Humphries Dr. & Mrs. Hector M. Rodriguez Alison Roper Rosemarie F. Rosenfeld Catherine Rote Karen Salman & Gary McCune Dima Sammour Kevin Sasse David & Julie Sauer Rick & Sharon Schaefer Brand Schlesinger & Victoria Geil Mark & Patti Schlesinger Daniel Schmidt Robert E. Schneider, PhD Clifford Schrock Bill Scott & Kate Thompson Kim Scott-Olson Cynthia Shafer Victoria & Colin Shepard Carol Sherbenou Freda Sherburne Karen Sherman Mary Shibley & Dale Voeller Donna & Sascha Siekmann Heather Simmonds Bridget & Jeff Sippel Gerald Skeels & Susan Albracht Katie Slick Margaret Smith David, Emily and Jonah Sokoloff Patricia A. Southard Dean Speer & Francis Timlin Tina Spencer Donald C. Springer, In Honor of Jean King Denise Stewart Sam & Patty Stiles

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

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COMMUNITY CORPS DE BALLET GIFTS OF $100,000 & UP Elizabeth Pownall Swindells Family Fund of The Oregon Community Foundation The Harold & Arlene Schnitzer CARE Foundation James F. & Marion L. Miller Foundation The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County and the Arts Education and Access Fund

GIFTS OF $50,000– $99,999

Barran 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 Clark Foundation Coit Family Foundation ESCO Foundation Hedinger Family Foundation Henry Lea Hillman, Jr. Foundation Oregon Arts Commission, this activity is supported in part by a grant from the Oregon Arts Commission and the National Endowment for the Arts PCC Structurals, Inc. Rose E. Tucker Charitable Trust Russell Development/ 200 Market Street* Scan Design Foundation by Inger & Jens Bruun The Swigert Warren Foundation Willard L. & Ruth P. Eccles Foundation

GIFTS OF $10,000– $24,999 Accenture Artslandia* 32

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The Boeing Company Cascadia Foundation Dorothea M. Lensch Fund of The Oregon Community Foundation Fred W. Fields Fund of The Oregon Community Foundation Hampton Family Foundation of The Oregon Community Foundation Jackson Foundation Jerome Robbins Foundation National Endowment for the Arts Northwest Natural Gas Oregon Cultural Trust PGE Foundation Schlesinger Family Foundation The Standard Starseed Foundation U.S. Bank Foundation Wells Fargo Bank

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

GIFTS OF $2,000–$4,999 Alaska Airlines* Dr. Seth Alley* Bridgetown Chiropractic & Wellness Portland Clinic* Buckley Law P.C. City Wide of Portland Abby Drinkard, LAc* Elephants Delicatessen* GamePlan Gentle Care Chiropractic* Hotel Modera* Leupold & Stevens Foundation LM Wine Co.* Mark Spencer Hotel*

Recognizing gifts received through August 20, 2018.

Nel Centro* Oregon Chorale* 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 Wells Fargo Foundation Winkler Development Corporation Wintz Family Foundation

GIFTS OF $1,000–$1,999 Emily Bartha, LAc* Boundless Health & Wellness* Broder Söder* Coopers Hall* Dossier Dream Hollywood Hotel* English Physical Therapy* Garden Vineyards* L&L Investment Partners Longbottom Coffee & Tea* Maitri Therapeutic Massage* Aaron Meyer, Concert Rock Violinist* New Deal Distillery* New Heights Physical Therapy Plus* Pabst Brewing Company Pacific Cascade Towncar* Portland’5 Centers for the Arts Star Park Therapeutic Associates North Portland Physical Therapy/PACE* Vista Capital Partners Yvonne Vleer, Kinesiologist, LMT*

GIFTS UNDER $1,000 Ashland Springs Hotel* Barrier Pest Control Breakside Brewery* Nadia Chopra, Physical Therapist* Clipper Magazine* Elmer’s Restaurants Inland Electric, Inc. Intel Charitable Match Trust

King Charitable Foundation Maryhill Winery* Monique’s Boutique OHSU March Wellness & Fitness Center* OMSI* Opsis Architecture LLP The Oregon Historical Society* Oregon Shakespeare Festival* Oregon Symphony* Portland Center Stage* Redhawk Vineyard & Winery* Skamania Lodge* Slope & Stone Engineering Studio Blue* Watson Creative Yamhill Valley Vineyards*

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

*Indicates in-kind contribution to OBT

ALLEGRO SOCIETY

IN-KIND SUPPORT

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

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

AGGER CHIROPRACTIC & NUTRITION CLINIC Simon J. Agger, DC

BRIDGETOWN CHIROPRACTIC & WELLNESS

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 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

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

Dr. Dolores Leon & Dr. Fernando Leon 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 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

Jacob May, DC Melody Johnson, LMT

CATHERINE M. GURSKI, ND, MSOM, LAc DAVID HILL, MD GENTLE CARE CHIROPRACTIC Amanda Tipton, DC

JONATHAN LOHNES, LMT KATHARINE ZELLER, MD MEND PHYSICAL THERAPY

Nadia Chopra, PT, DPT, OCS, COMT

NEW HEIGHTS PHYSICAL THERAPY PLUS Liz Ruegg, PT, DPT Amy Werner, PT, DPT

OHSU MARCH WELLNESS & FITNESS CENTER POHALA CLINIC

Julie E. Foster, FNP Left: Peter Franc and stager Frank Andersen in rehearsal for August Bournonville’s Napoli. Bottom: Eva Burton in rehearsal for August Bournonville’s Napoli. Photos by Yi Yin.

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

SYLVAN CHIROPRACTIC CLINIC & WELLNESS CENTER

Seth Alley, DC, CCSP, CKTP

THERAPEUTIC ASSOCIATES FOREST GROVE PHYSICAL THERAPY E. Anne Patron, PT, DPT

TURNING POINTE ACUPUNCTURE Emily Bartha, LAc

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“A COMPANY OF SLICK, SKILLED DANCERS”

SEPT / / O C T 2018

– THE NEW YORKER ®

PUBLISHER + FOUNDER

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Bella Showerman MARKETING ASSOCIATE

Nicole Lane

TICKETS

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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

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JIM FISHER VOLVO CARS www.jimﬁshervolvocars.com

PASSIONATE ABOUT VOLVOS SINCE 1957 21ST & W BURNSIDE “UNDER THE BIG VOLVO SIGN” Sales showroom hours: 8:30-7:00 Monday-Friday, 9:00-6:00 Saturday, 11:00-5:00 Sunday Customer parking in our fenced lot on SW 21st avenue

FROM THE

EDITOR-AT-LARGE An actor should be able to play any part she wants. I have believed this since the first time I considered the matter seriously. Yes, a woman could play Hamlet. So could an African-American man. Or woman. No matter his, her, or their sexual orientation. Theater, after all, is only possible because of our willing suspension of disbelief: We were not actually in late medieval Denmark as the tragedy of the Prince and his nation unfolded. No one dies on that “bloody” stage. Our elastic imaginations can encompass that, and we sit there stunned at the end. So the particular characteristics of the actor playing Hamlet aren’t a problem... that was my reasoning, at least. And over the years, this exercise of freedom by theater artists has worked out just fine from my seat in the audience. Just a quick recent example? Sara Bruner’s Mercutio in the Oregon Shakespeare Festival’s Romeo and Juliet is thrilling, the perfect quicksilver, silvertongued, doomed Mercutio. Mercutios don’t come any better: Bruner found Mercutio’s restlessness, exuberance, impulsiveness, poetic gift, and then sadness as his/her/their life starts to ebb. Later the same weekend, I saw Bruner play a newly widowed pioneer woman in Idris Goodwin’s The Way the Mountain Moved—a completely different character that she played with depth and understanding. 36

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The Oregon Shakespeare Festival’s dedication to an acting company reveals the dimensions of the art of actors in the clearest way. Throughout this season’s plays in Ashland, the audience encounters casting decisions that run against traditional ideas and practices, and by the end, you feel that almost any of the company could play almost any of the parts and give you something wonderful. And yet… I had a Twitter interaction with a friend over the new Gus Van Sant movie, Don’t Worry, He Won’t Get Far on Foot, based on the memoir of quadriplegic Portland cartoonist John Callahan, who died in 2010. She tweeted that she wouldn’t be going to see the movie because the actor playing Callahan—Joaquin Phoenix— wasn’t disabled, and a straight man— Jonah Hill—was playing a gay character. And recently, Scarlett Johansson dropped out of the role of the transgender man at the center of the movie Rub & Tug after she received intense online pressure to give up the part because she was taking a role that should go to a transgender actor. Haven’t I just said that an actor should be able to play anything? Phoenix’s performance as Callahan in Don’t Worry, He Won’t Get Far on Foot was quite moving, and I suspect that Johansson would have been captivating as Dante “Tex” Gill, whose string of

An actor should be able to play any part she wants. massage parlors became fronts for prostitution in the ‘70s and ‘80s. So yes, they can, once they get in front of the camera or onto the stage. They can lead us to the deepest empathy for the characters and the human situations they are depicting. I don’t think anyone will leave Don’t Worry, He Won’t Get Far on Foot without a heightened awareness both of alcoholism (Callahan was an alcoholic, a major factor in the accident that paralyzed him) and of the daily set of intractable problems that someone in a wheelchair faces—on top of the set of daily problems that nearly all of us face. What if Van Sant had cast a disabled actor in the part? I’m thinking of the astonishing performance by Marlee Matlin in Children of a Lesser God (1986), a deaf actor playing the role of a deaf janitor working at a school for the deaf in New England. It could have been that good and that groundbreaking—Matlin was the first deaf actor to play a starring role in a major film in America since 1926, when films were... silent.

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That would have been great! And that’s one element of the point I’ve been making: Different actors can successfully play other roles. I’d also love to see the imaginary quadriplegic actor in this alternate version of Van Sant’s film play Hamlet. Or Cleopatra. Or Prior Walter in Angels in America. But I get where the criticism came from: Hollywood’s record of hiring actors who aren’t white, well and truly branded, abled and cisgendered is dismal. My imaginary actor in a wheelchair isn’t going to get to play in a superhero movie, not even one in a wheelchair (Patrick Stewart as Professor X) no matter how accomplished he, she, or they are. Changing that is difficult. Even if your heart is in the right place, it’s going to be difficult to pass on casting >>>> ARTSLANDIA.COM

c o n t i n u e d f ro m p a g e 37

Doing the right thing nearly always makes us freer.

Only one art town comes with views like this.

>>>> someone you’ve worked with and admired—who happens to be white, able, and cisgender—and choose someone who doesn’t check all those boxes. The changes at Oregon Shakespeare Festival were difficult, and the festival doesn’t (quite) face the financial imperatives that today’s Hollywood movie does. But change does have to happen: equal pay for equal work; hiring outside the narrow band of actors we are used to seeing; the end of physical and mental abuse in the workplaces of the arts. There’s great freedom in that, actually. Doing the right thing nearly always makes us freer. We just have to look at this season at Oregon Shakespeare Festival to see what freedom looks like. In the context of a diverse company, an actor can play any role. I won’t pass up the chance to see a great actor take on a demanding part. But I can think that and also support Johansson’s decision to step down from playing a transgender character in Rub & Tug in favor of a transgender actor, as reductive as that sounds. Freeing ourselves will come in small steps, in stages.

cannonbeach.org

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It will also come ON stages. In 1899, Sarah Bernhardt, then 55 and the most celebrated actor in the world, became the first woman to play Hamlet on a professional stage. Before her, AfricanAmerican Ira Aldridge became the first Black actor to play a Shakespearean role in a British production, in 1825. And what that teaches me? Among its other attributes, art can be a vehicle for freedom, both for the artist and the audience. .

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Photo by Cory Weaver/San Francisco Opera

Sung in Italian with projected English captions

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In The Spotlight:

LILA DOWNS Written by Emilly Prado. Photo by Marcela Taboada.

Downs belts canciones that’ll move you to dance, cry, swig mezcal, and raise your picket signs proudly. Artslandia caught up with her in anticipation of her October show in Portland.

M the people. Long before carving her own niche in

exican-born musician Lila Downs makes music for

the musical landscape with her self-released debut album, Ofrenda, in 1994, winning a Grammy and several Latin Grammys, or studying classical voice as an undergraduate student at the University of Minnesota, Downs began singing songs steeped in tradition just a few short years after learning to use words. “I was five or six when I imitated the performers in old films with Pedro Infante and Lola Beltrán,” she says. “I think, by nature, I was attracted to those songs.”

“[My mother] used to dance in clubs in Mexico City. My dad said that they were clubs, but of course, she said that they were cafes,” Downs recalls with a laugh. “She used to dance and sing in her very Indian manner—very sentimental and attached to rancheras, our traditional form of music, kind of like the blues of Mexico. While holding intense love for culture was a household keystone for Downs’ parents—a Mixtec cabaret singer and a Scottish-American professor of art and cinema— it was an outlook Downs herself had to work diligently toward throughout her life to fully embrace. Now, she commands international audiences while decorated in vibrant huipils and rebozos, her thick black hair woven in braids with satin ribbon, and bellowing songs in native tribal languages, but embracing her rich indigenous roots wasn’t always second nature. “I happen to be from an Indian, or Native American, family in Mexico—the Mixtec—but I wasn’t taught to be conscious of that when I was younger,” she says. “You learn what you’re taught, and [in Latin America, it] is usually about trying to erase your Indianness and trying to be more European or Spanish. That is a 40

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constant contradiction in our identity, and it continues to be an issue in all of Latin America. It’s the story of a lot of us Latin people. [It’s] what we are taught in schools and our socialization.”

When Downs was 16 years old, her father suffered a heart attack and died suddenly. In addition to losing a parent, she felt like she was losing a tie to the U.S. and a tie to the identity she learned to be synonymous with value. “I was left with my short and dark Indian mother with a thick [Mixtec] accent. I was very unhappy and uncomfortable,” Downs says. So, she left to the United States to become a Deadhead (a fervent follower of musical group Grateful Dead) and spent years roaming without a clear sense of direction or purpose. But one fateful trip back home to the Tlaxiaco valley of Oaxaca, Downs’ mother sat her down for a frank conversation.

Music and lyrics by

ADAM GWON

Photo by Craig Mitchelldyer

Downs grew up in flux, evenly splitting her time into yearly intervals between the United States and Mexico with her family, but confrontations of her biculturality were constant on both sides of the border. “On top of being kind of denied by our Anglo family and Anglos around me in the U.S., [indigenous people] also [experience] a denial of existence, in a sense, so it’s very difficult to be proud of yourself,” she says. “I ended up having a crisis of identity.”

A captivating musical that reveals the simple beauty of letting go to truly live.

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“I remember she locked the door to the room and said, ‘OK, we’re going to have it out now,’ says Downs. “I said to her, ‘I’m ashamed of hanging out with you because you don’t speak correctly.’ She confronted me and [asked why.] That’s when the turning point started.” By singing in indigenous languages such as her native Mixtec and Zapotec and Nahuatl, Downs reclaims her heritage while offering a spotlight for the languages and peoples pushed to the margins for centuries. Even when Downs hasn’t experienced a particular struggle, such as crossing the perilous U.S.-Mexico border, her deep empathy for others and aptitude for songwriting and storytelling serve as a profoundly influential podium. Her musical journey also shares her continued and relevant story of unlearning and rejecting the potent, lingering effects of colonization on the Americas. >>>>

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>>>> Salón, Lágrimas y Deseo (2017), her 16th album and latest release that winds subtly between genres, won her a fourth Latin Grammy for the Best Traditional Pop Vocal of 2017. On Peligrosa, Downs channels the deep-reaching howls of Chavela Vargas’ dramatic rancheras and showcases her everlasting operatic vocals, while Urge, opts for a mystical, horn-heavy cumbia soundscape. Indie singer Carla Morrison joins Downs on the downtempo ballad Ser Paloma, which pays tribute to the strength of women and speaks out against domestic violence. The music video debuted earlier this summer and featured 50 cisgender and transgender women and girls of varying ages, nationalities, and occupations, perfectly epitomizing her continued commitment to social justice and equal representation for all.

Screening Sunday, October 28 at the World Trade Center Theater

at 4pm and also screening THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME Noon Captured live onstage and presented locally in high-definition video. For tickets, contact Third Rail's Box Office from Noon-4pm, Mon-Fri, at 503 235 1101 or boxoffice@thirdrailrep.org. Or visit our website at thirdrailrep.org.

Presented by

Although indigenous rights and women’s rights have slowly garnered more attention on a global scale over the past few decades, Downs knows the collective fight is far from over. “We have a lot of stigma and racism and ethnocentricism toward original peoples of the Americas to overcome. We still have to work very hard to legitimize our lives. We are on the sidelines of society.” In addition to creating music fueled by equal parts passion and protest, Downs engages in further political activism by speaking boldly against the oppression of all peoples, encouraging people to vote, and joining the nonviolent, nonpartisan initiative El Día Después to urge for peace following the 2018 Mexican presidential elections. Downs is also, naturally, currently working on her 17th album. As she gears up to visit Portland for her show at the Arlene Schnitzer Concert Hall and continue her tour of the U.S. alongside the likes of Emmylou Harris and Jackson Brown with the Lantern Tour: Concerts for Migrant and Refugee Families, she says she’s excited to continue helping foster community through her work: “I believe that music can really change society.” .

See Lila Downs with the Oregon Symphony, October 22, 7:30 p.m. at the Arlene Schnitzer Concert Hall. orsymphony.org

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ADVENTURES IN ARTSLANDIA WITH SUSANNAH MARS: MARGARET CHO

Behind the scenes at the photo shoot with Storm Large and China Forbes for the Artslandia Portland Arts Guide! @stormof69 @chinaforbes Photo by @saraceaphotography #ArtslandiaWasHere

Susannah joins forces with Dmae Roberts of KBOO's Stage and Studio, interviewing superstar artist and activist Margaret Cho.

AN EXCERPT FROM:

THE INTERSECTION OF SHAKESPEARE: A Discussion on Inclusion & Diversity June 11, 2018

Susannah: What gives you hope in the world right now?

DÁMASO RODRÍGUEZ

Dámaso: As troubling as much of what we read every day in the news is, there’s progress every day. There’re protests, but there’s progress, too, driven by love and connection. That’s, I like to think, how the world basically works over time, despite all these other forces that are always in the way of that. I think progress wins. This podcast transcript has been edited for print.

is the Artistic Director of Artists Repertory Theatre, Portland’s longest-running professional theater company. His extensive directing credits include this year’s production of Romeo & Juliet at the Oregon Shakespeare Festival, which runs through October 12.

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ART DEPARTMENT: CAPAX INFINITY

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Art and photo by FAITH XLVII.

South African artist Faith 47’s contribution to Portland’s street art depicts a towering, ghostly woman with her back turned to the viewer. The mural of spray paint on brick entitled Capax Infiniti was completed in 2014 over three days. Though the wringing of her hands behind her back and slightly disheveled hair convey tension, the English translation of the mural’s Latin title, “holding the infinite,” embodies the artist’s intention to illustrate the hard reality of the societal demand that women retain their composure and hide their emotions. .

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WEEKEND SCRIPT:

A PORTLAND STROLL DOWN HISTORY LANE

RACHEL RANDLES serves as the Director of Marketing and Communications at the Oregon Historical Society. She lives in the Portland suburbs with her high school sweetheart Andrew, her one-year-old daughter Peyton, and their rescue terrier Joey. Follow her @rkrandles.

LEFT TO RIGHT: Cheryl Jutten, Visitor7, Max McDermott, Mimi L., Oregon Historical Society: Pioneer Courthouse Square Apr 1995 bb008511, @alanweinerphotos.

FRIDAY

SATURDAY

SUNDAY

SOUTH PARK BLOCKS From the prestigious OREGON HISTORICAL SOCIETY With award-winning exhibits on local and national history and a research library filled with the largest collection of archival materials relating to the Oregon country, a visit to the OHS should be on the itinerary of locals and tourists alike!

CAFFE UMBRIA After taking in a few hours (or more!) of spellbinding history, you can get your caffeine fix just around the corner at Caffe Umbria. With roots dating back to 1940, they blend the true essence of Italian-style espresso and coffee with the service of a local roaster.

mansion-clad residential district of the 1870s to the heart of Portland’s Cultural District today, the ever-evolving South Park Blocks feature public art, iconic local institutions, and diverse architecture.

OREGON JEWISH MUSEUM AND CENTER FOR HOLOCAUST EDUCATION The museum’s main gallery features rotating exhibits of national and international stature, while its three core exhibits tell the stories of the experience of Jews in Oregon, Oregon survivors of the Holocaust, and the ways discrimination has affected groups of people across the region.

PIONEER SQUARE Head east to visit “Portland’s Living Room,” Pioneer Courthouse Square. From the iconic Allow Me statue to the surprising “echo spot” near the brick staircase, the Square features entertaining design elements mixed with nods to its history, such as the wrought-iron gate that adorned the Portland Hotel that once occupied this space.

Do your weekends make for an incredible arts and culture itinerary? Do you always know the coolest spots? Visit artslandia.com/weekend to submit your perfect weekend script.

PINE STREET MARKET One of my favorite places to grab lunch or a sweet treat. The roasted chicken from Pollo Bravo (complete with homemade dipping sauces) is delicious, and Salt & Straw’s soft serve shop, Whiz Bang Bar, features the incredible locally inspired creations you expect from this Portland mainstay. ARTSLANDIA.COM

In The Spotlight:

SAMANTHA WALL Written by Lucy Volker. Photos by Christine Dong.

Visual artist Samantha Wall leads Artslandia through her creative process and shares insight on her sources of inspiration and hope.

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I ever felt,” says Samantha Wall, a

feel more like an immigrant than I’ve

Korean-born Portland artist, of the current political climate.

The last time she experienced this sense of insecurity, she was a child transplanted from South Korea to South Carolina. “That young,” she says, “I wasn’t really able to process it. Assimilating is so much of a part of the fiber of my being.” And it’s from this complicated, emotionally nuanced experience that Wall explores with her art. Her most recent body of work, Inheritance, presents “the story of an immigrant family, told in a way that’s very honest, both beautiful and agonizing, so the truth of it is undeniable.” Wall credits a move to Portland from South Carolina in her early 20s with granting her first opportunity to let her guard down and figure out who she was as a person and as an artist, finally “able to shed the internalization of other people’s expectations, fear, and anger.” She clarifies, “I don’t want to diminish it or make it seem like there aren’t problems in Portland, because there are, but I also feel like there are a lot of people here that are open to listening.”

I love being able to create something that helps to shape the world in a way that I want to experience it. Since her move to Portland, Wall has accumulated an impressive roster of accolades, proving that people are, indeed, listening. She earned her MFA from Pacific Northwest College of Art in 2011 and has since won a Hallie Ford Foundation Fellowship from the Ford Foundation, the Arlene Schnitzer Prize from the Portland Art Museum, two residencies at the Joan Mitchell Center in New Orleans, and the Golden Spot Residency Award at Crow’s Shadow Institute of Art.

Northwest College of Art and, this past year, she worked with fifth-graders at the ethnically diverse Martin Luther King Jr. School in NE Portland through the King School Museum of Contemporary Art. Wall showed the children how to use the same materials she’d been working with for Inheritance—India ink and water. “I was worried that the students would be frustrated with the process,” she says, “but they were at ease from the beginning. They were like sponges. They were fearless.”

Holding the attention of so many people has given Wall a sense of responsibility to be a positive role model for fellow artists and people of color. She serves as a mentor for MFA candidates at the Pacific

Wall herself appreciates the unpredictable nature of the India ink, and it’s part of the reason why she’s featured it so prominently in her recent collections. “This way of working with ink and >>>>

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c o n tinued fr om p age 5 3

>>>> water can be kind of chaotic—there are so many variables,” she says, “and I think that’s why I’ve grown to enjoy it so much. Lately, I’m drawn to this process of surrendering to the materials, and there’s something very freeing about that.” Every piece Wall creates begins with human contact. For her previous body of work, Indivisible, she took as many as 700 photos of each model while engaging them in conversation to help them forget about the camera and capture what Wall calls, after Roland Barthes, the “air” of the person. For Inheritance, the process of collecting subject matter began a bit more organically. Wall felt the first inspiration for the series at a recent family gathering in South Carolina to celebrate her

mother’s 60th birthday where she was able to capture the essences of her female relatives on film like never before.

savings account. In exploring Korean rituals like this in her art, Wall says she’s discovered a “wealth of history and culture that fuels me. It’s allowing me to push some of that negativity aside, and I’m finding a way to move forward.”

“It’s the women in my family who have been an inspiration to me,” Wall says. The collection includes seven haunting, abstract portraits in India ink and gold leaf that evokes a sense of mythos. Her subjects’ faces dissolve into swirls of ink that seem so fluid it’s almost as if they haven’t had the chance to dry, yet in almost every painting, photo-realistic eyes break through the aqueous mask, making direct, unwavering eye contact. Their wispy forms, when paired with the word “inheritance,” seem to comment on the amorphous shape immigrants’ identities can take when placed in new contexts.

For her upcoming body of work, Phantom Limbs, Wall is continuing to explore Korean culture as a lens for examining her personal experiences. She lost her sister several years ago, and the American funeral didn’t seem to honor her sister’s memory or to bring comfort to her mother. The new work, she says, “is a way of coming back to the beginning of our story and reclaiming my family’s identity, and creating a tribute to my sister… I feel like it’s renewing me.”

In addition to the portraits, Inheritance includes six images of golden rings also inspired by her mother’s 60th birthday. Turning 60 is a significant milestone in Korean culture, in part because, historically, the life expectancy of the population has been short. A traditional first birthday gift for a Korean baby is a hefty gold ring, the start of the child’s

With current events becoming less and less a source of hope, especially among immigrants, one must find revitalization wherever possible. “Inheritance and this newest body of work are me finding a way to move past the initial reaction of fear and rage and this deep sadness, trying to reach out to something that’s larger than me,” she says. .

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Live Forward PORTLAND’S FAVORITE HOLIDAY TRADITION GEORGE BALANCHINE’S

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Dec. 8-26, 2018

obt.org Photo by Yi Yin

Including 12 Performances featuring the OBT ORCHESTRA! ARTSLANDIA.COM

In The Spotlight:

JIMMIE HERROD After several recent, awe-inspiring Portland performances, Artslandia tracked down Jimmie Herrod to answer a few of our most pressing questions.

ublime vocalist Jimmie Herrod is wrapping up quite a year. Last October, he joined Grammy-nominated ODESZA for their national television debut on Jimmy Kimmel Live! and followed up by touring with locally beloved international superstars Pink Martini to great acclaim. He also managed to fit in an appearance as the Oregon Symphony’s featured soloist at their 2018 TEDx Portland showcase this past April. These most recent career highlights should come as no surprise. After graduating Cornish with a degree in composition and performance, Herrod pursued a Master of Music in jazz studies from Portland State University and made a name for himself as a theater artist in Seattle. Authoritative Broadway World deemed his 2015, gender-bending performance as Tunny’s Extraordinary Girl in American Idiot by Seattle’s ArtsWest “a performance for the ages.” PSU has currently engaged him as an adjunct professor of voice for their jazz program, which gave Grammy Award-winner Esperanza Spalding her start. Make no mistake: His star is on the rise, and you’d be well advised to catch a spine-tingling live performance as soon as possible. 56

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Photo by Timothy Nishimoto.

What’s your first memory of a live music performance?

example to defy templates made before one was even born. She studied visual art, a choice her parents never supported. Years later, as my teacher, she was following her heart [and] doing what made her (and not others) happy. The best advice was to trust one’s self and pursue authenticity, principles Linda nurtured.

I recall my first concert being the Christian singer Carman. I don’t recall a thing about the concert, except that so many people were there to hear what he had to offer [and realizing, with amazement,] what music means to so many people.

What role do you think performing arts education plays for young people? What are your thoughts on the current state of performing arts instruction in our public education system?

What’s been your favorite performance experience to date?

If I didn’t have teachers that nurtured the dimmest flames, I don’t know if I would be anywhere near where I am today [given that I’m] still someone who is riddled with self-doubt. It took years for my confidence to catch up to my natural talent, but I had great music teachers growing up that really inspired and supported me musically and in developing self-belief.

In spite of budget cuts or a lack of school support, I think many are seeking out opportunities. For those who can’t afford things like summer camps and after-school programs, I can only hope schools choose to see the validity and impact of the arts.

My band and choir teachers were truly inspirational, each of them taking on a parental role that I saw guide many students away from unfortunate futures.

In undergrad, I had a wonderful composition instructor named Linda Waterfall, who is both an accomplished musician and artist. I learned from her

What is the best lesson or piece of advice you have received with regard to your profession?

Recently, I performed in Paris with Pink Martini. Paris is so highly romanticized that, as much as I wanted to downplay the city’s charm, I found myself humming April in Paris. When we performed at Le Grand Rex, there was no denying how glorious it was and how thankful I was for such an experience. I sang my two songs, then listened to China Forbes sing U Plavu Zoru and just cried at the back of the stage. It was one of those “How did this even happen?” moments.

How did you come to perform with Pink Martini?

I met Thomas Lauderdale through a dear friend who insisted on us meeting. Months later, I found myself at >>>>

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c o n t i n u e d f ro m p a g e 57

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>>>> Thomas’ loft, casually chatting and eventually playing through a number of songs. That day, Thomas asked me if I’d be interested in going on tour, and it’s been such an honor since.

SECURITY

What are the positives and negatives in your experience of acting in traditionally female roles? Do you approach female characters differently?

PERFORMANCE

AWARENESS INNOVATION STABILITY GROWTH

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MODERN AMERICAN REALISM Highlights from the Smithsonian’s Sara Roby Foundation Collection October 20, 2018 – April 28, 2019

portlandartmuseum.org Edward Hopper, Cape Cod Morning, 1950. Oil on canvas, Smithsonian American Art Museum, Gift of the Sara Roby Foundation.

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Playing women in an art form where often women are tragically minimized to narratives surrounded by a woman’s bewildered fawning over a man can be quite an uncomfortable scenario, but I have played roles of women of strength and perseverance. Aside from the Queen of the Underworld [in the opera The Ballad of Ishtar] and Extraordinary Girl [in American Idiot], I played the Beggar Woman in Sweeney Todd—my favorite character to date. She isn’t one-dimensional; she’s survived much adversity and has more to sing about than longing for her banished husband. A negative aspect of these opportunities is knowing you are, as a male, taking an opportunity from a woman, which is especially hard when playing characters that defy the norm. For me, there are insecurities about not “passing” or not being believable for the audience, making the whole story unbelievable. Despite some discomforts with others’ perception, playing women are some of the only times I’ve been able to publicly sing as a gay male (playing a woman) about a man—the love of a man, the feelings of longing—in the vocal range where my voice naturally sits. I’ve discovered I much prefer playing women to men [and] have been taking a break from theater because it is so hard for me to feel comfortable in my skin playing male roles.

What do you find challenging about your profession?

Inconsistent work is a frightening lifestyle for many, but for me, a life that feels stagnant stirs my anxiety. All the same, having a month with a sparse calendar still worries me that I’m not elevating in my career. .

See jimmiebeingjimmie.com for upcoming live performances.

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Sunday, October 14 1– 4 p.m. Ask about Flexible Tuition 6300 SW Nicol Road

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SoundStories Three unexpected, vividly imagined collaborations

PETRUSHKA

HANSEL AND GRETEL

PEER GYNT

The tale of Petrushka comes to life with exhilarating stage creations by Doug Fitch, weaving together themes of love, loneliness, and brutality, all set against the hustle and bustle of St. Petersburg’s Shrovetide Fair.

The Chicago-based Manual Cinema lights Humperdinck’s fairy-tale opera, set in the depths of the thick German forest, with the dazzling, phantasmic effects of shadow puppetry.

The redemptive journey of Peer Gynt, from his humble peasant village to the troll-infested mountains of Norway, is depicted through the eyes of Peer himself in bold, animated photos and art projected on SoundStories screens above the orchestra.

NOVEMBER 3, 4 & 5, 2018, 7:30 PM

FEBRUARY 1, 2 & 4, 2019, 7:30 PM

MAY 11, 12 & 13, 2019, 7:30 PM

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

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SEEN ON THE SCENE

Don’t forget to tag #Artslandia and #ArtslandiaWasHere on your event photos for the chance to be featured!

2018 DRAMMYS AWARDS

Photos by Chris Porras. The annual Drammy Awards recognize exemplary actors, directors, and designers from a pool of over a hundred Portland-area theater productions.

Cycerli Ash, nominated for Best Supporting Actress in a Play.

Tricia Mead and Nicole Lane accepting the Fertile Ground Festival’s Lifetime Achievement Award.

Yasmin Ruvacalba, Community Engagement Coordinator, and Jane Vogel, Founder of Advance Gender Equity in the Arts.

OREGON SYMPHONY GALA Photos by Rachel Hadiashar. On a spectacular night of music, dinner, and entertainment, the Oregon Symphony’s Gala 2018 raised record-breaking support for its concerts and community programs.

Members of the Oregon Symphony with Suzanne Nance and Joan Kingsley of All Classical 89.9.

Musical artist Jimmie Herrod.

Dan Heichelbech, Ashley Heichelbech, Julietta Bauman, Deneen King, Tiffany Grabenhorst, Jamieson Grabenhorst, and Deanna Bitar.

THE SHAPE OF SPEED OPENING

Photos by Max McDermott. In celebration of the opening of The Shape of Speed: Streamlined Automobiles and Motorcycles, 1930–1942, the Portland Art Museum hosted Jay Leno for a conversation with the exhibit’s guest curator, Ken Gross. The exhibit showcases early designs of vehicles that embraced aerodynamics for fuel and speed efficiency.

Attendees of the opening night of The Shape of Speed.

Artslandia Founder and Publisher Misty Tompoles and husband Derek.

Jay Leno with automotive journalist and exhibit Curator Ken Gross and Portland Art Museum Director Brian Ferriso.

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OUR STAGES THEN & NOW:

The Arlene Schnitzer Concert Hall 1938

Photo by Wesley Andrews, Paramount Theatre, circa 1938, Oregon Historical Society, bb000873.

2018

Photo by Christine Dong.

IN 1928, the heyday of the movie palace in America, famed theater architects Rapp & Rapp’s opulent 3000-seat, Italian Rococo Revival-style venue opened as Portland Public Theatre on sw Broadway. The massive sign above the marquee first proclaimed “Portland” in 6,000 dazzling lights but was amended to read “Paramount” to match the new namesake in the early ‘30s. Paramount Theatre thrived as a cinema, event space for proms and weddings, and host to wide-ranging musical acts, such as Sinatra and Madonna, before decades of disrepair led to condemnation. The city purchased the theater as part of the new downtown performing arts complex — Portland’5 Centers for the Arts — and renamed it The Arlene Schnitzer Concert Hall in honor of a top donor to the $10 million dollar restoration. In a nod to history, the renovation, completed in 1984, included a return to the original wording of the “Portland” sign. The now-iconic sign, refurbished in 2017 for $500,000, is 65 feet high and 12 feet wide! .

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

Have an anecdote or old school photograph of you posing in front of the Schnitzer? Post it! Don’t forget to tag #Artslandia and #OurStagesThenAndNow

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