ASU Gammage Inner Circle Magazine Volume 34

InnerCircle

DANCE THEATRE OF HARLEM returns to ASU Gammage Find out different ways you can support ASU Gammage

Thank you for being an ASU Gammage VIP Donor. Supporting ASU Gammage ensures your gift makes a difference in the community, creating a ripple effect that extends far beyond just the venue.

Theater is such a gift. It brings joy, excitement and laughter. It challenges us to think harder and to do better. Theater is needed and will continue to be needed for generations to come. Our mission of Connecting Communities™ is only possible because of you.

This issue highlights many ways in which you can support ASU Gammage now and in the future. From capital giving which keeps our building standing to endowments that ensure our theater continues to impact our community for generations to come, there are so many ways to make a difference at ASU Gammage.

We hope this issue inspires you. We look forward to working with you to create a lasting impact with your gifts. By making a gift to ASU Gammage you are investing in excellence at the theater, in our community, in our school and in our world.

Thank you for being a part of ASU Gammage now and ensuring that we can continue serving the community for generations to come.

Colleen Jennings-Roggensack

Photo by Christine Johnson

ASU Vice President for Cultural Affairs and Executive Director of ASU Gammage

You make a difference. You are establishing a future for the arts. You are a part of ASU Gammage.

Colleen Jennings-Roggensack with Joe Rosenberg, owner, V.I.P. Tours of New York

DTH Alexandra Hutchinson and Derek Brockington photo by Rachel Neville

DRUMFOLK! photo by Jacob Andrew Iwinski

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A pioneer in the world of American ballet, Dance Theatre of Harlem returns to the ASU Gammage stage

By Arianna Reyna

Founded during the height of the Civil Rights Movement, Dance Theatre of Harlem has not only transformed the world of dance, but redefined what it means to be a ballet dancer.

Dance Theatre of Harlem is a revolutionary and renowned dance institute with an 18-member company of racially diverse artists who travel across the globe performing a repertoire of classical and neoclassical ballet, as well as contemporary works.

The company was created by Arthur Mitchell, a man born and raised in Harlem, who made history when he became the first Black principal dancer for the New York City Ballet in 1955.

With a mission of empowerment through the arts, Mitchell wanted to create a safe haven for dancers of color and a place

of empowerment for the youth of Harlem, providing them the opportunity and resources to excel in the world of ballet.

“Mitchell wanted to empower the young people of Harlem who had been written off by society. He believed that by studying a classical art form such as ballet, Harlem youth would gain important life skills such as self-discipline, focus and perseverance,” said Dance Theatre of Harlem’s Artistic Director, Virginia Johnson. “So, Mitchell founded Dance Theatre of Harlem as a school, and very shortly after created the dance company, which provided role models for the school’s students. Dance Theatre of Harlem and its company has allowed and encouraged dancers to reach their full potential.”

Johnson herself has been a part of Dance Theatre of Harlem since the

beginning when she became both a founding member and principal dancer for the company. Johnson is considered one of the greatest ballerinas of her generation, having received numerous accolades including lifetime achievement awards and an honorary doctorate from Julliard. She also is the founder of Pointe, an international magazine targeted toward ballet dancers and students.

“I was exposed to ballet at the age of three and immediately fell in love, I fell in love with the order, and I fell in love with the possibility of making myself something more than I was by studying something that was so incredibly difficult. I loved the challenge,” said Johnson. “I studied ballet for a long time as a young person, and when I graduated, the director of my school pulled me into her office and basically told me that I was talented and trained hard, but no

2019 Dance Theatre Of Harlem Company in Balamouk. Photo by Christopher Duggan courtesy of Jacob’s Pillow

Ways to Give — Beyond

one was ever going to hire me as a ballet dancer because of the color of my skin. But when I got to New York, Arthur Mitchell gave me a chance.”

For the past 53 years, Dance Theatre of Harlem has helped dancers achieve their dreams and continues to leave a lasting impact on the world of American ballet.

“When Mitchell became the first Black principal dancer for the New York City Ballet, he was viewed as an exception. But Mitchell wanted to show that, when given the opportunity, anyone could excel in the art form of ballet. And that is exactly what Dance Theatre of Harlem has done for the past 53 years,” said Johnson.

Not only has Dance Theatre of Harlem changed the lives and careers of dancers of color across the country, but it has also transformed people’s preconceived ideas of what a ballerina should be and look like.

“The most rewarding experience of being a part of Dance Theatre of Harlem is changing people’s minds. When I was a performer with a company, we would go to a new city and people thought they were coming to see the Harlem Globetrotters because they couldn’t imagine Black people doing ballet. But by the end of the show, everyone was standing on their feet and cheering,” said Johnson.

When Dance Theatre of Harlem performs on the ASU Gammage stage this November, the audience should expect to find themselves on the edge of their seats.

“We will of course perform classical and neoclassical ballet, but we will also perform contemporary works. Works that are reflective of American culture at large,” said Johnson. “America is a country made up of many different cultures, and Dance Theatre of Harlem wants to celebrate these cultures and bring

them together. This show will really represent what America is.”

Johnson also hopes that dancers of color who come to see the show are inspired to continue working towards and achieving their goals. When asked to give any words of advice to these dancers, Johnson said:

“Keep focused and know that you have the power to change the world.”

Today, Dance Theatre of Harlem continues to train young people in classical ballet through its worldclass school and provide the community with arts education, outreach programs and positive role models for all.

“Ballet belongs to everyone and ballet can speak to everyone,” said Johnson.

Don’t miss Dance Theatre of Harlem at ASU Gammage on Nov. 18, 2022. Tickets on sale now at asugammage.com/ dancetheatreofharlem.

— VIRGINIA JOHNSON, DANCE THEATRE OF HARLEM’S ARTISTIC DIRECTOR

“Mitchell wanted to empower the young people of Harlem who had been written off by society.”

Virginia Johnson will be retiring on June 30, 2023, after four decades of dance.

Photo by Theik Smith

“This is one of the best things we have invested in.”

—LINDA AND CHUCK REDMAN

If you are interested in supporting Beyond email peter.means@ asufoundation.org

TO KILL A MOCKINGBIRD

The first line of Aaron Sorkin’s stage adaptation of TO KILL A MOCKINGBIRD is one of quiet confusion. “Something didn’t make sense,” Scout Finch tells the audience of the tale that’s about to unfold. Sorkin’s dramatization of Harper Lee’s novel, which opened on Broadway in December 2018, is an unexpectedly probing work that refuses to let an American classic go unchallenged. Instead, it stages two trials: One is from the book, in which Scout’s attorney father, Atticus Finch, defends Tom Robinson, an African American man accused of rape in 1930s Alabama, and tries to combat the community’s entrenched racism.

In Sorkin’s play, the other trial is of Atticus’s own nobility, and how it doesn’t always square with his grander vision of justice. Though the adaptation broadly follows

the narrative arc of Lee’s novel, it uses Scout, her brother Jem, and her friend Dill (all played by adult actors) to cast a wary eye over some of the book’s more idealistic details. That framing encourages the audience to ponder the limits of Atticus’s impulse to empathize even with vile racists such as Bob Ewell, a man who’s trying to pin his own assault of his daughter Mayella on Tom. The play beefs up the relatively anonymous parts given to Black characters in Lee’s work, gives Atticus’s kids a more argumentative nature, and sheds harsher light on the book’s somewhat pat ending.

The stage adaptation is nonetheless made with appreciation for Lee’s novel, and that mix of homage and update has translated into a family-friendly Broadway hit.

— AARON SORKIN

Excerpted from David Sims. “A New Way of Looking at TO KILL A MOCKINGBIRD.” The Atlantic, December 17, 2019

“… It turned out that Harper Lee had [already] given [Atticus a flaw]; it’s just that when we all learned the book, it was taught as a virtue. It’s that Atticus believes that goodness can be found in everyone.”

A new way of looking at

The Broadway adaptation’s writer Aaron Sorkin talks about updating and paying homage to Harper Lee’s American classic today.

Richard Thomas (“Atticus Finch”) and Melanie Moore (“Scout Finch”) photo by Julieta Cervantes

David Sims: The show surprised me. I knew the book, and I had seen the film multiple times, so I was not expecting to be surprised.

Aaron Sorkin: I’m glad to hear that. From the moment the curtain goes up, we try to knock you off your pins a little bit. Scout spends the play trying to solve [the mystery of Bob Ewell’s death], but broadly what we’re doing is having a new conversation about the book, the story we all learned in seventh grade and thought we knew.

When I started out [with this play], I thought it was a suicide mission, but I said yes right away ’cause I wanted to do a play so badly. My first draft was terrible because I tried to gently swaddle the book in bubble wrap and transfer it to the stage. It felt like a greatest-hits album done by a cover band— just somebody trying to imitate Harper Lee and standing up the most famous scenes from the book. I realized that Atticus, as the protagonist [of the stage version of the] story, has to change. And if he’s gonna be the protagonist, he has to have a flaw.

How did Harper Lee get away with having a protagonist who doesn’t change? Because Atticus isn’t the protagonist in the book or the movie; Scout is—her flaw is that she’s young, and the change is that

she loses some of her innocence. While I wanted to explore Scout, I absolutely wanted Atticus to be a traditional protagonist, so he needed to change and have a flaw … It turned out that Harper Lee had [already] given him one; it’s just that when we all learned the book, it was taught as a virtue. It’s that Atticus believes that goodness can be found in everyone.

Sims: He excuses things [such as bigotry and cruelty].

Sorkin: By the end of the play, he realizes he doesn’t know his friends and neighbors as well as he thought he did, that it may not be true that goodness can be found in everyone.

Sims: You give a lot of anger to the kids. In the novel, I don’t remember them ever challenging their father; they’re more like observers who are invested in childish obsessions, like [their mysterious neighbor] Boo Radley. But you’ve given them, especially Jem, a more defiant dynamic with Atticus.

Sorkin: Well, if Atticus is going to have all the answers, let’s ask him tougher questions.

Sims: Calpurnia [the Finch family’s Black housekeeper] has more to do as well, and she’s a much more passive figure in the book.

Sorkin: I returned to the book and was surprised to find that in a story about racial tension, there were really only two significant African American characters, neither of whom had much to say. I want to be careful—this play is in no way meant to correct what I feel were mistakes that Harper Lee made. It’s a conversation. And I couldn’t do a Harper Lee impersonation or pretend like I was writing the play in 1960. But Calpurnia in the book is mostly concerned with whether Scout’s going to wear overalls or a dress; Tom Robinson pleads for his life, but we don’t know much more about him. In 1960, using African American characters mostly as atmosphere is something that probably would have gone unnoticed by a mostly white audience. But it would be noticeable today, and it’s a really big missed opportunity. You want their point of view in this.

Sims: It’s been an interesting year for great American works getting interrogated on Broadway.

Sorkin: They’re not getting repainted. We’re just taking another look, given the times we’re living in.

Don’t miss TO KILL A MOCKINGBIRD Dec. 6–11, 2022 at ASU Gammage. Tickets are on sale now at asugammage.com

Yaegel T. Welch (“Tom Robinson”), Stephen Elrod, Jacqueline Williams (“Calpurnia”) and Richard Thomas (“Atticus Finch”) photo by Julieta Cervantes

Richard Thomas (“Atticus Finch”) and Yaegel T. Welch (“Tom Robinson”). Photo by Julieta Cervantes

How the JESUS CHRIST SUPERSTAR

50th Anniversary Tour Pays Tribute to the Original Concept Album

By Leigh Scheps

In honor of the JESUS CHRIST SUPERSTAR 50th Anniversary Tour now playing across North America, the show pays tribute to the musical’s original rock and roll roots. The musical, directed by Timothy Sheader, is unlike any other production of Andrew Lloyd Webber’s JESUS CHRIST SUPERSTAR . The production is heavily influenced by SUPERSTAR’S original Brown Album produced in 1970 that defined a generation.

“It blew me away,” said producer Stephen Gabriel when he first saw this version of SUPERSTAR originally staged by London’s Regent’s Park Open Air Theatre. It went on to win the 2017 Olivier Award for Best Musical Revival.

One of the most famous stories Webber always tells about writing the score in the late 1960s, is that he ran into a restaurant to jot down musical notes on a napkin so he wouldn’t forget the tune he crafted for the title song. That tune turned into a concert album, co-created with Tim Rice who wrote the lyrics. The story is a retelling of how Jesus Christ spent the last week of his life as seen through the eyes of Judas. It was then transformed into the beloved 1971 rock opera stage musical fans love today.

When the original album was released, it topped the Billboard charts at number one rising above Carol King’s “Tapestry,” Janis Joplin’s “Pearl” and even “Led Zeppelin III.” In 1971, “Superstar” was crowned the Billboard Album of the Year. “That’s why I think it resonated so much because this album hit at the zeitgeist of rock and roll,” Gabriel explained of its popularity. “So that really puts it into context.”

For Gabriel, SUPERSTAR has always remained something special in his life after his dad gifted him the album at age nine. “I just wore it out,” he recalled of the era, noting he learned to play guitar from trying to play all the songs. “When I got into theater much later in my life and had the opportunity to produce this show — it was really full circle. It means that much to me. It really does.”

His continued passion for SUPERSTAR fifty years later doesn’t go unnoticed in the latest stage version of the show that channels that raw rock and roll sound. “It’s much different than truly any other musical [adaptation],” he teased. “The really exciting thing about this production is how faithful it is to recreating the feel and the sound of the Brown Album. If you drop

the [record] needle on that album, that’s what our show sounds like and visually represents.”

Pointing to the cutting-edge choreography, Gabriel described the dancing like a modern ballet. “The audience may not realize it, but it is danced from the first downbeat right to the end of the show. [Choreographer] Drew McOnie has embodied the feel of the album into the physical movement of the actors. In ‘What’s the Buzz,’ the movement is a visual representation of the music. You can almost strip away everything else and you’d have a modern dance ballet, which is very interesting and unique. You don’t see any other versions of SUPERSTAR that does this.”

The 50th anniversary production aims to please the long-time theater fans of the musical, and as Gabriel points out, those who rocked out to the original album sending it to the top of the Billboard charts.

“To them in particular, they’re going to get the experience that they remember,” added Gabriel.

Don’t miss JESUS CHRIST SUPERSTAR Jan. 31–Feb. 5, 2023 at ASU Gammage. Tickets are on sale now at asugammage.com.

All photos by Evan Zimmerman for MurphyMade

Herberger Scholarship recipients

Honestine Mbuyenge

Tell us a little bit about yourself. When did your passion begin for your related major?

I’m in my fourth year of pursuing a BA in Performance and Movement with a focus on Dance and Theatre. I also have a minor in Music Theatre and I’ve been involved in the performing arts since I was seven years old.

What excites you about your craft? What are some noteworthy moments from your time here at ASU?

What I enjoy most about my craft is the feeling I get after performing. The most exciting part is the ability to make even the smallest impact on the lives of others through my performance. For instance, I played Spirit in the production of “Healing Wars” last fall. I had a lovely conversation with a lady after the show who said that my character reminded her of her late mother, and that she had felt her presence throughout the performance. Moments like these reassure and motivate me to continue pursuing a career in the performing arts.

How does this scholarship impact you? What does it mean to you?

ASU Gammage was, coincidentally, one of the main reasons I chose to go to college at ASU. ASU Gammage is the closest I can get to Broadway while still living here. Thanks to this scholarship, I will have access to all ASU Gammage performances, as well as mentoring and networking opportunities with the touring artists and the ASU Gammage staff. Words cannot express how grateful and excited I am for this incredible opportunity!

Alejandro Bastien Olvera

Tell us a little bit about yourself. When did your passion begin for your related major?

My name is Alejandro Bastien Olvera, and I am a 3rdyear student of the master’s in fine arts in Theatre for Youth and Community. I am a theater facilitator, researcher and queer solo performer. I am originally from Mexico City, where I also studied theater at the National University. I became interested in participatory theater methods five years ago while learning and practicing Playback Theater in different historically marginalized communities.

What excites you about your craft? What are some noteworthy moments from your time here at ASU?

An unforgettable moment at ASU was at the end of the semester presentation of Queer Performativity class, where a group of students had the chance to explore on stage the journeys and narratives that make us who we are. My life objective is to continue co-creating theater processes with the LGBTQI+ communities in Phoenix and Mexico City to promote creative and vital spaces.

How does this scholarship impact you? What does it mean to you?

This fellowship will give me a unique opportunity to continue tracing relations between different forms of theater and how they impact our communities. Also, it will be a firsthand opportunity to observe how ASU Gammage builds programs between the stage and different populations.

If the

boards could speak

ASU Gammage Food and Beverage Manager transforms theater’s old stage floor into one-of-a-kind ukuleles

By Arianna Reyna

When ASU Gammage replaced its nearly 30-year-old stage floors in 2018, Food and Beverage Manager Gary Beckert saw a unique opportunity to give a voice to the old floorboards, creating five ukuleles out of the wood that once supported the feet of thousands of actors, musicians and artists. Beckert has donated these instruments to ASU Gammage to sell and use the proceeds to benefit the theater.

Outside of his job at ASU Gammage, Beckert is a luthier, which is a term used to describe a craftsman who builds and repairs string instruments.

“As a luthier, I saw an opportunity,” said Beckert. “I knew that I could take some of that old wood and do something with it.”

Over the next three years, Beckert crafted each ukulele by hand.

When it comes to building and crafting instruments, Beckert

relies on his collection of antique tools. These include 100-year-old handsaws, chisels, jigs, etc. Very few electric tools were used.

“Most of the saws hanging in my shop are over 100 years old,” said Beckert. “Old handsaws are perfect for this kind of work, and over the years I found myself collecting them.”

The creation of these ukuleles was both a meticulous and joyous process for Beckert, as he took every single detail into consideration: from selecting the proper pieces of wood to the overall design.

For example, Beckert spent a great amount of time resting the boards so the wood wouldn’t twist. This is something that naturally occurs to wood over time as it loses its moisture. These boards have also endured years of wear, with visible cracks, splits and nail holes.

“The problem with the slats is they want to twist. Wood does that once you separate it, it wants to find its natural curve. I had to clamp them, dampen them, clamp them again, this process alone took over a year,” said Beckert.

However, Beckert wished to preserve and even feature some of the wood’s imperfections, believing they act as a badge of honor on each ukulele.

— GARY BECKERT, ASU GAMMAGE FOOD AND BEVERAGE MANAGER

“Those are where the staples of the nails were that held the floor together,” said Beckert as he pointed at the back of one of the ukuleles. “I wanted to incorporate the beauty and wear of the wood in each ukulele.”

Beckert wished to not only tell a story but pay homage to the architecture of ASU Gammage through the design of these instruments.

When thinking of ways to incorporate ASU Gammage into the ukulele design, Beckert immediately thought of the curtains that surround the outside of the building. This is a very beautiful and notable architectural aspect of the theater, and Beckert mimicked the design for the sound holes of the ukuleles.

Beckert explains how he became inspired by famed architect and man behind the design of ASU Gammage, Frank Lloyd Wright.

“I incorporated the Frank Lloyd Wright aspect of the building. The beauty of what everybody sees when they think of ASU Gammage,” said Beckert. “These curtains sparked the inspiration for the other aspects of the ukuleles’ design.”

Another design aspect inspired by the theater is visible in the fretboards of the ukuleles. A fretboard is located on the neck of the instrument and is where a player places their fingers to make chords or play a single note.

For these fretboards, Beckert included a representation of ASU Gammage’s walkway, which is also known as the “Elephant Walk.”

“If you look closely at the walkway, it looks like elephants holding on to one another,” said Beckert. “This walkway is also known as the arms of ASU Gammage, that reach out to the community.”

After three years of very hard work, Beckert finished his ukuleles in 2021, adding final touches such as his signature and a picture of the theater on the instruments’ heads. Beckert donated all five instruments to ASU Gammage where they will soon be available for purchase.

“When I first saw the ukuleles, I was completely awestruck. I’ve never seen something so beautiful created by somebody I know and have worked with,” said ASU Cultural Affairs Senior Director of Development Peter Means.

“The money from these ukuleles will go towards our capital projects account, which funds projects that maintain and improve our historic theater,” said Means.

These five handmade and one-ofa-kind ukuleles not only tell a story, but showcase Gary Beckert’s love of music, craftsmanship and ASU Gammage.

“ASU Gammage is a family to me,” said Beckert with a smile across his face.

If you are interested in purchasing one of these one-of-a-kind ukuleles, please email peter.means@ asufoundation.org

“I incorporated the Frank Lloyd Wright aspect of the building. The beauty of what everybody sees when they think of ASU Gammage,”

with Step Afrika! Founder and Executive Producer C. Brian WilliamsQA &

Can you tell us about the founding of Step Afrika?

Step Afrika! is entering its 29th performance season. In 1994, Step Afrika! began as a festival designed to make the African American art form of stepping with South African dances and traditions. From that two-week festival, a program of artistic and cultural exchange has grown and is now one of the largest African American dance companies in the world today. We have 14 fulltime cast members who are not only excellent performers but outstanding teaching artists that perform and teach all over the world.

What inspired you to tell the story of DRUMFOLK through the tradition of stepping?

DRUMFOLK is our newest production that we started working on before the pandemic. We were

so excited to remount this show once we were able to return to the stage. DRUMFOLK is inspired by two very rarely talked about moments in American history. The first one is the Stono Rebellion of 1739, which led to the Negro Act of 1740. Both of those moments in American history greatly impacted the development of not only American cultural history, but more specifically, African American culture and experience. We say that DRUMFOLK was the result of over 29 years of percussive practice and research into the American origins of stepping. We look forward to sharing that with audiences, both on stage and in discussion.

What can audiences expect at the show?

Audiences can expect a lot of energy. Step Afrika! practices the art of step. Stepping is a polyrhythmic percussive, highly

energetic dance form created by African American fraternities and sororities. You are going to get to see us stepping in distinct and unusual ways in this production. But you’re also going to experience traditional dance forms.

We have several guest artists that join us for this production — a beatboxer, who brings a really exciting element to the show. Live drumming — we have some amazing traditional African drummers who will join us for the show, and then a special vocalist.

What do you hope the audience leaves with after seeing DRUMFOLK?

First things first, the audience needs to enjoy their time with the show. I love going to the theater, no matter what’s on stage. And I love for audiences to come in and witness art forms, traditions and cultures that

All photos by Jacob Andrew Iwinski

maybe they haven’t had too much experience with. So first, I want them to enjoy this tradition of stepping, which is a part of our nation’s cultural heritage.

I also am excited about sharing this bit of history. It has been in American history, but we found that over 90% of our audiences have never heard of the Stono Rebellion or the Negro Act of 1740. We really encourage audiences to Google both of these American historical moments prior to our arrival on stage and then afterwards. I love for them to do a little research even before because I think the show will be that much richer if they do.

What do you look forward to most about performing in Tempe?

I just love the theater. It is a massive space. It’s an incredibly beautiful space. We’ve only performed there once before with a smaller production. I’m excited to return with one of our features that is unlike traditional dance. We have

a set, lots of costume changes and a pretty large cast. I just can’t wait to get on that stage. I’ve wanted to return to this community for some time, and I’m just really excited to be back in Arizona. ASU Gammage is really fantastic and a unique venue. I love the opportunity to perform there.

Do you have any advice for aspiring dance and movementbased artists?

The first advice I would give any dancer or movement-based artist is to explore as many styles as possible. You may have a distinctive style, but becoming well-rounded in the form and practicing and having access to multiple dance styles, not just one, can create a far more interesting dancing career. I’m a huge fan of the well-rounded artists who have experience with multiple dance styles and multiple traditions. Dance requires its artists to be able to master several different styles. I am a big fan of versatility in dancers.

Ways to Give — Beyond

If you are interested in supporting Beyond email peter.means@ asufoundation.org

Don’t miss DRUMFOLK at ASU Gammage on Oct. 29, 2022 Tickets are on sale now at asugammage.com

“These performances are thought-provoking, edgy and entertaining. You enter as a student of life and you leave still pondering the questions posed by the talented performers.”

— HOPE AND STEVEN LEIBSOHN

—C. BRIAN WILLIAMS

“Stepping is a polyrhythmic percussive, highly energetic dance form created by African American fraternities and sororities.”

Director of Production Jeff Rollins continues to build ASU Gammage up

By Emily Mai

Director of Production Jeff Rollins doesn’t just build sets — he builds bridges to new opportunities.

Rollins joined the ASU Gammage team in 2009 as a senior technical director. During his tenure, he has overseen the production elements at ASU Gammage that help create the dramatic stage scenes and whimsical effects onstage. He has created effects ranging from Mary Poppins flying over the audience, the chandelier drop in PHANTOM OF THE OPERA and even the flying magic carpet in ALADDIN. In 2021, Rollins was promoted to Director of Production.

“I always say that we’re not curing cancer. We’re not heart surgeons. What we do is entertain folks and take them away from reality; give them a break from the stresses of being an adult and offer them an escape,” Rollins said.

Rollins is an Arizona native, and while attending Mountain Pointe High School, he was introduced to theater and tech production.

Rollins’ love for theater stems from when he got the opportunity to see his first professional musical at ASU Gammage called ASPECTS OF LOVE during his junior year.

“It was something that really struck home — I was very in awe of what I had witnessed. And from that point on, I was like, ‘Oh, this is something I want to do. I want to be a part of this for forever,” Rollins said.

His passion for theater followed him through higher education where he attended Mesa Community College and Arizona State University before graduating from Ottawa University with a degree in secondary education in social studies and a minor in theater education.

“I realized very quickly that you could get paid more easily as a technician than you could to be onstage, and since I was also passionate about that part of theater, I started building, set painting, doing light designs, working in audio and rigging for anybody that would want to pay me to come and lend them a hand,” Rollins said.

Before finding a home at ASU Gammage, Rollins had a wide range of experience in production. He was the technical director for Viterbo University in Wisconsin for two years, the technical director at

Mesa Arts Center for eight years and the operations director in charge of building and opening the Higley Performing Arts Center for the Higley Unified School District.

Even with all his experience and expertise in design and production, Rollins is constantly learning and opening his eyes to new experiences while working at ASU Gammage.

“In 2009, when I was walking into things at first, I knew that this was a Broadway roadhouse. I knew that I was in awe of every show that I’d ever seen in this building, and I also knew that I had the work ethic and the right team to learn from. And so, from that point on, it was just a learning experience and learning from everybody that worked for ASU Cultural Affairs,” Rollins said.

The coworkers who Rollins originally relied on for guidance gave way to an entire support network of people at ASU Gammage that have become like family to him.

— JEFF ROLLINS

“I was able to make the necessary contacts and formulate this plan of being part of one of the first venues in America, across the world really, that was going to reopen with a full house for a Broadway show. We ended up way ahead of the curve so, because of that, I was asked to help other venues formulate their COVID-19 safety protocols.” said Rollins. “Ultimately though, I couldn’t have done this without the staff and the support of everybody at ASU Cultural Affairs; everybody had to be playing on the same team.”

Rollins’ love for theater has not only found him a home here at ASU Gammage, but has also helped him find love in his personal life. Rollins’ wife, Angela, is a drama teacher at Marcos De Niza High School in Tempe. The two of them had to postpone their wedding ceremony due to COVID-19, but finally got married last year. Both of his daughters, Zoe and Zayne, grew up around the theater and participated in Camp Broadway at ASU Gammage.

“We have an atmosphere where it’s open, it’s free to share and to be who you are,” Rollins said. “The struggle with doing production is you tend to burnout because of the amount of shows you do. When you’re working with a team like ours, we cover each other’s backs. We have a good time because we all love what we do. And we all respect each other’s passions and tasks.”

In 2020 when theaters shuttered their curtains and industry professionals were looking for direction, Rollins stepped up and helped lead the way on COVID-19 theater safety efforts. He started collaborating with organizations like the International Association of Venue Managers to talk about COVID-19 prevention measures and rapid testing.

Rollins launched ASU Gammage ahead of the Broadway reopening curve, preparing layout examples of the theater to accommodate for social distancing for the fastapproaching shows. He worked with the touring shows and crews to go over everything that may have been forgotten over the oneand-a-half-year break.

Rollins continues to roll up his sleeves and build a future for his department. His goal is to help provide people with a safe and well-running theater for years to come. He has plans to update the lighting systems in use and work on investing money back into the gear and supplies backstage that keeps ASU Gammage running smoothly. Rollins’ focus is not just on equipment, but on cultivating healthy work relationships amongst his team.

“All across the country people are leaving the tech industry because they just can’t handle it. And there’s money out there now with other career choices that people can go to so, if you abuse your crew, you’re going to lose your crew. We have such a great team here that I want to do anything that we can to make sure they’re supported and that they feel that we’re not leaning too heavily on them. We’ve done a lot postCOVID to expand our teams and make sure that no department is spread too thin. We want to keep putting on amazing shows, but never at the expense of our own crew,” Rollins said.

Rollins’ favorite part of working at ASU Gammage is bringing together communities by creating spaces where anyone from any background can access the arts in a comfortable and safe environment. He seeks to create unique memories for all those involved — onstage and off.

Fun fact!

Rollins also has taken on the role of fantasy football commissioner for ASU Cultural Affairs. The league has been around for over five years. Rollins has a trophy, where he engraves the name of the winner each year. The trophy is then presented to the winner at a staff meeting.

I was able to make the necessary contacts and formulate this plan of being part of one of the first venues in America, across the world really, that was going to reopen with a full house for a Broadway show. “ “

Angela and Jeff Rollins doing their best

The Office “Jim and Pam” impersonations at Niagara Falls.

Jeff Rollins leads a Tech Tour for a local High School Drama Club. Leading Tech Tours, Donor Tours or any other type of tour is one of the best parts of his job.

R O A D

A

VIP Donor PhotosVIP Donor Photos

Broadway Adventure Across NYC

Julia Brown, Robbyn McDowell, Mary LaRue Walker and Elna Brown

John and Pit Lucking

VIP donor group

Laurie and Chuck Goldstein

Edinburgh Fringe Festival

Back row from left to right: Eduardo Crespo, Nathan Ohm, Kurt Roggensack, Howard and Lisa Bell, Mark Halberg.

Front row from left to right: Haig Tchamitch, Colleen Jennings-Roggensack, Joan Cremin, Joanne Halberg, Alejandro Almaguer.

Joan Cremin

Shelley Cohn and ASU Gammage Senior Director of Development Mollie Trivers

Lisa and Howard Bell

Alejandro Almaguer and Linda Crooks, CEO and Executive Producer of the Traverse Theatre

Chris Wynn, Director of Development for the Edinburgh International Festival, and Colleen Jennings-Roggensack

VIP DONOR PHOTOS

Charitable Gift Annuities (CGAs) are an excellent way to support ASU Gammage long-term and receive payments while doing so. Not only do these funds greatly further the ASU Gammage mission of Connecting Communities™, but in return for your generosity you will receive fixed payments — that may even be partially tax-free — for life.

By donating cash or other assets to a CGA benefiting ASU Gammage, you create a revenue stream of income for yourself and leave a gift that will carry out the theater’s mission. A CGA is

Thanks to donors like you, ASU Gammage can continue to fulfill our mission of Connecting Communities™. There are many ways to support our historic theater and mission — we have highlighted several on the next few pages. Reach out to our development team to learn more about these and other strategies.

Charitable Gift Annuities (CGA) at ASU Gammage

simply an agreement allowing your donated investment to pay you dividends, while the principal supports ASU Gammage.

You may decide to start receiving these payments right away, immediately seeing a benefit to your generosity. Alternately, you can delay them to a future date, such as when you retire — you’ll receive your chartable income tax deduction now and your fixed payments will be larger. Additional tax benefits can apply depending upon the assets you donate — part of your annual income may even be tax-free if the assets

gifted would have been subjected to capital gains if they were to be sold, with the additional benefit of reducing and spreading out the capital gains taxes.

“CGAs are a tremendously powerful tool that allow you to give back and make a difference while securing your own future,” said Peter Means, Senior Director of Development. “You can even designate your CGA to benefit specific programs within ASU Gammage such as Beyond, Educational Initiatives and more!”

Donor gift to fund CGA

Income Stream

Fixed payments for life Remainder to

You transfer cash, securities or other assets to ASU Gammage.

You receive an income tax deduction and passively save capital gains tax.

Each year, ASU Gammage pays a fixed amount to you or to anyone in your name. When the gift annuity ends, its remaining principal becomes a legacy gift supporting ASU Gammage.

Cultural Participation: The Heart of ASU Gammage

Cultural Participation programs are the heart of the ASU Gammage mission of Connecting Communities™.

Every person, no matter their age, race, gender, status, income or education, should have the opportunity to express themselves through the arts.

By supporting Cultural Participation programs, you help the artists of today and inspire the artists of tomorrow.

Programs that you can support!

ASU Gammage High School Musical Theatre Awards: An annual celebration that recognizes and celebrates Valley high school students and faculty that produce musical theater programs.

The Molly Blank Fund Kaleidoscope: Title I high schools are introduced to musical theater during an engaging and intensive curriculum-based program.

The Molly Blank Fund Performances for Students: K-12 students see incredible artists from around the world.

School to Work: High school students explore career paths within an arts presenting organization.

Tech Tours: High school technical theater students experience behind-the-scenes at ASU Gammage.

Disney Musicals in Schools: A free 17-week after-school musical theater program offered to Title I elementary schools.

Camp Broadway: A camp for theater-loving kids ages 10–17 taught by Broadway professionals.

The ASU Gammage Residency: A program that supports an exceptional performing artist to engage in campus and community settings, create new work, teach and perform.

Journey Home: A lifechanging arts program for women incarcerated at the Maricopa County Estrella Jail.

Military Family First Nights: Family members of deployed military personnel receive discounted tickets to three Broadway performances.

ASU Gammage Herberger Scholarship: Two outstanding students in the fields of theater and/or dance receive scholarships and mentoring from ASU Gammage.

Support the heart of ASU Gammage with a gift to our Cultural Participation program.

Scan here to make your gift today!

“The support you give to ASU Gammage will be returned to you in the wonderful performances the organization brings to us.”

— CARMEN BLANK

Kaleidoscope, HADESTOWN

Geri Kody, Disney Musicals in Schools

Camp Broadway Journey Home

Supporting the performing arts ecosystem: Commissioning work with ASU Gammage

The ASU Gammage Beyond Season is filled with unique, diverse and powerful artistic experiences. These shows speak to history, culture and society and, many times, challenge the audience to see something in a whole new light. These performances and artists tell our human story in new ways that move us deeply, entertain us and bring us together. But how do many of these shows and artists get their start? Commissioning.

Commissioning is the lifeblood of the performing arts industry. It is a partnership between an artist and supporters — often an individual and/or a presenting organization such as ASU Gammage. By providing financial support to an artist, the patron enables new, innovative and thought-provoking art to engage and challenge us.

“It takes a lot of labor and manpower to develop new work, and everyone involved needs to be paid fairly,” said Michael Reed, Senior Director of Programs and Organizational Initiatives. “Artists

often need additional financial assistance in the final stages of development — when lighting, sound and staging are being finalized. By offering your support to these artists, you are not expecting a profit at the other end. Instead, you are investing in the long-term health of the performing arts ecosystem and the great diversity of perspectives, artists and genres.”

When we commission new work, we not only commission the artists to create new pieces, but ASU Gammage also presents those works in our theater and partners with other venues across the country and internationally to have these new works reach more audiences. “There are very few organizations in our country that do this work, but together we make up the future of the performing arts industry. When you get deeply into commissioning, as we have, you can work with other organizations and individuals to help an artist develop a sustainable career,” said Reed.

ASU Gammage has a long, rich history of commissioning with more than 30 commissioned works, which is more than any other presenter in the Southwest. Commissioned artists include Philip Glass, Trisha Brown, Bill T. Jones and the first North American commission of Pina Bausch.

Recently, ASU Gammage commissioned artist Lemon Andersen to create the piece WHEN ALIENS FALL FROM THE SKY. In March 2022, the show had its world premiere on the ASU Gammage stage. A powerful one man show influenced by the autobiographical monologues of Spalding Gray, ALIENS is a rallying cry for the melting pot of Latinidad to speak and act on the identity crisis in America and join in a collective path forward. The show continues to tour to other performing arts venues.

“ASU Gammage helps me create more work for the people I most want to help,” said Lemon Andersen.

Camille A. Brown’s piece INK was commissioned by ASU Gammage in 2017.

ASU Gammage was the first North American commission of Pina Bausch NUR DUR in 1996.

NATIVE NATION was a piece commissioned by ASU Gammage in 2018/2019. Pictured L to R: Larissa FastHorse (creator and playwright), Colleen JenningsRoggensack and Michael Reed.

One of the key commissioners of the piece was ASU Gammage VIP Donor Joan Cremin. She believed in Andersen’s work and contributed the finances needed to get the piece up and running.

“Lemon Andersen is a multitalented actor. What a revelation to see his work take shape and be transformed to the stage,” said Cremin. “Such talent needs to be nourished and supported to enrich our lives and a wide audience.”

A leading supporter of commissioning work at ASU Cultural Affairs, Jane Dowling has supported projects at ASU 365 Community Union. She sees supporting these artists as a way to provide opportunities to others. “The connection for me is the ability to contribute to a cause that could have an influence and be beneficial — impacting the lives of others. The ability to have a positive impact is important to me — there is a ‘pay it forward’ effect,” said Dowling.

For artists such as Andersen and many of the artists that come through ASU Gammage as part of our Beyond series, support is

needed to help their work continue. For artists to know their work will have life outside of an idea opens a world of possibility.

“It really takes a village to do work like this,” said Reed. “It’s an incredible experience to be a part of.”

Reed goes on to explain that some donors provide a significant percentage of the cost it takes to produce the show. And many times donors get to know the artists and “really appreciate the work involved with the process.” But large gifts are not the only way to be involved with commissioning. Reed says, “Smaller donations are also what enables ASU Gammage to do commissioning work and giving a little can make a lot possible.”

Donor support of commissioning raises the profile of ASU Gammage and helps to bring these incredible artists into our community.

If you are interested in supporting commissioning email peter.means@asufoundation. org

ASU Gammage commissioned MOTION E in 2005. Pictured are MOTION E creators Trisha Brown and Bill T. Jones.

“Such talent needs to be nourished and supported to enrich our lives and a wide audience.”

— JOAN CREMIN

“There is a ‘pay it forward’ effect.”

— JANE DOWLING

WHEN ALIENS FALL FROM THE SKY, commissioned by Joan Cremin in 2022. Pictured L to R: Haig Tchamitch, Lemon Andersen, Joan Cremin and Colleen Jennings-Roggensack.

Invest in the future of ASU Gammage with endowments

ASU Gammage has been Connecting Communities™ for more than 50 years, with no intention of slowing down. While cash gifts support ASU Gammage’s work today, and legacy estate gifts allow stability for years ahead, endowments provide immediate and ongoing support today and for future generations.

What is an endowment?

An endowment is a permanent gift that is invested for the long term to provide sustainable financial support for ASU Gammage. The gifted funds yield investment returns based on global market conditions and provide an annual payout to support ASU Gammage.

Investment returns Your gift

Money used from the returns for ASU Gammage annually

Years

The goal of an endowment is to:

• Ensure that future generations receive the same level of benefits as the organization provides today

• Keep the principal intact to continue to grow and yield benefits, while utilizing earned returns to support ASU Gammage

• Provide a predictable and consistent annual payout (regardless of market fluctuations) every year

In 2012, ASU Gammage’s first dedicated programming endowment was created — the Colleen Jennings-Roggensack Fund for Cultural Participation. This fund provides ongoing support for ASU Gammage’s cultural participation outreach and education programs.

Many donors have contributed to this fund, and some have established their own endowments to guarantee the continuation of many additional programs at ASU Gammage.

In addition to ensuring the continuation of our Cultural Participation programs, endowments are vitally important to keeping ASU Gammage open for future generations, providing funds for capital

FY21 Endowment Principal $1,349,574

Need (gap between) $8,650,436 Goal (2x annual budget) $10,000,000

Need

FY21 Endowment Principal

Endowments can be funded from cash, appreciated stock and/or estate gifts. Perpetual endowments are a great way to ensure your legacy.

“An endowment fund represents a way of giving that will endure over time. It is an investment in the future. The arts add color to our lives!”

improvement and preservation, ensuring that ASU Gammage remains a cultural beacon in the Valley.

Please consider giving a gift to one our existing endowment accounts or creating one of your own. The endowment support you provide will help ensure financial stability today and into the future for ASU Gammage.

For more information about endowments and how to give, please contact Peter Means, Senior Director of Development at 480-965-6059 or peter.means@asufoundation.org

“It’s very exciting to know that I am making a difference today and helping to lay the foundation of theater forward for their generation.”

— ENID AND MIKE SEIDEN

— JO FINKS

What do you want your legacy to be?

You know the joy, the transformative power and the impact that ASU Gammage has on the community. ASU Gammage helps shape the lives of so many through the mission of Connecting Communities™.

Supporting ASU Gammage through a legacy gift will establish funding for generations to come, ensuring the future of theater and its mission.

A legacy gift is a planned gift that designates some part of your estate as a donation to ASU Gammage. Legacy gifts are a powerful way to support the theater and leave a legacy to be remembered through the arts.

Establishing a legacy to benefit ASU Gammage is quite simple. Through a will or trust, you can

add provisions that benefit the causes you care about. Each provision can be listed as a precise dollar amount or a percentage of the overall value of the estate, and you have the option to be specific as to what your legacy supports, including our educational initiatives, Beyond or capital improvements of this historic theater.

When making a legacy gift, ASU Gammage will work with you to ensure that your gift achieves the maximum possible benefits and supports the initiatives you feel most passionate about.

There are many ways to leave a legacy gift. You are invited to meet with a member of the ASU Gammage development team and an expert from the ASU Foundation to learn more.

“Participating in the ASU Legacy program was easy to set up and provides support to ASU Gammage that is convenient and tax exempt, so our donations go further.”

Benefits of a TrustWays to leave a legacy gift

• Wills

•

• Charitable Remainder Trusts

• Charitable Lead Trusts

•

Gift Annuities

• IRA’s and Life Insurance

• Real Estate

“Giving an estate gift gives me the opportunity to contribute to a cause that I deeply care about and will continue after my lifetime. It helps me focus on what is important to me.”

•

A living trust may be set up during life and directs where your assets go.

• If assets are properly titled and transferred to the trust, the court intervention called probate can be avoided.

• If the assets are needed for your care but you’ve lost the capacity to manage them or make personal decisions, your pre-assigned successor trustee is able to continue using them for your care.

“I am proud of the many outreach programs that ASU Gammage offers knowing that annual gifts, and eventually my estate gift, will continue to provide opportunities.

—

BRENDA AND JIM ROWLAND

— BRINLEY THOMAS

— CARL CROSS

ASU Gammage and you: A partnership through legacy

Susan and Bill Ahearn

A Solid Foundation

By Heather Fuentes

The strength of any building begins with a solid foundation. That is certainly true of ASU Gammage, the treasured theater designed by the legendary Frank Lloyd Wright. It is also true of Bill and Susan Ahearn’s philanthropic journey as major supporters of ASU Gammage.

When the theater opened its doors in September of 1964, the building was a distinct university auditorium on the Arizona State University campus. Today, ASU Gammage is a world-class presenting organization. Thousands of visitors come through the renowned doors of ASU Gammage every year and this naturally means wear and tear on the building itself. It is vital to maintain the upkeep of the historic theater, and that’s where donors like Bill and Susan Ahearn come in.

Bill and Susan would attend a show at ASU Gammage on one of their first dates. The year was 1971,

and they were just beginning to build not only their own personal foundation as a couple, but taking the first step toward their years of dedication to the beloved Valley landmark. “We feel grateful that we had the benefit of those who went before us and got ASU Gammage built. Now that we are older, we feel a great sense of responsibility to keep the building looking as well as it did back when we first walked through those doors,” says Bill. The Ahearns truly believe ASU Gammage is a vital part of the cultural landscape of the Valley and keeping the physical building in beautiful condition takes time and money that isn’t always readily available.

While they had been patrons throughout their young lives together, it wasn’t until current Executive Director and Vice President for Cultural Affairs, Colleen Jennings-Roggensack, came on board at ASU Gammage

that Bill and Susan were invited to make one of their first monetary donations. As a perk of their gift, they were invited on a backstage tour of the historic theater. “Colleen wanted to start recognizing people who wanted to support ASU Gammage financially. The first thing we really responded to was the backstage tours. I can still remember walking onto the ASU Gammage stage for the first time. It was exciting!” said Bill. “The fact that Colleen reached out to patrons — ordinary people — made you feel good.

She was sincere and passionate and we thought, ‘Yes, we can get behind this.’ We needed to keep this theater going. Colleen is so all-inclusive and wants people to be a part of the ASU Gammage family and I think that sort of draws you in,” agreed Susan. “Once, we heard Colleen speak at a luncheon for the Camp Broadway students. She was explaining her job to the attendees and she said, ‘this

— SUSAN AHEARN

We do what we can to keep the building pristine so that both our patrons and the people who work on the shows will come through and say ‘Wow, this is a nice theater!’. “ “

is my house’. We knew then that we weren’t just ASU Gammage patrons — this was OUR house, too. It’s important for us to keep this house vibrant.”

While brick-and-mortar campaigns support tangible goals, they aren’t always glamorous ones. Bill and Susan understand that it is much easier to raise funds for flashy projects like the shiny new restrooms that thousands of patrons will see and notice. What’s more difficult is raising funds for things like painting floors, installing new lighting, or refurbishing and modernizing dressing rooms. “Those things aren’t necessarily exciting, but they are necessary,” says Bill. “We do what we can to keep the building pristine so that both our patrons and the people who work on the shows will come through and say ‘Wow, this is a nice theater!’. If this is the area where ASU Gammage needs help, that’s where we want to give,” said Susan. “The cast members who have been coming in this year have been amazed at what the dressing rooms look like now! A lot of people think their ticket money supports everything but that’s not quite all there is,” agrees Bill.

Capital donations springboard the organization to a new level of daily operations, and no one knows that better than Peter Means, Senior Director of Development. According to Peter, Bill and Susan not only encourage others to attend ASU Gammage shows and programming, but they also encourage others to get

involved through both financial and volunteer means. “While they are major financial supporters to ASU Gammage, they don’t just donate money. They give freely of their time and talents as well. They are passionate about the arts and helping future generations of artists,” said Peter.

“Part of what makes us want to support ASU Gammage, there’s a great attitude amongst the staff. The people who greet us as we walk in, the ticket scanners, the ushers…we truly enjoy being patrons at the theater. As we have gotten more involved in various projects, we have also had the opportunity to get to know the staff on a more personal level. I love watching the whole team put events and projects together and accomplish so much in our community,” said Bill. “We both had parents who inspired that sort of thing — that inspired giving back to the community. We want other young couples to have the same opportunity we did to fall in love with the theater.” The Ahearns recognize that historic buildings give cities a sense of permanency and heritage, a reminder of a community’s tangible past. In the case of ASU Gammage, the building also offers opportunities for a community’s future and a way to ensure the arts not only live on, but thrive for generations to come.

ASU Gammage is a living, breathing and ever-evolving space. Capital gifts keep the physical building in tip-top shape, ensuring we can continue to open our doors and welcome patrons for generations to come.

Some of our wish-list capital improvement projects include:

• Installing additional Wi-Fi spots throughout the theater to allow a system called GalaPro to be used for the closed captioning of our shows.

• Resurfacing the floors inside the theater.

• Replacing the lobby windows and doors with insulated glass. This will allow cooler temperatures inside the theater and create a more sustainable system.

• Installing lighting on the railing and steps outside of ASU Gammage.

• Painting, cleaning and resurfacing the outside of the theater. The weather and natural elements wear on the exterior of ASU Gammage, and funds are needed to restore the outside.

• New carpeting.

If you are interested in learning more about supporting capital projects at ASU Gammage, please contact our development department at 480-965-9915

Susan and Bill Ahearn at the groundbreaking of the new elevators at ASU Gammage.

Take a trip across

global music culture with ASU Kerrand

Welcome to Indian Country: An Indigenous Celebration of Original Music and Poetry

Tuesday, Feb. 14, 2023 at 7:30 p.m.

Weaving new songs and compositions with poignant, witty poetry and satire, the event honors Native ancestors and elders, unearthing the joy, solidarity and depth that indigenous people find in their cultures and communities. Their individual strands of Diné (Navajo), Lhaq’temish (Lummi), Fond du Lac Band of Lake Superior, Osage and Odanak W8banaki First Nation heritage braid together in this must-hear show.

LADAMA — global, Latin alternative

Thursday, Feb. 16, 2023 at 7:30 p.m.

Flowing to electric from acoustic and through Spanish, English and Portuguese lyrics, LADAMA is a group of virtuosic musicians and educators that are sisters in song, rhythm and spirit. They harness music from their countries of origin: Brazil, Colombia, Venezuela and the U.S. Reimagining Caribbean and South American genres like maracatu, cumbia, onda nueva and joropo and spinning them with soul, R&B and pop, they build a sound all their own.

LP and the Vinyl — jazz

Saturday, March 4, 2023 at 7:30 p.m.

LP and the Vinyl was born when famed jazz, blues and gospel vocalist Leonard Patton met minds with the beloved Danny Green Trio. The band’s wide influences include jazz, rock, R&B, Brazilian music, classical music and more. Mixing many styles, the band has a jazz-forward sound charged with vibrancy and emotion.

Seffarine — Spanish flamenco, Arabic, jazz

Friday, March 10, 2023 at 7:30 p.m.

Globally-acclaimed singer Lamiae Naki was born in the ancient city of Fes, Morocco. Her ensemble Seffarine channels their profound knowledge of the music of both sides of the Straits of Gibraltar — the intersection of Middle Eastern, African and European culture.

This concert takes a soaring musical journey through the joy of the sounds and dance of North Africa and southern Spain. Envelop yourself in Seffarine’s expansive world where Arabic, Persian classical, Spanish flamenco, Andalusian music and jazz meet.

See ASU Kerr’s full 2022–23 season of shows at asukerr.com.

KERR

Stadium Yoga

starts strong at Sun Devil Stadium

Since 2019, the non-athletic stadium event team known as ASU 365 Community Union has been hosting free Stadium Yoga classes during the fall and spring semesters. Stadium Yoga classes feature a lineup of instructors from local studios across the Valley, like Yoga Players Club, Arizona Yoga Company and De La Sol Yoga. The series is open to the ASU community and the general public alike and is inclusive for all levels of practice.

Each introductory-level class is an opportunity for yogis and new practitioners to learn the basic principles of yoga and to share positive vibes and inspiring stadium views with Sun Devil community members.

During the warmer months, Stadium Yoga classes take place inside Sun Devil Stadium within two of the larger club spaces that are used for special events and gameday activities: San Tan Ford Club and Upper East Sideline Club. From October through March, weekday classes take place on the Coca-Cola Sun Deck, an outdoor venue located behind the stadium video board with views of the

Tempe beachfront Marina Heights buildings, A Mountain and Tempe Town Lake. Guests enjoy the community class outdoors under the open sky.

“The most incredible part about Stadium Yoga,” said 365 Community Union Director Henry Terrazas, “is that guests can experience a new style of class each week. Classes rotate instructors with different techniques and strengths, so guests always have a fun experience and can learn something new in each class. There are few other places in the Valley where this is offered for free — but inside a football stadium? You can’t beat these views!”

365 Community Union’s Stadium Yoga program offers a unique experience to ASU and Valley community members that you won’t find elsewhere. Unlike other fitness programs where multiple classes might be scheduled as part of a plan or necessary regimen, Stadium Yoga allows participants to choose which days fit best into their schedule and register for as many or as few classes as they’d like. Participants

can register for all their intended classes all at once, on a weekly basis or on whatever timeline works best for them.

For those who are new to yoga or are interested in expanding their practice from the privacy of their home, participants can register to practice virtually and tune in to inner peace with other virtual yogis on Zoom.

Registration is required for each class, and it is recommended that all students bring their own yoga mat, water and towel. Once registered, confirmation emails will be sent directly to guests with more details on their registered classes and dates.

Classes take place on Tuesday evenings and Saturday mornings, except during ASU school breaks and special events like Sun Devil Football game days.

Download the full class calendar and register online at asu365communityunion.com

For Season Ticket Holders:

(number

For Single Ticket Buyers:

seating available (number of tickets and location based on

level; while supplies last)

Reserved parking at ASU Gammage

luncheon with the ASU Gammage Executive Director

Golden Gammage Investors

ASU Gammage gratefully acknowledges these individual donors and foundations whose cumulative giving totaled $100,000 or more.

Abbett Family Foundation

Susan and William Ahearn Allen-Heath Memorial Foundation

Pat and Bill Andrew

Jerry Appell

APS

Carol Barmore

Mr. and Mrs. Douglas Baughman Barbara, Irv and Jeremy Berger

Carmen and Michael Blank F. Richard Bloechl Family

Lee Bowman

George Brazil Plumbing and Electrical Broadway Across America

Joan Cremin

Cathy Dickey

JO Finks

Karen and Grady Gammage, Jr. Janet and Chip Glaser

Laurie and Chuck Goldstein

Joanne and Mark Halberg

Ronald H. Harten

Patricia Kaufman

Gail and John Krueger

Patricia Langlin-Brazil

The Hugh W. Long, Jr. Family Rae and Richard S. Love

Robert Machiz

Mr. and Mrs. Michael Manning Kemper and Ethel Marley Foundation

Marcia and Andrew Meyer Lesley and Paul Monfardini

Margaret T. Morris Foundation

Jeffrey D. Oliver

Jenny Norton and Bob Ramsey Jeff and Leslie Rich

Rosenbluth Family Foundation

Jana and Charles Sample Christy and Richard Schust

Ticketmaster

Marsha and Charles Van Dam Mary and Bill Way/Way Family Charitable Foundation

Legacy

Susan and William Ahearn

Nancy Anderson and Curt McLees Anonymous

Carol Barmore

Weasley Beckley

Larry Berentzen

In Memory of Nan Beyer

George and Patricia Brazil

Linda Broomhead and Terese Sanchez

Marlene Bushard

Kim Cahow

Angela and David Conwell

Carl J. Cross

Cyndi and Terry DeBoer Leonard and Emily Dudziak Raylan and Beverley Evans

JO Finks

Mary Flora Marilyn and Jim Foley Phillip Gillies Alan and Anita Handelsman Henry and Mary Hansen Ronald H. Harten Jay and Rojon Hasker Robert and Jeanette Heacock David N. Horowitz Jacqueline HuffordJensen and Greg Kroening Donald and June Julen Pat Kaufman Sue Larsen Rae and Richard S. Love Douglas Lowe Larry Mattal Cathy Mazur Ellis and Kiran Means Merrily Metzger Ron and Vickie Neill Stephanie Nowack Clyde C. Parker Jr. Dr. and Mrs. Michael Pollay Russell A. Robbins Dr. Lynn Robershotte Mitchell and Heather Ross Brenda and Jim Rowland Virginia Schantz Margaret Schulz Tamara Scrivner Mr. and Mrs. Russell Smith Ava Spanier Jo and Frank Stockman Bruce C. Thoeny Brinley Thomas Mollie C. Trivers John and Joyce Webb Betty L. and John Whiteman

Investors Guild

Susan and William Ahearn* Allen-Heath Memorial Foundation

Carmen and Michael Blank* Lee Bowman* Joan Cremin* Janet and Chip Glaser Dr. and Mrs. Charles Goldstein* Great Clips Ronald H. Harten* Gail and John Krueger

Producers Academy

Buffie and Ray Anderson Anonymous

Reginald M. Ballantyne III

Carol Barmore and Phil Hineman Mr. and Mrs. Douglas Baughman* Howard and Lisa Bell Dawna and Dan Calderone Jacqueline Chadwick, MD

Dr. James Cord and Charles Brazeal Dr. Mindi and Anthony D’Elia

The Desmarteau Family Joanne and Mark Halberg* Jay and Rojon Hasker Michelle Jung and Chris Rodriguez* Patricia Kaufman* Rosey and Justin Kerchal Brian C. Jones and Vaughn A. Lovell* Evelyn and John Lucking Cheryl Mandala Marcia and Andrew Meyer

Jenny Norton and Bob Ramsey* Rosenbluth Family Foundation* Brenda and Jim Rowland Jana and Charles Sample Joanne Schust Donna and Philip Stover Karen S. Wood-Nackard Grady

Gammage Society

Barbara, Irv and Jeremy Berger* Karen and Gary Bethune Joe and Rose Circello Daniel Eng Crystal Family Foundation Lee Eberle and Lisa Vivian

Dr. and Mrs. Steven Farber

Sophia and Mike Fong Neil G. Giuliano

Davie Glaser In Loving Memory of David H. Glaser Craig and Amanda Goossen Carl and Patricia Harris Ralph and Ellen Hirsch

Renee and Philip Hoffman

David N. Horowitz and Damon J. Bolling Thomas P. Houlihan Mike Hughes and Dr. Kevin Mendivil* Margot and Dennis Knight

Bill and Stacey Langhofer John Kras and Timothy Walling Aaron and Brenda LaTowsky Hope and Steven Leibsohn Richard S. and Rae Love Merrily Metzger Jeffrey D. Oliver Sandie and Hollis Phillips Rod and Julie Rebello Linda and Chuck Redman Richard and Christy Schust

The Scollick Family Enid and Michael Seiden* Lorri and Stephen Smith

Tiller Family Foundation

Kerry Turner Patrick and Amy Vance Marsha and Charles Van Dam* Greg Yagi and Alan Paulson Patrick H. Zanzucchi Barbara and Barry Zemel

Kathryn Gammage Circle

AADS Office Solutions Int’l, LLC and Kathleen Cullen Mariana and Richard Abelson Helene and Marshall Abrahams

Nancy and Warren Alter* Anderson, Chavet and Anderson Inc. Donna and Jim Anderson Andrew Family Foundation Rhet and Marcia Andrews Anonymous Felice Appell Tran and Glenn Appell Linda and Richard Avner Kevin Axx James and Sandra Bach Doug Ball and Connie Stine

Lory Baraz and Robert Zucker

Craig and Barbara Barrett Bassett Family

The Julie Bennett Family In Memory of Michael Kristy and David Benton Mr. and Mrs. John Berry Dr. and Mrs. Robert Bickes, Jr. Leslie and Alan Bird Col. Jody Blanchfield

The Blunck Family Jon and Jennifer Bohnert

BOK Financial Tara and Todd Bookspan Teresa and Mark Borota Dr. Robert and Lorrin Bowser Michael and Sarah Braun Shirley F. Brown and Fred L. Brown Steve and Belinda Brown

In Honor of Debra Burk Elizabeth Burm Greg and Sarah Byrne Robert Caldwell II and Rebecca PelbergCaldwell Lou and Melissa Caramucci Linda Carneal

Carstens Family Funds Matt and Jill Casperson Causenta Wellness and Cancer Care Center

Children’s Dental Village Helen Cho Dan Churgin Marilee and David Clarke Sasha and Christopher Clements Lee Baumann Cohn and Mike Cohn John H. Cole III M.D. and Patrick T. Boyhan Dr. and Mrs. Lance Cohen

Angela and David Conwell Andrea and Matt Cowley Cox Communications James L. Cramer and Allen C. Kalchik Barbara Crisp and Mark Nemschoff

Eileen Curtin Ellen and Andy Dauscher Beth and Ed Dawkins Nancy Dean and Lorree Ratto

In Loving Memory of Terry DeBoer and Cody Meckstroth* Mr. and Mrs. Tom DeBonis Amena Deluca, MD and David Jackson, MD Teresa and Michael Dempsey

In Loving Memory of Laurie Dennhardt* Dr. Wendy Dickerson Erika and Russ Dickey Jackie and James Disney Robert Donat C.P. and Elizabeth Drewett Michael Drexler Carmen and Mike Duffek David Dyer Andrea and Jerome Elwell Cynthia Emmons Michele and Chris England

Virgina and Ron Erhardt Michele and Michael Etheridge Ardie and Steve Evans Jane and Andrew Evans II

Ray and Bettijune Fanning Mary Farrington-Lorch and Martin Lorch* Justin Fernstrom JO Finks

For Those Without A Voice Sandra J. Fromm* Mimi and Sandford Furman Kathleen Gariboldi and Denis Fallon Angela and Christopher Fylak Karen and Grady Gammage Jr. Kyla and Michael Garrison* Vicki Gibbons Andy and Carolyn Gilb Mrs. Saul Ginsberg Ed Grabowski John and Deanne Greco Kimberly and John Grubb Joan and Al Gudriks Gretchen and Jim Haahr D. Hall, PhD

Sharon and Ollie Harper Nora and Tim Hart Beth and Bill Hicks Tim and Katie Hill Jacki and Charles Hoagland Andrea and Herbert Hodes

Jacqueline HuffordJensen and Greg Kroening Christine Hughes The Ironwood Foundation Tara and Nikhil lyengar Jaburg and Wilk, P.C. Bonnie and William Jaeger Kim Jameson and Jon Ann Hockersmith Colleen JenningsRoggensack and Dr.

Gammage VIP Donor Club continued

Kurt Roggensack*

Dr. Lyndy Jones Peggy R. Joslin and Nicholas Joslin Jane and Tom Joynt Brian and Terri Katz Brad Kerr Norman and Teresa Klein Family Stacy and Alan Klibanoff* Shirley Kruger Michelle Laiss-Lipner* Patricia and Mark Landay Cheryl Laurent Deb and Frank Law Machrina and Dale Leach* Mark Leeper Barbara and Don Leffler Kathy and Albert Leffler Edward and Emily Lesser Herb and Nancy Lienenbrugger

Regan and Rigo Lopez Keli and Kurt Luther Kalidas and Darlene Madhavpeddi Foundation

Bonnie Maffi, Julia Burke, Nancy Singer and Marci Symington Kristen and Doug Magnuson Dr. and Mrs. Gerald Mandell Dr. Celia Maneri Mr. and Mrs. Joseph Marotta Paul Mashani Steve and Rhonda Maun Leslie McDonnell In Memory of Jack McDonnell Christopher McDowell and John Warford Kasia and Patrick McPhilomy Geri and Christopher Mette

David Meyer and Elite Cleaners Bruce Meyerson and Mary Ellen Simonson Kathleen A. Mickle, Karen B. Roth and Erica Lloyd Paulette and Michael Miller Lina and Raymond Mogensen Lesley and Paul Monfardini Kathleen and Barry Monheit Larry and Virginia Morrison Teresa and James Mortensen Loraine and Jim Mottern Dawn and John Mulligan

The Munizza Family Rafael and Mary Munoz Christine and Frank Nechvatal Dick and Jane Neuheisel

Karen Nordstrand Diane and Steve Norris Eric Novack and Tracy Contant

Linda and Kevin Olson R.G. Olson PhD and Peggy Steele Mr. and Mrs. Enrique Ortega Darcy and Mark Ortiz Frank and Ginny Palamara

Leah Pallin-Hill and Bryan Hill

Papp Family Foundation Dr. and Mrs. Donald Patterson Arthur and Linda Pelberg Kathy and Dwight Peters Pat Piazza Jennifer and Noah Plumb MaryLee and Glen Poole Practice Strategies

The Prygocki Family Susan and Mike Pucelik Dr. Coral Quiet and Mr. Jerry Weinberg

Dr. Carolyn Ragatz and Mr. Phillip Ragatz* Mr. and Mrs. Wayne Rawlings

In Memory of Angela Renedo Jeff and Leslie Rich Keri and Steven Richardson Suzanne and Nick Rinker* Dr. Lynn Robershotte and Bryce Franz Ilana and Alan Roga John, Dee and Paul Rogers

Larry and Lisa Rogoff Mario Trejo Romero and G. Lewis Penrose Mitchell and Heather Ross Dr. Kyle Rowland Norm and Pam Saba Judy and Harold Samloff Bryan and Katherine Sandler and Janis Merrill

Dr. Joel Schein and Dr. Diana Laulainen-Schein Ellen and Paul Schifman Lyrna and Michael Schoon Paul and Jan Schrage Ursula and Rick Schultz Jesse and Jennifer Schwarz Tamara Scrivner and Bill and Kathy Aichele Mr. and Mrs. Danny Sharaby/Tickets

Unlimited

Carolyn and William Shine III

Michele Shipitofsky and Eric Rosenberg Jeffrey and Deborah Smith

Spracale Family Frances and Unni Sreekumar

Dr. Cheri St. Arnauld Mr. and Mrs. Ron Starkman*

Dr. Barry and Judith Stern Morgan Stewart and Barbara Page Cheryl Sucato Donald Tapia Brinley Thomas and Charles Bentley Violet Toy and Betsy Toy Yee

Mollie C. Trivers

UMB Bank Mr. and Mrs. Patrick Vance Mark and Lynn Vanderlinde/ VRealty Advisors

Susan Van Dyke MD Michelle and Henry Villeda*

Dr. Robert and Julia Wacloff Dale and Sheryl Wanek Col. Alexander Warschaw Leesa and George Weisz Gary and Kristi West Maidie G. Westlie Jana and Mark Wilcke* Christine and Emery Wiggs Todd and Tammy Wilkening Daryl and Karly Williams Wyatt and Bobbi Wood Ray and Sue York Martha Scales Zachary In Loving Memory of Charlie Zarrelli*

Directors Club

Brian and Paula Aleksa Howard and Wendy Allenberg John and Jamie Alston Jennifer, Zoe and Dustin Anderson Anonymous Louraine Arkfeld Christine and Rocky Armfield Karen and Bob Armknecht Char and Alan Augenstein Kemal Aygun and Jonnie Aygun Gail and Michael Baer Jim Barash and Dr. Tamar Gottfried Anthony and Scott Barshay Karen Beckvar and David Sprentall Chris and Dana Benner Catherine and Chris Bergeron

Gina and Gregory Berman E.M. Berry

Amy and Robert Bessen Michelle and David Bianchi Scot and Dawn Bingman Suzanne and David Black Michelle and John Bonano

The Bonnett Family Kelley, John and Justin Bonowski Adam Bowman Melissa and Jonathan Boyd Kelly Brandt Elna M. Brown Patti and Rick Brown Stephanie and Brad Butler

Mr. and Mrs. Steve Byers Cathy and John Calhoun Elaine and Paul Campbell Dr. Caroline Carney and Mr. Nick Adamakis Kent Cattani Dr. David and Mrs. Georgiana Cave Ann Chafoulias Chan Family Kathryn A. Christmann Christopher Coffer Heidi Cohen Alison Cole Mary Gwen Connor Michael Cordova and Patricia Quinn Andrew Cox Heidi Cox and Tracey Bryce Rebecca and Jon Crawford Carl J. Cross Marisa and Kerwin Danley Bette DeGraw Gene Denison Drs. Fred and Suzie DePrez Brenda and Gary Deutsch Donna Dichiaro In Memory of Bob Dichiaro

Dilemma Hair Salon Michael and Julie Dillon Janice Donnelly and John King Matthew and Terra Duke Cheryl Eames

Nancy and Dave Edwards Lou and Rick Ender

The Empey Family Jody Epperson Edward Evans Dino and Linda Farfante

Dr. Allen W. Flores Dr. Cynthia Foss Stanley Fuelscher Linda and Joseph Garcia Monica Garnes Marybeth and Jimmy

Garrett Barbara and Gregory Geidel

Dr. Philip E. and Roseann M. Geiger Dr. and Mrs. Peter Giovan Joe and Helen Goldblatt Vicki Greener Gary and Jacque Griffith Lani and Scott Grone Jill and Jim Gruler Brent M. Gunderson Hunter Hammond and Matthew Scarnecchia Alan and Anita Handelsman

Lynlie and Myron Hansen Diane Harrison Dottie and Mark Harshbarger Marilyn and Paul Harter Ms. Helene A. Harty Col. and Mrs. Paul Harwood Joseph and Jamie Hedgecoth Hensley Beverage Company

Dr. Maria L. Hesse Blake and Kristina Honiotes

The Hooppaw Family Teresa and Darrel Huish The Jackson Family Sandra Johnson

In Memory of Juanita Stein The Keller Family Thomas and Carly Kelly Alan and Cynthia Kempner Casey and Clara Khaleesi Kierland Mortgage Group, Inc. Kristi and Scott Kreiner Kerry Kuehn Mary and Dave Kurrasch Dr. Robert R. Kuske, Jr. Donna and Joel Laubscher David Ledbetter Susan and Brian Lee Katie and Mark Leinweber Patty and Matthew Lernor Sara and Salvatore Lettieri Patricia and Paul Lewis Fuyu Lin and Samuel Anderson Lisa Loo

LOWY’s Tax Planning & Accounting, PLLC Ronaldo Luanzon and William Jeffery Sharon Lytle-Breen Risa Mallin and Dr. Bruce Mallin (of blessed memory)

Mike C. Malloy and Shandee Chernow John Martell and Cathy

Thuringer Lindsay and Morgan Mathie

Ms. Michelle Matiski and Dr. Alan Snyder Sheran and Doug Mattson

Dave and Marnie Maza Marilyn and Mark McCall Celia and Kent McClelland Robbyn McDowell* Carol McElroy and Mari Connor Karri and Joseph McInerney Tamara and Ian McLeod Azar Mehdizadeh and Justin Reynolds John Mertens and Kim Cantor

Mary and Kurt Meyer Roz Monahan and Melissa Davis Ariana and Daniel Mormino Kathryn Morrison Seamus and Joanne Mulloy Angela and Jesus Navarro Emily and Cory Nelson Georgia and Ronald Nelson Vickie and Ron Neill Debbie and Jim Nixon Di and Danielle Obergh Lisa and James Olson

In Memory of Cindy Olstein* Shannon Olwine and Mohit Mehta Barbara and Catherine O’Neill

Dr. and Mrs. Donald A. Opila Jill Ormond & Jay Kramer Pam and Gary Passey Valerie and Gregory Patten Pam Peacock –Superior Real Estate Services

Maryellen and Mark Pendleton Suzie and David Perkinson John Phebus Cynthia Pino Nathanael Pretlow Hari Puri Carol and Gregory Rath Marliese and Glen Reeves Dean Rennell

Rebecca P. Ripley and Tara Ripley Swinehart Sharon and James Robbins

Russell A. Robbins Chad Robert Dr. and Mrs. Jeff Rockow Theresa and Rene

Romero Dr. Kristine Romine|KRMD

Advanced Medical Skin Care

Rosedale Hair Design Mark and Dena Ross Richard Ross Kent and Mira Rossman Jeremy and Andrea Rowlett Julie and Joseph Russomanno Beth Saiki-Olsen and Morgan Olsen

Jeffrey P. Salomone, M.D. Sherilyn and Joseph Sandor San Roman Family Amy and Mark Schiavoni Jim and Adalyn Schillaci Katherine and Bryan Schlueter Katherine and Randall Schmidt Amber and Shaun Schultz John and Rachel Schurz Ken Schutz and Craig Thatcher Christa and Donald Scott Judy Sera-Windell and Robert Windell Nelma and Jim Shearer

The Sheinin Family Connie and Darin Shryock Martin L. Shultz Jennifer and Reagan Sims Mr. and Mrs. Dennis Smith Jared and Linzie Smith Jeff Smith and Kevin Smith Dr. and Mrs. Stephen Stein Katherine and Mark Strumpf John and Monica Suriano Tasha and Sharon Toby Teret Taylor Carla and Gary Tenney Karen Hoffman Tepper Karen Thorn

Dr. Susan Thrasher and Dr. Charles Schwartz Carol Toy Zeena Ubogy M.D. and Millard Thaler M.D./ Papillon Cosmetic Dermatology Center Chris and Diane Unanue Steven Urke Colleen Smith Walters and Dave Walters

Doug Walters Phyl Wason* Suzanne and Craig Weaver Mr. and Mrs. David Weinberg Jolene and Harv Weisblat Philanthropic Fund

of the Dallas Jewish Community Foundation Bruce Wenger Dave and Rose Wertheim Robert Whyte Dr. Brian and Dawn Williams Suanne Woo and Dana Bearinger Brigid Wright and John Patton Michelle and Chris Zachar Joseph Zavislak

Supporting Members

Donna and Kirk Anderson Anonymous Pam and Jeff Bell Janet Bioletto Neva and Jim Bochenek Judy and Charles Boehmer

In Memory of Jewel Burdsal Rhonda Elifritz-Rix Patricia Fimbres Rhonda Fournier Friedel Family Foundation Eva and James Hamant Barbara and Chris Howard Betty Hum Michelle Louise Johnson In Memory of Jeffrey Killoren Sue Klein Eve and Jim Morse Timbra and Kevin Peace Polly Pinney and Connie Dierks Karen and John Runberg Jacob Schwarz Sherri Tanis Vicki and Tom Taradash Dr. Jerome and Dr. Selma E. Targovnik John Eric Thomas and Dr. John Migliaro Vicky and James Van Dyke

In Loving Memory of Vicky Van Dyke by Elna Brown, Mary LaRue Walker, Robbyn McDowell

VIP Tours of New York LLC

Contributing Members

Ted Allmon Teresa Amabisca Kristin Bean Aaron Becker Susan and Richard Bookspan George and Mary Ann Bradbury

Jenna Bradford and Paul Garcia Mary and Ray Byke Burton Cagen PC

Mr. and Mrs. Aaron Craft Michele F. Davis Elena Flowers Jill Ford Megan Gailey Kevin Gallegos The Garman Family Alyssa Ann Goldstein Maren and Kevin Hanson Kristine Harnden Ellin Abbot Hayes Helen Heisler Elaine and George Heredia Chris Hurst and Roxanne Stockton Prof. Stanlie James William and Linda Langer Julie and Gregory Massoud Sheila and Rodger McKain Judith Mente Brian Mosqueda Amanda and Jeff Murphy Beverly Naig Marilyn Poole Jeff Reinhart Nathalie Rennell Kaijene Roberts Virginia Savage Elvia Senter and Norman Buckner, Jr. Dee Dee Sides

In Memory of Judith Signeski Raj Sivananthan Jill Skelton Daniel L. Smith Valerie Sorkin-Wells Leslie Standerfer Orin and Mary Svarc Jo Taulbee-Flittie Patricia Taylor

JoAn Tonniges and Janet Dixon

Adriana Trigiani and Tim Stephenson Celia Vasfaret Janet Vasiliauskas Jo and Don Wilson

Stacy Wince Darcey Winterland and Blake Bulloch

Meg and Jim Wolfe Lisa Zelasko

ASU Gammage wishes to thank the hundreds of donors who are not listed due to space limitations.

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