ASU Gammage Inner Circle Magazine Volume 16 by ASU Gammage

ASU Gammage

Inner Circle Volume 16 | Fall 2017

MacArthur Genius recipient

Taylor Mac

comes to ASU Gammage

HAMILTON

takes over ASU

Historic Organ gets makeover

D I R E C TO R ’ S S P OT LI G H T

“The solution is to abandon conventional thinking, with an innovative new model that transforms the stadium from a football field into a university asset that’s utilized 365 days a year.”

A NEW VISION FOR SUN DEVIL STADIUM The ASU 365 Community Union is a new model for a sustainable stadium environment, and ASU Gammage has been challenged with making this vision come to life. The vision for the ASU 365 Community Union was introduced by Jack Furst (ASU alumnus and 2017 Founder’s Day Philanthropist of the Year). Furst’s vision was born out of the realization of a huge issue facing cities, universities and even nations: spending big money on stadiums that are utilized on a very limited basis. Most university stadiums cost hundreds of millions of dollars, yet are often only utilized for seven to nine times a year. Furst’s vision was to reverse the utilization rates from 2 percent utilized to 98 percent utilized. The solution is to abandon conventional thinking, with an innovative new model that transforms the stadium from a football field into a university asset that’s utilized 365 days a year. As Sun Devil Stadium renovations reach phase III, we are moving forward to make the ASU 365 Community Union a reality. This new vision ensures that all stakeholders win. Subsequently, we’ve consulted with students, donors, athletes, faculty, alumni, the city of Tempe, Valley residents, local businesses and each of ASU’s 16 colleges. Plans are in place for all of these key stakeholders to always leave the stadium undefeated.

ASU GAMMAGE INNER CIRCLE Volume 16 | Fall 2017 Executive Editor: Colleen JenningsRoggensack Editor In Chief and Project Manager: Theresa Dickerson Managing Editor: Victor Hamburger

Additionally, we are ensuring commitment to the priorities set forth by ASU President Michael M. Crow. We’ll have a home for high profile programs such as the Tillman Center, Public Service Academy, Global Sport Institute, a brand new Cronkite Broadcasting Studio, and sports performance and clinical spaces. We will also be able to fulfill our long-term plans to bring ASU’s ROTC programs into the ASU 365 Community Union. The ASU 365 Community Union will include exciting programming, concerts, film festivals, restaurants and cultural activities to make this a hub for community involvement.

Creative Director: Sarah Moore Editorial Team: Kari Amarosso, Cheryl Amick, Michelle Johnson CAP-OM, Erica Lin

Cover: Taylor Mac will perform at ASU Gammage on April 7, 2018. Photo: Little Fang

ASU GAMMAGE INNER CIRCLE

Colleen Jennings-Roggensack Photo: Tim Trumble

Contributing Writers: Alicia Anstead, Theresa Dickerson, Jennifer Haaland, Catherine Hathaway, Emi Kamezaki, Savanah Yaghsezian

Executive Director of ASU Gammage ASU Vice President for Cultural Affairs

CONTENTS 4

Dreaming Forward

Meet ASU Gammage’s Senior Director of Development, Mollie C. Trivers

HAMILTON on Campus

VIP Event Photos

CO N T E N T S

Autumn Hurlbert of SOMETHING ROTTEN! Awarded ASU Gammage’s Rising Star Award

Donor Profile: Life by the Book

Grappling at Gammage

A New Life for the ASU Gammage Organ

Kristina Wong: The Comedic, Twitter-Trolling Rapper

ASU Kerr Cultural Center and The Nash Join Forces for 2018 Jazz in Concert Series

VIP Club Benefits

ASU Gammage VIP Club

Upcoming VIP Events Amber Iman, Emmy Raver-Lampman & HAMILTON Company. Photo: Joan Marcus

VOLUME 16 | 2017

TAY LO R M AC

This article first appeared in a 2016 issue of Inside Arts, the magazine of the Association of Performing Arts Professionals. Photo: Sarah Walker

DREAMING FORWARD •

by Alicia Anstead

Taylor Mac talks about the goals, participation, consideration and the lessons we learn from artists. He is the closing plenary speaker for APAP | NYC 2017. Remember hearing the responses of live audiences during TV sit-coms? They not only signaled when you should laugh, but usually you were laughing right along with them. That’s what it’s like to talk to theater artist, singer, writer and drag performer Taylor Mac. Ask a question. Get a quick, witty retort. And then laughter. You can be sure that what follows the laughter is thoughtful, incisive and proactive response. Mac has been called “gracious,” “salacious” and “genderfluid.” One reviewer went so far as to say the actor looked like a “Vegas showgirl who jammed her finger into an electrical socket.” Scott Stoner, vice president of programs and resources at APAP, called Mac a “shining example of the Renaissance ideal.” Stoner was referring specifically to Mac’s newest work, A 24-DECADE HISTORY OF POPULAR MUSIC, which was first performed as eight three-hour evenings, and then culminated in a landmark 24-hour finale. The “Ring” cycle—as it has been dubbed—includes 246 songs that were popular between 1776 and 2016, all performed by Mac in a variety of outrageous, glittery, architectural outfits and gowns and platform shoes. “Mac’s musical survey… is offered in the spirit Whitman had in mind when he said that he heard 4

ASU GAMMAGE INNER CIRCLE

America singing,” wrote The New Yorker. Mac will be the closing plenary speaker on Tuesday, January 10, 2017, at APAP | NYC. He and I spoke in October by phone as he was jaunting across Central Park in New York City. What follows is an edited and condensed version of our exchange. I invite you to hear the laughter on your own.

Our conference theme is “flow.” What does that word mean to you? It invokes technique: how a piece moves and where it halts and stops and moves forward, how current keeps work flowing and how as artists our work disrupts that current.

In your shows, you’re often interacting with the audience or getting the audience to participate. What are your thoughts on the role participation plays with your art? I see participation as a tool toward engaging and toward consideration. If you’re participating and you’re actually doing the things you’re asked to do, what happens to your body takes over your mind. Your mind and your body end up becoming the same thing, which they already are, but so many people think you have to compartmentalize them. The physical actions of the audience come from me. They are a

“The work I do is inspiring the audience to a perpetual consideration. Something I say a lot in my work is you don’t have to like it, you don’t have to dislike it, you don’t have to agree, you don’t have to disagree. It’s not asking you to do any of those things. It’s actually just asking you to consider. That’s very hard.”

I know the art that has stayed with me the most in my life is not necessarily art I have loved, but art I have thought about years later. Let’s talk about the durational work, because I know size does matter to you. Yes, it does.

We’re in a quick hit world. And you’re asking us to sit through anywhere from three to 24 hours. How does that scan for a theatergoer? Sometimes it takes more than 90 minutes to kick you out of your 40-hour work week. The whole point is to break up some of the monotony, some of the patterns so you can see things so that you can have a perspective on your emotions and some ideas that are trickling around you. The duration is sometimes what is needed to break you down. What we just experienced in the 24-hours show was that the audience got delirious at a certain point. And their defenses were completely down

TAY LO R M AC

way of getting your mind and body in a state of consideration through a surprise in how you deal with your physical body. So much of art is about surprise. And so much of theater is about surprise. I’m trying to get your body to lean that way a little bit so your mind can join it. That’s one of the reasons. I’m just trying to get people to engage in perpetual consideration rather than decision-making. I find that a lot of people think theater is about deciding things. They want the artist to offer up the question. They want the artist to always be considering. Then they want to be able to decide about what the artist has presented for considering. Rather than that, the work I do is inspiring the audience to a perpetual consideration. Something I say a lot in my work is you don’t have to like it, you don’t have to dislike it, you don’t have to agree, you don’t have to disagree. It’s not asking you to do any of those things. It’s actually just asking you to consider. That’s very hard. People often nod and say “Oh yes yes, OK.” But it’s very hard to do. They leave, and they immediately say, “I didn’t like that part” or “I loved that part,” or “That part worked” or “That part didn’t work.” With a durational work or participation work, the more we engage them in length and in their bodies, the less, I have found, that their impulse is to go to a compartmentalization.

Photo: Teddy Wolff

in a way I’ve never ever experienced in the theater before. So emotional. People were sobbing and screaming and laughing. It took 18 hours and not getting any sleep before they got there. So much of the game is catharsis, but to go through catharsis you have to go completely through something physically, emotionally and mentally. Your devices have to break down. Duration work has a way of doing that. I’m totally in love with it.

How do you adapt when an audience member doesn’t want to participate? Is it a fear because of what it’s going to entail? Do I need to give them more information? Or do I need to read them and say that this person really doesn’t want to do this right now so I’m just going to let it go and find somebody else? I encounter that a few times a year- when somebody just doesn’t want to do it. I think that’s part of the art that’s in the room. I always say to the audience, everything you’re feeling is appropriate. When you’re uncomfortable in the room, that’s part of the art that’s in the room. Let that discomfort give you a path to your consideration of the themes and ideas of what’s going on rather than view it as only a discomfort and I don’t want to be here. VOLUME 16 | 2017

status quo. It is not the goal of someone engaging in ideas and consideration. Sometimes I flat out tell the audience: This is not a universal show. You’re here to experience my church. If you can’t find the empathy or curiosity within yourself to want to explore someone else’s world for an hour or 24 hours, then that’s a problem. I’m not taking over your life. The most I’ve ever performed is 24 hours. You’re offered 24 hours to my point of view. The only thing that is universal about it is that there are tons of people in the room, and they are all making the work with me at the same time. If you don’t like my point of view for 24 hours, hang out with me for an hour and pay attention to someone else in the room for the next 23 hours. And you’re going to get something out of that, too.

TAY LO R M AC

What have you noticed about your audiences?

Photo: Teddy Wolff

That’s an interesting fluidity around power in that moment. One song you sing has the lyric “people have the power.” “Yes, that’s Patti Smith’s song.”

It sounds like you have to constantly monitor where power is during a performance. Sometimes you’re guiding the audience, and sometimes the audience is guiding you. Absolutely. They guide me just as much as I guide them. That’s the biggest part of my technique: to listen to the audience while I’m speaking to them. I’m telling them what to do, but I’ve got to have a little part of my brain that is open to how are they taking it in, how are they responding, where are they at in this moment. So much of it is from the Meisner Technique that I learned. It’s challenging, but it’s really fun.

They’re different depending on where you play, what time it is, what the venue is, what the expectations of the piece is. That has to do with the craft of our team, but I won’t say they respond exactly the same in every moment. Part of the joy for us is to play off of how each one is different. Now for the 24-hour show, the vast majority of the audience had seen me before. But there were a handful of people who had not seen any of my shows. So they were going to a 24- hour show by a person they have no faith in.

That’s baptism by glitter. Exactly. So much of it is about invitation, how you invite people to the work. When I say invitation I mean the marketing and press and all that, but also the first image in the first five minutes in the show and how the audience is welcomed and how you keep the invitation open. Something I joke about is saying, oh it’s so diverse here, there’re so many different kinds of white people. That is an issue that I have in my audiences. Depending on where I go, sometimes it’s better, sometimes it’s worse. And it also depends on how much work an institution has done to diversify the audience. I don’t expect people of color will be drawn to my work without

Where does that live alongside a fairly subjective discourse that you’re engaged in? There’s a lot of first-person narrative in your work. How do you balance that with making people feel welcome in the story? The big thing is I’m not interested in making universal work. The audience should know that within five minutes of watching the show—if not in the very first moment they enter the theater or see the poster. This is not a universal show. I don’t believe in universal theater. I think that’s a crock of shit, frankly. The goal for the work to be universal is the marketer’s goal. That’s not an artist’s goal. And frankly, it’s the goal of someone committed to the status quo and perpetuating the Photo: Teddy Wolff

ASU GAMMAGE INNER CIRCLE

a deeper invitation and more work because why should they care what a white queer has to say? So I get that. I recognize that it’s my problem, and that it’s everybody’s issue at the institutional level. Diversity is something you have to make a commitment to and try different ways. It’s not just economic, either. I’ve done free shows, where I had 3,000 people in the audience in Brooklyn in Prospect Park, and that was maybe the whitest audience I’ve ever had. I’ve also performed at the band shell in the same park, and it’s been almost 90 percent people of color.

What is the role of failure in your art? How do you think about that? Where does failure fit into where you are as an artist?

I’m not an artist. But I wonder what you can tell me as an artist that might be useful for me to know in my own life? What do you know that I, as a non-artist, don’t know about being on this Earth?

TAY LO R M AC

I’d say it’s about 50 percent, if I had to give it a number. The most magical moment that happen onstage are the moments that somebody dropped a note or I forgot something or something fell over or an audience member fell asleep. They tend to be the moments that are amazing, and we turn them into something that rallies the whole room. When you make a commitment to live a life as a performer, you know that every show that sucks is an opportunity for you to learn to do it better the next night. After you get that example five million times, you start to trust it a little bit. Everytime it goes bad, instead of staying up all night feeling crappy about it, I stay up all night trying to figure out what could make it better. What is really transcendent and extraordinary is when you combine authentic failure onstage with authentic virtuosity. When someone has put the hours in and crafted and practiced and played and made the commitment, and they’ve done it all and then it still fails in the moment, but because you’ve done all the work, you’re able to take it and turn it into something, that’s glorious to me. Nothing is ever one thing in the performing arts. If you try to reduce it to one thing, all you’re doing is marketing.

Photo: Teddy Wolff

paying attention and about being an active participant and taking agency, and seeing the world and hearing the world, and meeting the world and seeing the injustice. That song becomes very useful to our population. When somebody gives you a social dictate or social contract or any kind of morality tale or obstruction to healing and dreaming our culture forward, you don’t have to take what’s given to you. You can change it. You can change the law, change the rule, bend the paradigm. That’s what I have learned as an artist. l

I don’t know if non-artists know this, but most of the artists I know whose art I really respect seem to have figured this out: You don’t have to accept what is given to you. You can turn something into what is useful. There’s a song Lord Randall that was written in the 1780s about a man who gets fed poisonous eel by his girlfriend, and he’s on his death bed, and his mom wants him to leave her the money, not his girlfriend, and he says yes. I’ll leave you the money, Mom. Now that story is pretty limited. Sure, there’s some complexity, but it’s the morality tale of don’t get fucked up by love and leave your family. OK, great. You could have just told me that; you didn’t have to sing a song about it. But Bob Dylan takes that story and turns it into A Hard Rain’s A-Gonna Fall about

Don’t miss A 24-DECADE HISTORY OF POPULAR MUSIC ABRIDGED on Saturday, April 7, 2018!

Photo: Teddy Wolff

VOLUME 16 | 2017

MEET ASU GAMMAGE’S SENIOR DIRECTOR OF DEVELOPMENT, MOLLIE C. TRIVERS S TA F F P RO F I LE : M O LLI E C . T R I V E R S

ASU Gammage is one of Arizona’s most prominent cultural hubs. With its upcoming, record-breaking Broadway season, culturally unique Beyond performances and its mission of Connecting Communities™, it’s not surprising that the theater has such a large fan base. A sizeable part of this fan base includes thousands of donors who have helped build ASU Gammage into what it is today. However, many of these donors would not be here today without the hard work and dedication of Mollie C. Trivers, the Major Gifts Director at ASU Gammage. Trivers began working at ASU Gammage in 2000 and completely transformed the donor program. Because of Trivers’ efforts, ASU Gammage has gone from less than 200 donors to nearly 2,000. Additionally, Trivers brought in the first seven-figure donation. “I still think the hunt and the chase (for donors) is fun,” Trivers said. “And I love the friendships that I have developed with our wonderful donors.”

Mollie C. Trivers and Shelley Cohn on a recent vacation.

Trivers’ curly grey hair is the easiest way to identify her. If you need her, you’ll probably find her on the phone in her office or out meeting with another possible donor. Her credentials are impressive due to her long history with the arts. Even as a child, Trivers’ life was heavily immersed in the arts. She played the flute, keyboards and in college she played percussion. Academically, she attended the Academy of Music in Austria, Hobart and William Smith Colleges and completed her graduate work at ASU. Trivers arrived in Arizona in 1974 and eventually found herself working as the Associate Director for the Scottsdale Center for the Arts.

“I still think the hunt and the chase (for donors) is fun. And I love the friendships that I have developed with our wonderful donors.” - Mollie C. Trivers Trivers and Colleen Jennings-Roggensack at ASU Gammage. Photo: Rebecca Ross

ASU GAMMAGE INNER CIRCLE

Eventually, Trivers found herself working with JenningsRoggensack at ASU Gammage with a mission to increase its number of donors to support the powerful programs that ASU Gammage offers. Trivers strives to make sure ASU Gammage donors are a part of providing an invaluable theater-going experience for thousands of patrons each year.

S TA F F P RO F I LE : M O LLI E C . T R I V E R S

“I really believe in creativity,” Trivers said. “I really believe in shared experiences as audience members.” When she’s not fundraising or seeing a show at ASU Gammage, Trivers can be found carriage riding. Trivers said she started carriage riding in 1989 after a hip injury prevented her from jumping horses. “I thought, ‘If you want to be the director of anything you need to learn how to fundraise,’” Trivers said. It was also through the Scottsdale Center for the Arts where Trivers met Colleen Jennings-Roggensack. At the time, Jennings-Roggensack worked for Colorado State University. The two became fast friends because Trivers communicated frequently with Jennings-Roggensack to make sure there were no overlapping dance performances between Scottsdale and Colorado.

Additionally, Trivers works part-time for the Whiteman Foundation and the Whiteman 4G Foundation as their Executive Director. The foundation gives grants to organizations that promote the health, education and welfare of children. Trivers assists with fiscal projects, programming and reviewing grant applications for the foundation. Trivers won’t be leaving ASU Gammage anytime soon though, as she said she’s more than happy where she is. “I feel very fortunate to be here and be a part of ASU Gammage.” l Savanah Yaghsezian • savanah.yaghsezian@asu.edu

Above: Trivers enjoys carriage riding with her horse, Sam. Below: Trivers interacts with Joey from WAR HORSE. Photo: Tim Trumble

VOLUME 16 | 2017

H A M I LTO N O N C A M P U S

HAMILTON Company, HAMILTON National Tour. Photo: Joan Marcus

HAMILTON ON CAMPUS: SMASH-HIT MUSICAL SPARKS CREATION OF NEW ASU CLASSES Underrepresented groups whose stories aren’t told in conventional history often find their voice through an unconventional outlet. The theatrical embodiment of this idea, a groundbreaking musical about our founding fathers, has swept through the Valley, and the world, like a wildfire. Known for sparking political discussions and the epitome of bringing history into the 21st century, HAMILTON has inspired ASU professors to approach their curriculum with contemporary storytelling and a focus on diverse perspectives. Next semester, ASU professors across several disciplines will teach classes with different emphases related to music and theater history, the country’s founding period, and race, with curriculum centered around HAMILTON’s run at ASU Gammage January 30 - February 25.

The World Of Alexander Hamilton Pamela Stewart, senior lecturer of history for the College of Integrative Sciences and Arts has been building her course, “The World of Alexander Hamilton,” for about a year—since she found out the musical was coming to ASU. “I just saw what (HAMILTON) was doing for young people who were seeing it, many of whom I’m sure at some point or another had been turned off to history or believed it wasn’t about them,” Stewart reflected. “I just saw a wonderful opportunity to really sort of mix the past with the present.” She will teach the history of Alexander Hamilton using documents written by the founding father himself, ranging from love letters to Federalist Papers. Students will make connections between Hamilton’s life and the musical, creating their own raps to reflect on their learning.

“I just saw what (HAMILTON) was doing for young people who were seeing it, many of whom I’m sure at some point or another had been turned off to history or believed it wasn’t about them. I just saw a wonderful opportunity to really sort of mix the past with the present.” - Pamela Stewart 10

ASU GAMMAGE INNER CIRCLE

Ruben J. Carbajal, Michael Luwoye, Jordan Donica, Mathenee Treco & HAMILTON Company, HAMILTON National Tour. Photo: Joan Marcus

“(HAMILTON) says a lot about who we are and some of the things we’re wrestling with today, but it also evokes so much of history and also factual history. I think it allows for a bit of spark and motivation that not everyone gets when they think of textbooks and memorizing names and dates, that too many associate with history,” Stewart mused. They will also read Hamilton: The Revolution, co-written by Jeremy McCarter and Lin-Manuel Miranda, who also wrote the book, music and lyrics for HAMILTON and starred in its original cast. The book explores the background, music and making of the musical. By looking at history from the margins to the center, Stewart hopes her students will still see the centers of power, but with a much wider lens.

Race And Performance A second class, with a focus on race and performance, will be taught by Mathew Sandoval, faculty fellow at Barrett, The Honors College. “It’s not just a music class. It’s not just a history class. It’s a way of dealing with race. And HAMILTON does deal with that. Not just in its casting but the topic of the show really,” Sandoval explained. His students will attend several productions from ASU Gammage’s diverse and eclectic Beyond Series, as well as HAMILTON. He hopes to inspire them to engage with their cultural surroundings and grow an appreciation for the arts. The Downtown Phoenix campus course will be open to Barrett, The Honors College students from a variety of majors, allowing for a plethora of perspectives to be represented in class discussions.

“The race component of the class is going to be big because it's one thing to talk about race in terms of history, or a sociological or cultural study, but it's another thing to talk about race in performance. In some ways, it's like an easier entry point to have more difficult discussions about race.”

H A M I LTO N O N C A M P U S

“I hope it’s something when they look back they can say, ‘Wow, I got to see HAMILTON.’ I think that’s going to be something that’s going to continue to pay off down the road in ways that we really have no way of comprehending at this time,” she said.

HAMILTON Company, HAMILTON National Tour. Photo: Joan Marcus

- Mathew Sandoval “The show is literally an interrogation of the fabric of America. Whether it's tearing apart, whether we’re re-creating it, whether we’re sewing it together—like how we deal with the fabric of America,” he said, adding that hip-hop music and its wider culture have been sparking conversations about race in America for many years already, making HAMILTON the perfect pairing for this class. While Sandoval knows that his students are engaged in the current political climate and likely discuss these issues with family and friends, he believes it will be helpful to have respectful conversations with other students in a classroom dialogue, allowing for other points of view to be represented. “The race component of the class is going to be big because it's one thing to talk about race in terms of history, or a sociological or cultural study, but it's another thing to talk about race in performance,” he said. “In some ways, it's like an easier entry point to have more difficult discussions about race.” Although unsure whether HAMILTON will return to ASU Gammage in the coming years, Sandoval said he wants to continue his course with the other rich performances presented at the university. “Not everybody knows this, but ASU Gammage is one of the most well-respected and largest programmers and arts presenters in the western United States. We have a gem in the desert here that doesn’t get taken advantage of,” Sandoval Solea Pfeiffer, Emmy Raver-Lampman & Amber Iman as the Schulyer Sisters, HAMILTON National Tour. Photo: Joan Marcus

VOLUME 16 | 2017

H A M I LTO N O N C A M P U S

Mathenee Treco, Jordan Donica, Ruben J. Carbajal & Michael Luwoye, HAMILTON National Tour. Photo: Joan Marcus

mentioned. “You know, not every student who's at a university gets a chance to see HAMILTON, or see Kristina Wong, or see Dance Theatre of Harlem, or see any number of the things that ASU Gammage is presenting here.”

Hamilton, Hip-Hop And Musical Theater Chris Wells, assistant professor of musicology for the Herberger Institute of Design and the Arts’ School of Music, will teach two Hamilton-based courses grounded in music history. “I’ll speak to the deep importance and impact of the show, and the stakes of political battles and political discourse when it enters the realm of entertainment and stages,” Wells predicted, explaining his fascination with the intersections of music and politics. The courses will explore the history and influences of hiphop and traditional musical theater on Miranda’s work, and involve music analysis. “Popular Music—Hamilton” will be available to general students and “Hamilton, Hip-Hop, and Musical Theater” will be limited to upper-level and graduate students in the School of Music. He said hip hop enthusiasts in his class will use their knowledge to make strong connections to the show while gaining a footing in musical theater history, and those with more of a musical theater background will learn to better understand the hip-hop genre and culture. “It’s also very much in the spirit of the show itself and the kinds of educational programming and audience outreach that Miranda has expressed is very important to him and very much at the core of the show,” Wells explained. “I know he’s very invested in HAMILTON being about access both in terms of the performers who are on the stage and the stories and 12

ASU GAMMAGE INNER CIRCLE

Michael Luwoye & Isaiah Johnson, HAMILTON National Tour. Photo: Joan Marcus

“I want to help students understand that the many ways in which art is and can be political is precisely at the core of why I think HAMILTON is important and is an important thing to talk about.” - Chris Wells genres of music that are represented, but also who is able to see the show, who is able to connect with this piece of work in a deep and meaningful way.” His classes aren’t just about getting the hot ticket in town, they’re about experiencing live theater in a deep and meaningful way. “I want to help students understand that the many ways in which art is and can be political is precisely at the core of why I think HAMILTON is important and is an important thing to talk about,” Wells said.

“I think it’s so powerful to be able to give the opportunity to students who may or may not have ever stepped in the theater. What it gives them is a limitless opportunity to understand our US history, our founding fathers. It’s just amazing what theater can do for everyone.” - Buffie Anderson

Touchdown In The Theater Still, classes aren’t the only way ASU students will interact with HAMILTON next semester.

Buffie Anderson, who supports Sun Devil Athletics’ outreach programs, helped create the Senior Championship Life Experience with her husband Ray, vice president for university athletics. “The purpose was to teach leadership, how to make tough decisions and how to deal with the consequences,” she explained. Years ago, when the Andersons worked for the NFL, Ray took his senior staff to the historical Gettysburg Battlefield in Pennsylvania. The experience was so impactful, they decided to continue with a similar tradition at ASU, with support from Colleen Jennings-Roggensack, executive director of ASU Gammage and ASU vice president for cultural affairs. “This is now the third year Buffie and I are fortunate to help

HAMILTON Company, HAMILTON National Tour. Photo: Joan Marcus

In 2016, the Sun Devil Athletics team brought “Black Angels Over Tuskeegee” to ASU’s Galvin Playhouse for the first senior experience. This past spring, they screened the documentary produced by USA Swimming, “The Last Gold.” This year is expected to be their largest program yet. Buffie said some people don’t understand HAMILTON’s power. Athletes can learn lessons of leadership from the founding fathers—not only through their actions in war, but in empowering the population to have a voice. “I think it’s so powerful to be able to give the opportunity to students who may or may not have ever stepped in the theater,” she reflected. “What it gives them is a limitless opportunity to understand our US history, our founding fathers. It’s just amazing what theater can do for everyone.” l Emi Kamezaki • ekamezak@asu.edu

VOLUME 16 | 2017

H A M I LTO N O N C A M P U S

As part of the third annual Senior Championship Life Experience, Sun Devil Athletics will bring an estimated 200 graduating student-athletes, senior administration and coaching staff to watch the musical at ASU Gammage.

bring an impactful, educational and invigorating experience to our graduating student-athletes, senior administration and coaching staff,” Ray said. “HAMILTON is obviously a worldrenowned production with 11 Tony Awards® and a Pulitzer Prize, so this is sure to be a remarkable experience for our seniors and staff, and one we hope will have an everlasting impact.”

V I P E V E N T P H OTOS

CURIOUS INCIDENT VIP CAST PARTY

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME VIP Cast Party at Pita Jungle 1. Bryan Hill (third from left), his grandson Milo Schwartz giving the cast a thumbâ&#x20AC;&#x2122;s up, Leah PallinHill (third from right) with the cast of CURIOUS INCIDENT 2. Karen Ress (standing third from right), Ron Harten (seated first on right), Louise Wilber (seated second from right) 3. Irv and Barbara Berger (front row center) 4. Larry Lathom (right) speaks with Adam Langdon (Christopher) 5. Steve Garland (second from left) 6. Helen and Joe Goldblatt (second and fourth from left) 7. Colleen Jennings-Roggensack speaks with Shannon Olwine and Mohit Mehta Photos: Tim Trumble

ASU GAMMAGE INNER CIRCLE

FUN HOME VIP CAST PARTY

1. Michael Reed, Senior Director Programs and Organizational Initiatives, welcomes the cast and VIP donors

V I P E V E N T P H OTOS

FUN HOME VIP Cast Party at Macayoâ&#x20AC;&#x2122;s Depot Cantina

2. Krystal Hancock and Zahnie Soe Myint taking a selfie with Carly Gold (Small Alison) 3. Enid and Michael Seiden pictured with Robert Petkoff (Bruce) 4. L to R: Linda Fraser, Leslie McDonnell, Susan Moniz (Helen), Abby Corrigan (Medium Alison), Sheila Halpin, Laurie Cairns, Carly Gold (Small Alison), Robert Petkoff (Bruce) 5. L to R: Susan Moniz (Helen), Abby Corrigan (Medium Alison), Donna Dichiaro, Linda Teehan, Carly Gold (Small Alison), Robert Petkoff (Bruce) 6. L to R: Susan Moniz (Helen), Abby Corrigan (Medium Alison), Carly Gold (Small Alison), Laurie Goldstein, Robert Petkoff (Bruce) 7. L to R: Leslie Rich, Erika Dickey, Kim Johnson, Jeff Rich 8. L to R: Jill Pierce-Garcia, Susan Moniz (Helen), Abby Corrigan (Medium Alison), Gloria Pierce-Garcia, Carly Gold (Small Alison), Robert Petkoff (Bruce) Photos: Tim Trumble

VOLUME 16 | 2017

V I P E V E N T P H OTOS

SOMETHING ROTTEN! VIP CAST PARTY

SOMETHING ROTTEN! VIP Cast Party at Macayoâ&#x20AC;&#x2122;s Depot Cantina. 1. SOMETHING ROTTEN! Producer Kevin McCollum and Colleen Jennings-Roggensack welcome cast & crew. 2. L to R: Babara Astrowsky, Rob McClure (Nick Bottom), Pat Kaufman, Kathy Halvin Gannis, Josh Grisetti (Nigel Bottom) and Dianna Soe Myint 3. L to R: Rob McClure (Nick Bottom), Joe Goldblatt, Josh Grisetti (Nigel Bottom) L to R: Pat Langlin-Brazil, Colleen JenningsRoggensack and Kevin McCollum 5. Ron Harten with Autumn Hurlbert (Portia) Photos: Tim Trumble

ASU GAMMAGE INNER CIRCLE

AUTUMN HURLBERT OF SOMETHING ROTTEN! AWARDED ASU GAMMAGE’S RISING STAR AWARD AFTER HER SHOW’S WEEK LONG RUN IN HER HOME STATE Mesa native, Autumn Hurlbert was awarded the Rising Star award by ASU Gammage at a VIP Donor Luncheon on Nov. 3. The actress is currently playing the role of Portia in the Broadway tour of SOMETHING ROTTEN! which recently closed its six-day-run at ASU Gammage on Nov. 5.

Jennings-Roggensack awarded Hurlbert the award at the luncheon and noted her incredible talent and perseverance. “Getting to come home to your home theater is prize enough and then to be awarded, I don’t know, it’s indescribable,” Hurlbert said. “It makes all those times when you’re struggling really worth it. It’s kind of a beacon of hope.” Hurlbert saw her first Broadway musical at ASU Gammage as a child. She grew up in Mesa after moving from Montana at a young age. She attended Dobson High School and found her passion for performing before she moved to Flagstaff to graduate high school. “This is where, when she was six years old, she came to see OKLAHOMA!,” Pamela Hurlbert, Autumn Hurlbert’s mother said. “And she was sitting in her seat belting out all the songs and I had to tell her, Autumn, the people here did not come to hear you sing. They paid to come here and hear the people onstage sing, so now it’s kind of full circle. For her to be up on that stage and people paying to hear her sing is absolutely fantastic.”

Colleen Jennings-Roggensack presents ASU Gammage's Rising Star Award to Autumn Hurlbert. Photo: ASU Gammage Staff

R I S I N G S TA R

“What we really believe in the Rising Stars is that this is the beginning of their career and they are moving on to greater glory,” Colleen Jennings-Roggensack, executive director of ASU Gammage said. “We’re having them take the name of Arizona along with them.”

“Getting to come home to your home theater is prize enough and then to be awarded, I don’t know, it’s indescribable. It makes all those times when you’re struggling really worth it. It’s kind of a beacon of hope.” - Autumn Hurlbert ASU Gammage’s Rising Stars usually have a tie to the Arizona community. Jennings-Roggensack believes the Rising Star Awardee, like Hurlbert, pass down a legacy to locals when they perform on the ASU Gammage stage. “I love to say to all the actors here, someone in the audience is seeing a show for the very first time,” Jennings-Roggensack said. “And you’re going to inspire them to be on the stage. You’re going to inspire them to become a producer. You’re going to inspire them to become a patron. I think it absolutely inspired her to do that. We are so excited to present her with the award.” Hurlbert’s notable performances include Portia in the first national touring cast of SOMETHING ROTTEN!, LEGALLY BLONDE on Broadway, first national tour of LITTLE WOMEN, NBC’s The Sound of Music Live! and MTV’s Legally Blonde: The Search for Elle Woods. l Catherine Hathaway • catherine.hathaway@asu.edu Autumn Hurlbert with her mother and grandmother at the VIP Donor Luncheon. Photo: ASU Gammage Staff

VOLUME 16 | 2017

LIFE BY THE BOOK • By Jennifer Haaland Pat Langlin-Brazil, 91 years young, tells a story about her strict dad who instilled in her a love of stories. A precocious reader, school-aged Pat had volunteered an opinion about a book she'd borrowed from the library when her father had sternly responded. “You're reading that?” he had queried. “...Why didn't you just borrow mine?”

D O N O R P RO F I LE

“Because I didn't think you'd let me read it,” Pat had tenuously replied. “Then he said something that has always stuck with me: ‘How are you going to know the good from the bad unless you read all kinds?’ I thought that was pretty good advice,” Pat says. She's been reading and seeing and supporting all kinds of stories ever since, including hundreds that have played out on the ASU Gammage stage. It's been a life by the book, so to speak, but absolutely her book, one that she's still voraciously writing. The story of Pat's grand ASU Gammage patronage is a doozie. Part knee-slapper, part tear-jerker, it's built on the people, principles and plays (books and movies, too) that she holds most dear. “We moved from California to Arizona in 2001 and sat up in the balcony that first year. Then we were way at the back of the house the next season,” Pat says of hers and late husband George's beginnings at ASU Gammage. “I'd told George that I'd heard you have to wait for someone to die to get seats close to the stage in the center,” she chuckles. “He'd said, ‘Ya know, I bet there are other ways to get those seats. If that's what you want to do, we can find out.’”

Pat Langlin-Brazil is greeted by David Burnham at the 2012 Golden Gammage Gala. Photo: Tim Trumble

Find out they did, by way of becoming involved with the ASU Gammage development team and other VIP Club supporters. By 2004, the Brazils moved to “great seats” and have been there ever since. “When I met Peter [Means, ASU Arts & Design Senior Director of Development], I told him he was the best schmoozer I'd ever seen. He's a good man. We still have coffee every couple weeks,” she laughs, but then turns more serious.

Plumbing with Aplomb Even without having met Pat or George, most ASU Gammage goers are familiar with the Brazils because of the building's unique restroom decor. Featuring the George Brazil Plumbing & Electrical logo or fonts, many of the trivia tidbits that adorn the bathroom stalls and walls are humorous as well as informative. About the signage she says with a clever smile, “We wanted to have fun in an eye-catching way but not be crude. We kept at it. Some of the phrases we cleaned up a bit. Over the years, we've changed the style two or three times to attract more attention or apply them to some show coming through.” Yes. Pat, with the help of their business and the ASU Gammage team, designed fun campaigns that have staying power. She personally, however, wanted a bigger, unspoken message behind the amusing bathroom signage. “Our sign over the door at ASU Gammage? I want everyone to know that people in the plumbing business can be interested in plays and musicals, too,” Pat says. “I've always felt like I've done my job if some stranger walks up to our exhibit at the Home Show and says, ‘I like what you do for ASU Gammage.’” She explains that stories told through theater arts have changed her, saying, “You miss out if you don't have opportunities to do self-supporting things.”

ASU GAMMAGE INNER CIRCLE

Left: Pat Langlin-Brazil and Peter Means celebrate the new ASU Gammage elevator. Photo: Tim Trumble

“Our sign over the door at ASU Gammage? I want everyone to know that people in the plumbing business can be interested in plays and musicals, too. I've always felt like I've done my job if some stranger walks up to our exhibit at the Home Show and says, ‘I like what you do for ASU Gammage.’”

“When George got sick, I took his place at the plumbing company. I am still in the office two to three days a week. I serve on the Management Team and sit in on interviews with new hires. I still send birthday cards for employees' spouses and children, too.” “I had to smile a few years back," Pat recalls, realizing how her brand of ASU Gammage support is being passed on to future generations. I overheard a little boy as he came out of the bathroom say, ‘Daddy, do you know the way mirrors were first invented?’ “I've always tried to give whatever kind of my help I could to ASU Gammage. The company does, and I personally do, as well.”

D O N O R P RO F I LE

The move from California to Arizona had provided Pat an opportunity to be more involved in their business. She played her various roles with a feisty zest and learned by wearing many different company hats. In her ninth decade, she's still going strong.

Pat Langlin-Brazil with Sutton Foster at the 50th Anniversary Golden Gammage Gala. Photo: Tim Trumble

A Few of Her ASU Gammage Pages “I was at a ASU Gammage luncheon for the play WAR HORSE. I was thrilled to talk for quite a while with the actor who held the head of the horse. I told him how amazing it was that a human could become a horse,” Pat recounts, the wonder lingering in her voice. “Someone told me the reason our shows are so good at ASU Gammage is because of how very connected the traveling group is among each other. It's different from everyone going home to their separate New York apartments after the show each night. On these tours, they become each other's family.” The thing about Pat is, she so generously shares ASU Gammage stories, and lots of her own, with throngs of others. Another of her memories combines her sincere art appreciation with her good-natured generosity. In one breath, she marvels at how unsolvable human predicaments can be so effectively depicted by theater. In the next breath, she's guffawing about giving someone else a similar gift, but wrapping it in a prank. “Probably one of my favorite ASU Gammage stories is from when I saw DOUBT. I loved the play, the questions it raised. Left: Pat Langlin-Brazil with George C. Wolfe at the 2017-2018 Season Announce Event. Photo: Tim Trumble

VOLUME 16 | 2017

“Colleen has created such a great group to work with. It's so nice to be involved with ASU Gammage.” With what sounds like gratitude for a fellow change-maker, Pat says of ASU Gammage's Executive Director and ASU Vice President for Cultural Affairs, “Colleen has created such a great group to work with. It's so nice to be involved with ASU Gammage.” Beyond the people, what keeps drawing her back to ASU Gammage and has always drawn Pat to the arts? She circles back to her beginnings to describe why those staged dramas mean so much to her.

D O N O R P RO F I LE

Pat Langlin-Brazil with Chuck Goldstein and Bill & Sue Ahearn at the 50th Anniversary Golden Gammage Gala. Photo: Tim Trumble

We had friends who we used to call the Bickersons because of how much they squabbled. I decided before I went home, ‘I'm going to get two more tickets for the Saturday matinee to give to them.’ We laughed and laughed when she called me after the show that Saturday night. She said, ‘You set up an argument at our house that is never going to die!’”

Earlier Chapters “When I was little, I wanted to be a teacher. I played school, instead of with dolls,” Pat says about how her childhood was shaped. “My mother understood. She was brilliant when my dad thought it was time for me to go to work. She said to him, ‘Pat is so klutzy. She'd never make it doing manual work. The only thing she has is her brain. We better send her to school and teach her to use it.’” During her younger school days, she says she was saving her money for the next book she wanted to buy when her friends were spending their money on dances and parties. While working her way through college at Boston University, Pat had a house mother who would take them to a show now and then. It was during that time that she saw STRANGE FRUIT and saw “OKLAHOMA before it was OKLAHOMA. I think it was called GREEN GROW THE LILACS.” [It was.] And how Pat has used her brain, just as her mother foresaw! She did keep playing school, for real. She taught high school. English. Social studies. Business. Typing. Then she wrote curriculum and went on to the California State Department of Education. Her brainpower whisked her along until she had been named Assistant Superintendent for Vocational Education for the State of California. She was only the second woman to ever achieve the title. She ended her long tenure there when a new superintendent and she didn't quite see eye to eye. “He was a big supporter of the three Rs: (Reading, wRiting and 'Rithmetic). I told him I was too, but believed in the fourth R as well, the Right to earn a living. The difference in our philosophy wasn't going to work, and I decided we needed to part ways.”

ASU GAMMAGE INNER CIRCLE

“I like the stories. They have always been my interest. I am a great reader of books. And they often get told by or turned into plays and movies.” “Being a great reader, I got that from my dad. He encouraged me to read it all and see it all, and I always have. I've never walked out of a show. At ASU Gammage, I went to see SPRING AWAKENING. I went to see THE BOOK OF MORMON. Even when other people raised their eyebrows. After SPRING AWAKENING, I had a visit with a young man. I overheard his friend ask, ‘You talked to a grandma-aged person about that?!’ And he said, ‘Sure. She's the only one I CAN talk to about it.’ Anything I can do that helps get young people involved, I want to do.” Pat Langlin-Brazil's stories fill a lively, gilt-edged book that, by her own vivacious design, is a great read for those lucky enough to come across it. As she helps others begin to pen their own artsinfused narratives, she'll keep coming to ASU Gammage, eagerly embracing her next chapters as they unfold. l Pat Langlin-Brazil with the cast of MAMMA MIA! Photo: Tim Trumble

G R A P P LI N G AT G A M M AG E

GRAPPLING AT GAMMAGE: ASU WRESTLING HOME OPENER VS PITT, LIVE ON STAGE The Arizona State wrestling team will take their home opener to a different venue, hosting Pitt on Sunday, Nov. 19 at ASU Gammage on the ASU Tempe campus. “Wrestling has performed on the biggest stages in the world— the Coliseum in Rome, Times Square, the U.S.S. Intrepid on the Hudson River, and even NYC's Grand Central Station,” said head coach Zeke Jones. “Now we will make our own small part of history when we wrestle Pitt in one of Arizona's iconic buildings. It will be an excellent venue for wrestling and a historical event in ASU history and we're proud to be a part of it.” “Frank Lloyd Wright was inspired to build Gammage on an athletic field and wanted it shaped in a circle, like an arena. Now, our team and the ASU Gammage team will bring the vision together when we wrestle its first athletic event ever. The dual will be a tribute to their vision.”l

VOLUME 16 | 2017

A N E W LI F E FO R T H E A S U G A M M AG E O RG A N

Thanks to the hard work and dedication of Kimberly Marshall, DMA student Alexander Meszler, Jeff Rollins, Reuter Organ Company CEO Albert Neutel Jr., Albert Leffler, Terri Cranmer, Grady Gammage, Jr., Heather Peel, Karen Taylor (MM students) and DMA student Brandon Burns, the organ has been fully renovated and is ready to make music once more.

A NEW LIFE FOR THE ASU GAMMAGE ORGAN Behind dazzling Broadway sets, out of the spotlight and deep upstage rests a historical Æolian-Skinner organ with almost 3,000 pipes and nearly as many connections to essential stories of ASU Gammage’s history. Recently completed refurbishments to the rare organ helped to preserve and update it for use as a resource for university students, to attract renowned performers and to maintain an important reminder of ASU Gammage’s rich past for years to come. “Thanks to our generous donor Hugh W. Long, Jr., our extremely talented ASU staff, the expertise of the Reuter Organ Company and collaboration with our 50th Anniversary Leadership Board, we are thrilled to be able to revitalize the Æolian-Skinner organ—a breathtaking instrument and a crucial piece of our organization’s identity,” said Colleen Jennings-Roggensack, executive director of ASU Gammage and ASU vice president for cultural affairs. “We have been privileged to continue making important updates to our theater to improve accessibility for the community while preserving ASU Gammage history.”

ASU GAMMAGE INNER CIRCLE

A forgotten musical history With its robust performing arts programming and growing reputation as the heart of arts in the Southwest, few remember ASU Gammage’s innovative start 53-years-ago. Now famous as a theater venue, the architectural masterpiece was intended to serve primarily as a concert hall. This is why many components of the building are tailored to maximize natural sound, including the collapsible orchestra shell and floating design of the grand tier, which ensures an even flow of sound to every seat. Another key aspect of this design was the venue’s Æolian-Skinner organ. “Into the overall design was consideration for a pipe organ, both as an instrument for music written for orchestra and organ, and as a teaching, practice and recital instrument,” recalled Albert Leffler, ASU Gammage 50th Anniversary Board member and co-founder of Ticketmaster. ASU School of Music Professor Kimberly Marshall explained that the organ represents a period of organ building in which bright sounds were included with the instrument’s traditionally deep, powerful timbres.

In this way, early music could be played with more clarity and all repertoire could be played on one organ.

The updated organ back in its home at ASU Gammage.

“The system they have to move (the organ) in and out is one of a kind,” said Albert Neutel Jr., the president, CEO and coproprietor of The Reuter Organ Company, which oversaw the organ’s refurbishments. “It’s the only one in the country.”

Revitalizing ASU Gammage’s historic instrument Dr. Alexander Schreiner, Mrs. Hugh W. Long and Hugh Long, Jr., at the inaugural organ gala in 1965.

An unparalleled organ for an exceptional venue With Frank Lloyd Wright as the building’s designer, and collaboration with the world’s best stage designers and acousticians, only the finest organ would be suitable for the 3,000-seat auditorium. Former ASU President Dr. G. Homer Durham personally selected the Boston-based Æolian-Skinner company to build the instrument, as this specific type of organ was thought to elevate the university’s music programs and the auditorium’s ability to compete with prominent music halls. Generous donors Mr. and Mrs. Hugh W. Long made Durham’s vision a reality. Their son, Hugh W. Long, Jr., continued his family tradition by donating funds to update the organ this year. Its initial installation was completed about one year after ASU Gammage’s grand opening in 1964, and was celebrated with an inaugural gala recital performed by Alexander Schreiner, chief organist of the Mormon Tabernacle. ASU Gammage is one of only a handful of places in the country that is home to the rare Æolian-Skinner pipe organ. Housed at the rear of the stage on three moveable wagons, the impressive instrument has a three manual console and almost 3,000 pipes.

A N E W LI F E FO R T H E A S U G A M AG E O RG A N

“The Æolian-Skinner organ in ASU Gammage makes it possible for organists to perform with orchestra in a marvelous acoustic,” Marshall added. “This provides important opportunities for my students as well as delighting audiences with a kaleidoscope of organ colors. We hope to be able to feature the newly refurbished instrument in a solo concert series as well.”

The need to update the organ console’s technology and repair damage from day-to-day use led the ASU Gammage team to refurbish the organ in August. Before renovations, the instrument had 2,870 pipes, 3 manual keyboards, 3 foot pedals and 48 stop buttons. Now, a larger chord memory and a recording and playback system will allow students to hear what their performances will sound like within the auditorium. The refurbishment added more presets for organists to quickly change the instrument’s sound, and digitally synthesized sound to reproduce the low frequencies of bass pipes. Neutel’s team also replaced old moving electrical components to make the organ more reliable and updated console cables with modern versions. “(The updates) will put the organ back in good condition,” Neutel stated, adding that they will be an immense benefit to music students at ASU. For even the most indifferent to music and ASU Gammage history, hearing the rich timbre of the organ’s song and witnessing the impressive glow from its wave of golden pipes is enough to take one’s breath away. “(The repairs) will benefit students who learn here, faculty who teach here, audiences who already appreciate, and those who will come to appreciate organ music produced by one of the finest instruments, specifically voiced to complement the world-class acoustics of ASU Gammage,” Leffler mused. l Emi Kamezaki • ekamezak@asu.edu

VOLUME 16 | 2017

K R I S T I N A WO N G

Photo: Jen Cleary

KRISTINA WONG: THE COMEDIC, TWITTER-TROLLING RAPPER Get to know the story behind performance artist Kristina Wong’s show THE WONG STREET JOURNAL coming to ASU Gammage January 20 She is bright-eyed with a friendly demeanor, vibrantly dressed and has a very apparent passion for people. Wong is a woman of many quirky qualities and talents. The artist, writer and comedian is best known for her show WONG FLEW OVER THE CUCKOO’S NEST and her boisterous Twitter account with over 50,000 followers. Wong will be coming to ASU Gammage for one night only, on Jan. 20, with her show THE WONG STREET JOURNAL. Wong is a nationally recognized performance artist, comedian and active Twitter user. She is very excited to be included in the 2017-2018 Beyond season.

“I basically thought I was writing a show that was going to be about poverty,” said Wong. “I knew there was going to be politics involved as far as a westerner showing up in a developing country, but what the show ends up being about is me as an Asian-American, someone I think sort of represents a marginalized perspective in America, showing up in East Africa and being the most privileged person in the room in the face of colonization.”

“There’s something really amazing about seeing another human live,” said Wong. “I learn so much about other people and the world from watching solo performances. There’s a certain intimacy that’s available in a live performance space.” Wong’s show is based off her trip to Uganda and her hopes of volunteering. She knew she was going to write a show inspired by her journey, but THE WONG STREET JOURNAL ended up being a much different show than she originally intended.

ASU GAMMAGE INNER CIRCLE

Photo: Jen Cleary

“I learn so much about other people and the world from watching solo performances. There’s a certain intimacy that’s available in a live performance space.” Wong’s performances often turn a mirror on social issues such as race or mental health. As an Asian-American, she finds she has a unique perspective on how the world perceives her and how that perception can differ depending on where in the world she is. In Uganda, she created a hit rap album with local rap artists.

THE WONG STREET JOURNAL dives into how Wong was perceived in Uganda, as someone from America, and how that dynamic affected her newfound friendships. “In their minds, I'm just a European,” Wong said. “First it’s kind of amicable and fun, but in many moments it got tangled up very quickly. I have a genuine Photo: Jen Cleary friendship with them, but they saw me and were like oh here’s this big, American voice we can put on our album. Here’s someone who has access to resources.”

K R I S T I N A WO N G

“It was just the weirdest thing,” Wong recalls. “We started to record and improvise. They were like ‘just rap something right now.’ I just started to rap about the situation in the street about being charged the ‘Mzungu Price.’ That whole story is in the show.” Photo: Jen Cleary

“The fun hook is the rap album. The more serious hook is all the stuff about deconstructing privilege,” said Wong. “I’m trying to get my audience to think about how can we think deeper about helping and is it ever possible to completely separate our ego from it.” l Catherine Hathaway • catherine.hathaway@asu.edu

“I’m trying to get my audience to think about how can we think deeper about helping and is it ever possible to completely separate our ego from it.”

Although the topics covered in Wong’s performances are very introspective, she assures audiences that her comedic nature and hilariously fortunate accidents will make for a lively show.

Don’t miss THE WONG STREET JOURNAL on Saturday, January 20, 2018!

VOLUME 16 | 2017 Photo: Tom Fowler

ASU KERR CULTURAL CENTER AND THE NASH JOIN FORCES FOR 2018 JAZZ IN CONCERT SERIES Timeless jazz greats Miles Davis, Dave Brubeck and Billie Holiday to be celebrated ASU Kerr Cultural Center and The Nash are teaming up to pay tribute to some of the most revered talents in jazz history. Audiences this season can look forward to three diverse programs that explore genre-defining jazz artists Miles Davis, Dave Brubeck and Billie Holiday.

K E R R KO R N E R

“We are on a mission to turn new audiences on to the magic and soul of jazz,” said ASU Kerr General Manager Tracey Mason. “These shows will be an adventure through jazz history—and American history—while sharing some of the Phoenix area’s greatest musical talents.”

Wednesday, Jan. 10, 2018, Fred Forney Celebrates Miles Davis. Forney, a Valley king of jazz education and top

horn man for decades of major artist and Broadway shows, has a deep connection to the music of Davis and has a history of sold-out performances.

Wednesday, March 7, 2018, Sherry Roberson Celebrates Billie Holiday. Holiday’s devotees of all ages

will be treated to Roberson’s toast to Lady Day. Roberson will be joined by legendary trumpeter Jesse McGuire, ASU Kerr friend and favorite Charles Lewis on piano, bass virtuoso Bob Lashier and a very special guest on drums: Lewis Nash. Joel Goldenthal, Executive Director of The Nash and Jazz in AZ organization, curated the ASU Kerr jazz series. “The musicians and vocalists who will be interpreting the music of these jazz luminaries are all consummate artists in their own right and have the knowledge, experience, chops and personalities to deliver.” Goldenthal said. Tickets for all Jazz in Concert Series performances are available at asukerr.com or 480.596.2660.

Wednesday, Feb. 7, 2018, Nicole Pesce Celebrates Dave Brubeck. Joined by saxophonist Jerry Donato, paying

homage to acclaimed Brubeck alto sax man Paul Desmond, Pesce and Donato will journey through their favorites of Brubeck’s music, including the beloved tune “Take Five.”

“Jazz must be experienced live, it gives deeper connection and insight into the music and musicians behind it,” said Mason. Goldenthal added, “Kerr is unique in its intimacy between performers and audiences, it’s the perfect environment for jazz.”

Support ASU Kerr Cultural Center: Kerr-Takers get special benefits! There’s a new way to join us at ASU Kerr! A membership is a wonderful act of service and helps ASU Kerr create cultural opportunities in our community. You’ll help sustain a historic venue and give others greater access to the arts while getting personal perks in return.

Member benefits include: • Early ticket purchasing, open first to members • Access to VIP pre-show receptions • Early entry to venue on show days • Artist meet and greet opportunities

Be a vital part of ASU Kerr's inner circle of fans and friends! Contact Matthew Kohlbeck at kohlbeck@asu.edu or 480.596.2660 for more information. l 26

ASU GAMMAGE INNER CIRCLE

Member • $120 and above

Contributing Member • $300 and above

Supporting Member • $600 and above

Directors Club • $1,500 and above

Kathryn Gammage Circle • $3,000 and above

Grady Gammage Society • $6,000 and above

Producers Academy • $10,000 and above

Investors Guild • $25,000 and above

Opportunity to purchase tickets before the general public (when available)

Visits to the VIP Lounge

Subscription to Inner Circle Magazine

Recognition in show programs

Invitation to behind-the-scenes events and cast parties

Great seats—and private VIP ticketing concierge services

For Season Ticket Holders: Priority seating in VIP subscriber seats (number of tickets and location based on donor level)

For Single Ticket Buyers: Priority seating available (number of tickets and location based on donor level; while supplies last)

Reserved parking at ASU Gammage

Annual luncheon with the ASU Gammage Executive Director

Invitations to exclusive events

Sponsor recognition for a BEYOND performance of your choice

Special opportunities tailored to your individal needs and interests

Your photo in the ASU Gammage VIP Club Leadership Gallery

Special lobby and website recognition

unlimited visits

V I P C LU B B E N E F I T S

benefits

VIP Guidelines: You must maintain your annual VIP contribution at or above the Directors Club level in order to enjoy VIP seating. ASU Gammage VIP subscription seating is offered in the Orchestra Level in rows 3–20. VIP benefits may be available only upon your request, at your expense (if any) and subject to availability. Benefits are effective immediately and are subject to change without notice.

VOLUME 16 | 2017

100K MILESTONE

DONORS

ASU Gammage gratefully acknowledges these individual donors and foundations whose cumulative giving totaled $100,000 or more as of October 2017. The contributions of these generous benefactors, in partnership with those of other visionary patrons, sponsors and volunteers, have incalculably enriched our community.

Abbett Family Foundation Susan & William Ahearn Pat & Bill Andrew Jerry Appell APS Arizona Lottery Carol Barmore Carmen & Michael Blank F. Richard Bloechl Family Lee Bowman George Brazil Plumbing & Electrical Broadway Across America JO & Harvey Finks Laurie & Chuck Goldstein Joanne & Mark Halberg Patricia Kaufman Patricia Langlin-Brazil Hugh W. Long, Jr. Family Rae & Richard S. Love Robert Machiz Kemper & Ethel Marley Foundation Lesley & Paul Monfardini Margaret T. Morris Foundation Sarah Nolan Jenny Norton & Bob Ramsey Rosenbluth Family Foundation Stinson Leonard Street LLP and Michael Manning Ticketmaster VMI Holdings Mary & Bill Way/Way Family Charitable Foundation

“When somebody gives you a social dictate or social contract or any kind of morality tale or obstruction to healing and dreaming our culture forward, you don’t have to take what’s given to you.”

CORPORATE/ FOUNDATION SPONSORS $100,000+ Broadway Across America Desert Schools Federal Credit Union $99,999-$50,000 George Brazil Plumbing & Electrical Ticketmaster $49,999-$25,000 National Endowment for the Arts $24,999-$10,000 Andrew Family Foundation APS Arizona Business Bank Stinson Leonard Street LLP/Michael C. Manning $9,999-$2,500 Abbot Downing Arizona Business Magazine Macy’s The New England Foundation for the Arts Penrose Academy The Reflective Designer Target Tim Trumble Photography, Inc.

LEGACY Anonymous Susan & William Ahearn E.G. & Carol Barmore Weasley Beckley Larry Berentzen Barbara, Irv & Jeremy Berger Charley Beyer George & Patricia Brazil Linda Broomhead & Terese Sanchez Marlene Bushard Kim Cahow-Harmon Angela & Dave Conwell Carl J. Cross Leonard & Emily Dudziak Raylan & Beverley Evans Mary Flora Marilyn & Jim Foley Alan & Anita Handelsman Henry & Mary Hansen Carl & Patricia Harris Rojon & Jay Hasker Robert & Jeanette Heacock David N. Horowitz Lucille Hudgens Donald & June Julen Sue Larsen Richard S. & Rae Love Douglas Lowe Larry Mattal Ellis & Kiran Means Merrily Metzger Paul & Janet Morrison Vickie & Ron Neill Clyde C. Parker Jr. Dr. & Mrs. Michael Pollay Russell A. Robbins Mitchell & Heather Ross Virginia Schantz Margaret Schulz Mr. & Mrs. Russell Smith Ava Spanier Jo & Frank Stockman Bruce C. Thoeny Mollie C. Trivers John & Joyce Webb

- Taylor Mac 28

ASU GAMMAGE INNER CIRCLE

Photo: Teddy Wolfe

ASU GAMMAGE VIP CLUB INVESTORS GUILD

Susan & William Ahearn* Barbara, Irv & Jeremy Berger* Molly Blank Fund and Carmen & Michael Blank Lee Bowman* JO Finks Dr. & Mrs. Charles Goldstein* Beth & Mike Kasser Patricia Langlin-Brazil* Ray & Sue York

PRODUCERS ACADEMY

GRADY GAMMAGE SOCIETY

Bill & Cindy Abbott* Anonymous Allen-Heath Memorial Foundation Reginald M. Ballantyne III* Mary A. Barrett Jacqueline Chadwick, MD Michele & Chris England Dr. & Mrs. Steven Farber* Sophia & Mike Fong Davie Glaser In Loving Memory of David H. Glaser Carl & Patricia Harris Jay & Rojon Hasker* Ralph & Ellen Hirsch David N. Horowitz & Damon J. Bolling* Michelle Jung & Chris Rodriguez Norman & Teresa Klein Family Aaron & Brenda LaTowsky Hope & Steven Leibsohn Richard S. & Rae Love Douglas Lowe Bonnie Maffi & Mara Kotansky Dr. & Mrs. Gerald Mandell Merrily Metzger* Jeffrey D. Oliver* Anita & Armand Ortega Arthur & Linda Pelberg Rod & Julie Rebello* Rosenbluth Family Foundation* Richard & Christy Schust Enid & Michael Seiden* Lorri & Stephen Smith Roxane Smyer & Bailey Smith

Chris & Adela Sommer Tiller Family Foundation Melissa Trudelle Marsha & Charles Van Dam Kristi Vasquez & Jeff Roberts Veteran Tickets Foundation The Way Family Patrick H. Zanzucchi KATHRYN GAMMAGE CIRCLE

AADS Office Solutions Int’l, LLC & Top Priority Messenger Service, Inc. Benjamin Alon Nancy & Warren Alter Anderson, Chavet and Anderson Inc. Buffie & Ray Anderson Rhet & Marcia Andrews Anonymous Felice Appell Tran & Glenn Appell Arizona Glaucoma Specialists - Jeffrey S. Kay, M.D. Alan & Char Augenstein Linda & Richard Avner Harrison & Laura Bachrach Craig & Barbara Barrett Bassett Family Michael & Julie Bennett Kristy & David Benton Mr. & Mrs. John Berry Karen & Gary Bethune Janet Bioletto Corilee & Kevin Bishop Col. Jody Blanchfield The Blunck Family Jon & Jennifer Bohnert Tara & Todd Bookspan Oonagh & John Boppart Susan & David Brachman Shirley F. Brown & Fred L. Brown Elizabeth Burm Pam & Bryan Cadoo Jim Cairns & Dani Stanton Dawna & Dan Calderone California Community Foundation Sarah Carlson Gilbert & Paul Gilbert Linda Carneal Rick & Kathy Cartell Renee Cermak & Fred Auzenne* Dawn Cernak Susan & Steven Charney Children’s Dental Village Rose & Joseph Circello Marilee & David Clarke* Carol & Larry Clemmensen Dr. & Mrs. Lance Cohen Lee Baumann Cohn & Mike Cohn Susan Cohn John H. Cole III M.D. & Patrick T. Boyhan Marilyn & Bob Colvert Angela & David Conwell Andrea & Matt Cowley Barbi Crisp & Mark Nemscoff Crystal Family Foundation Michele Davis Beth & Ed Dawkins Nancy Dean & Lorree Ratto Cyndi & Terry DeBoer Bob Demaine Teresa & Michael Dempsey Laurie Dennhardt & Anna de Jesus* Wendy & Todd Dickerson Cathy Dickey BOLD indicates $50K cumulative giving to ASU Gammage * denotes multi-year commitment

Erika & Russ Dickey Mr. & Mrs. Robert Donat Jane Dowling Daniel Eng Ardie & Steve Evans Jane & Andrew Evans II Ray & Bettijune Fanning Mary Farrington-Lorch & Martin Lorch Eric Feldman Phyllis & Jack Finney Mike & Becky Fish Fractured Prune Doughnuts Arizona Judy & Howard Garr Natalie & Ed Gaylord Terry Gimmellie & Brooks Hull & Paula Kampinski Mrs. Saul Ginsberg Neil G. Giuliano Judy & Herb Gold Mark & Sherry Goldberg Christine & Luis Gonzalez Don & Justine Good Ed Grabowski & Matt Basham John & Deanne Greco Joan & Al Gudriks & Mary & Dan Stamp Gretchen & Jim Haahr Joanne & Mark Halberg* In Memory of Ada Halbreich Mr. & Mrs. Don Hall Liesa Harkness* Jeffrey E. Harper Jennifer & Stuart Hetrick Beth & Bill Hicks Denise & David Higgins Tim & Katie Hill Les & Marfa Holland Bruce Hopkins Jacqueline Hufford-Jensen & Greg Kroening Christine Hughes Mike Hughes & Dr. Kevin Mendivil Tara & Nikhil Iyengar Dr. Ellie & John Izzo Jaburg & Wilk, P.C. Bonnie & William Jaeger Kim Jameson & Jon Ann Hockersmith Colleen Jennings-Roggensack & Dr. Kurt Roggensack Brian Jones Dr. Lyndy Jones Peggy R. Joslin & Nicholas Joslin Mr. & Mrs. Tim Kaehr Judson Karlen Stacy & Alan Klibanoff* John Kras & Timothy Walling Michelle Laiss-Lipner Patricia & Mark Landay Machrina & Dale Leach Kathy & Albert Leffler Herb & Nancy Lienenbrugger Lynn Londen Keli & Kurt Luther Kristen & Doug Magnuson Cheryl & Johan Magnusson Cheryl Mandala Marketline Mortgage Ms. Michelle Matiski & Dr. Alan Snyder Steve & Rhonda Maun* Cathy Mazur Celia & Kent McClelland Leslie McDonnell In Memory of Jack McDonnell Patrick McPhilomy & Kasia Lukaszczuk Kathleen A. Mickle, Karen B. Roth & Laurie Kaptur VOLUME 16 | 2017

DONORS

Anonymous Carol & E.G. Barmore Janet & Doug Baughman James L. Cramer & Allen C. Kalchik* Joan Cremin* Eileen Curtin* Nelson Faux Karen & Grady Gammage Jr.* Janet & Chip Glaser Peter Harries* Patricia Kaufman* Gail & John Krueger Andrew & Marcia Meyer Lesley & Paul Monfardini* Jenny Norton & Bob Ramsey* Jeff & Leslie Rich Jana & Charles Sample Joanne Schust Dr. Frederick T. Wood & Mrs. Kim Wood*

• as of 10/2017

DONORS

ASU GAMMAGE VIP CLUB

Bruce Meyerson & Mary Ellen Simonson Paulette & Michael Miller Christine & John Minch Glenn & Stephanie Mitchell Kathleen & Barry Monheit Larry & Virginia Morrison Loraine & Jim Mottern Carl C. Mueller Kenneth & Donna Muller Dawn & John Mulligan Rafael & Mary Munoz Mutual Management Services The George and Karen Nackard Foundation Tina Neisch Dick & Jane Neuheisel Nathan & Betty Norris Novack Family Linda & Kevin Olson R.G. Olson PhD & Peggy Steele Dr. Hong Ong & Doris Ong Mr. & Mrs. Enrique Ortega Barbara & Donald Ottosen PRM Association Management Frank & Ginny Palamara Leah Pallin-Hill & Bryan Hill* Dr. John Parente Alisa & Glenn Park Bela Patel Fernandez & Miguel Fernandez Dr. & Mrs. Donald Patterson Jeffrey Perlmeter Dwight & Kathryn Peters Sandie & Hollis Phillips Pat Piazza Debbie & Tobie Pirone Jennifer & Noah Plumb MaryLee & Glen Poole Carol A. Poore, Ph.D. Dr. Bradley T. Porter & Dr. Brinks Austin Practice Strategies Pragmatic Marketing, Inc. Dr. Coral Quiet & Mr. Jerry Weinberg* Dr. Carolyn Ragatz & Mr. Phillip Ragatz Mr. & Mrs. Wayne Rawlings Russell A. Robbins Dr. Lynn Robershotte & Bryce Larry & Lisa Rogoff* Johnna & Glenn Roland Mario Trejo Romero & G. Lewis Penrose Mitchell & Heather Ross Jim & Brenda Rowland Cheryl Rubbelke Karen & John Runberg Lori K. Ryan, MD Norm & Pam Saba Bryan & Katherine Sandler & Janis Merrill Ellen & Paul Schifman Jesse & Jennifer Schwarz The Scollick Family Tamara Scrivner & Bill & Kathy Aichele Mr. & Mrs. Danny Sharaby/Tickets Unlimited Slack Family Jeffrey & Deborah Smith Zahnie L. Soe Myint, Esq. Ava Spanier & Steve Garland Nicole Spracale ASU GAMMAGE INNER CIRCLE

Frances & Unni Sreekumar Dr. Cheri St. Arnauld & Family Mr. & Mrs. Ron Starkman* Steffie & Millie Dr. Barry & Judith Stern Morgan Stewart & Troy Homewood Jennifer & Tim Storey Cheryl & Ed Sucato John & Monica Suriano Donald Tapia Bruce C. Thoeny Brinley Thomas & Charles Bentley Alicia Torruella Violet Toy & Betsy Toy Yee UMB Bank Susan Van Dyke MD/Van Dyke Aesthetics Mark & Lynn Vanderlinde/VRealty Advisors Laura & Richard Varner M.A. Verso MD Doug Walters Col. Alexander Warschaw Jeffrey & Dian Weisman Wilhelm Automotive Todd & Tammy Wilkening Jana & Mark Wilcke* Myra & Donald Wilhite Daryl & Karly Williams Diane Willian Dr. Judith G. Wolf Greg Yagi Pamela & Larry Yellen Martha Scales Zachary Charlie & Judy Zarrelli* Barbara & Barry Zemel

DIRECTORS CLUB

Mariana & Richard Abelson Helene & Marshall Abrahams Lou Anne & Keith Alexander Alive at Work, LLC Marilyn & Richard Alsager Anonymous Louraine Arkfeld Christine & Rocky Armfield Tarah Ausburn Kevin Axx & Cameron Goebeler AZ Obstetrics & Gynecology Douglas Ball & Connie Stine Jim Barash & Dr. Tamar Gottfried Lory Baraz & Robert Zucker Kelly & Don Beattie Fredric D. Bellamy Deborah Benedict Mary & Scot Benefiel Laura & Justin Bercovich Ross & Shirley Berg Gina & Gregory Berman The Besonen Family Suzanne & David Black Katherine & John Boisvert Kelley, John & Justin Bonowski Susan & Richard Bookspan Teresa & Mark Borota Linda Broomhead & Terese Sanchez Patti & Rick Brown Cheryl & Pat Burke Camelview Physical Therapy Elaine & Paul Campbell David E. Cantrell & Glenn W. Eyet III Dr. Caroline Carney Kent Cattani Dr. David & Mrs. Georgiana Cave

Kristin & Mark Chase Sophia Chiang & Wayne Gaafar Helen Cho Kathryn A. Christmann Grainger Cole Paula & Dan Coleman Kathleen Cullen Rene & Jeremy Daer Marilee & Zach Dal Pra Tiersa & Lawrence Damore Diane & Phil Daspit Mr. & Mrs. Tom DeBonis Bette DeGraw Lloyd Dennington Drs. Fred & Suzie DePrez Donna & Bob Dichiaro Jackie & James Disney Karen & David Divine Janice Donnelly & John King Michael Drexler Carmen & Mike Duffek Cheryl Dworman David Dyer Cheryl Eames Jim Edmonds Cynthia Emmons Lou & Rick Ender Christine English & Lenard Hailey Jody Epperson Michele & Michael Etheridge Thomas Fannin Dino & Linda Farfante Susan & Stewart Feldman Penny & Charles Fine Dr. Allen W. Flores Eric Fox & Raymond Hebert Sandra J. Fromm Brooke Fry Family Marybeth & Jimmy Garrett Kyla & Michael Garrison Barbara & Gregory Geidel Dr. Philip E. & Roseann M. Geiger Carole & Ronnie Gilbert Sue & Joe Gilleland Joe & Helen Goldblatt Dr. & Mrs. Bruce Goldstein Lisa & David Goldstein Vicki Greener Michelle & Roy Grimm Brent M. Gunderson Lindsey, Victor & Henrik Hamburger Alan & Anita Handelsman Lynlie & Myron Hansen Kathy & Marty Harper Diane Harrison Dottie & Mark Harshbarger Nora & Tim Hart Ronald H. Harten Marilyn & Paul Harter Florence & Joe Hauer Jane & Daryl Haugen Larmon & Linda Haugen Hensley Beverage Company Andrea & Herbert Hodes Donna & Scott Hopman Christopher & Judy Hossack Dr. Scott Howell & Mr. Sean Smith Teresa & Darrel Huish Margo Hull & L.E. Kowal Marcie & Michael Hutchinson The Til Hutchison Family Jacqueline E. Jackson Nancy J. Jacobs Dr. & Mrs. Ron Jenks

Douglas Johnson Gwen Johnson Andrea & Mark Johnston In Memory of Steven R. Jonas M. Joann Jundt Shari & Irwin Kanefsky Rona & Allan Kasen Deana Katz Casey & Clara Khaleesi Terri & George Kief Allison & Alan Kierman Jo Krueger Julianne & Thomas La Porte Laserent Lawrence R. Lathom Linda & Jim Lee Sandi & Eric Lemnitzer Drs. Sonia & Thomas Lenzmeier Patty & Matthew Lernor Sara & Salvatore Lettieri Pat & Paul Lewis, Kelsey & David Henz Sara & David Lieberman Fuyu Lin & Samuel Anderson Law Office of Christina M. Lopez, PLLC Tiffany Ana Lopez Robert Louchheim Sharon Lytle-Breen Rita & Nicole Mann John Martell & Cathy Thuringer Elisa Segal Mashal Alice Mason Lindsay & Morgan Mathie Julie & Scott McCallister Laurie & James McDonald Robbyn McDowell Dr. Geoffrey McKinzie & Tabitha McKinzie Tamara & Ian McLeod Azar Mehdizadeh & Justin Reynolds John Mertens & Kim Cantor In Memory of J. Eric Miller Kathryn Morrison Niles Moser M.R. Designs & Gifts Blanche & Kevin Munnelly Mary Murphy & Kurt Meyer Nagle Law Group Brenlie & Jim Nagy Diane Nastro Christine & Frank Nechvatal Pamela & Tom Ng Debbie & Jim Nixon Keith Norton Michael Obert & Enzo Armetta In Memory of Cindy Olstein Shannon Olwine & Mohit Mehta Dr. & Mrs. Donald A. Opila Robin & John Piatak Dr. & Mrs. Thomas Piemme Gloria & Jill Pierce-Garcia The Powers Family In Memory of Jeannette Pretlow Hari Puri Stephanie & Matt Raiff Dean Rennell Herschel & Valerie Richter Rebecca P. Ripley & Tara D. Swinehart Sharon & James Robbins John & Dee Ann Rogers Theresa & Rene Romero Kristine Romine

SUPPORTING MEMBER

Natalie & John Ahearn Andrea Alley Anonymous Susan Anderson & Robert Arthur Melanie & Patrick Burm Emily Burns Stephanie & Brad Butler Ann Chafoulias Brent Collins Carl J. Cross Julie & Michael Dillon Susan Dowhie Jan & Leo Dressel Kerry & Jim Engbarth Virginia & Ron Erhardt Priscilla Ethier Gail Fawcett Mr. & Mrs. Armando Flores Jane & Bob Franek Katrina Hanna Col. Paul Harwood Dr. Patty & Ron Horn William Hosking Kathy & Kenneth Hudson Michelle Louise Johnson Mr. & Mrs. Malcolm Jozoff Ellen & Howard Katz Karen J. Killoren Survivors Trust Suzan Makaus Marilyn & Mark McCall Chandra McClelland Ellis & Kiran Means Julie Mooney Vickie & Ron Neill New Electric, Inc. Todd Ott Sharon & Howard Paley Pam & Gary Passey Valerie & Gregory Patten Natalie & Robert Petrucelli Nathanael Pretlow Rachel & Elliot Rabinovich Toni Ramsey & Mark Mulligan William Rase Marliese & Glen Reeves Alison & David Riddiford Debra Rinell Dawn & Michael Sandlin Ursula & Rick Schultz Jacob Schwarz Elvia Senter & Norman Buckner, Jr. Michael & Ciby Shaw In Memory of Judith Signeski Marvin E. Smith Dianna Soe Myint Richard P. Stahl Chris & Geri Swahn Vicki & Tom Taradash Dr. Jerome & Dr. Selma E. Targovnik VIP Tours of New York LLC Sandy Wagner Leesa & George Weisz Dr. Syd Wilson & Dr. Carol Wilson Yubeta Family

CONTRIBUTING MEMBER

Anonymous Teresa Amabisca Teresa & Eugene Anderson Wayne & Julie Anderson Association of the United States Army, Arizona Territorial Chapter Sheryl & Fred Barlam Teresita & Neil Barnett Jackie Barone Rosemarie Bartolome David Bayliff William Becker Angela Bernhardt Kristine Black Neva & Jim Bochenek George & Mary Ann Bradbury Dan Brown Saundra Bryn Elizabeth & Dan Burk Ellen & John Buzga Mary & Ray Byke Cathy & John Calhoun Mr. & Mrs. Paul Cash, Jr. Christopher Cropley Robert Crump Karen & Harold Crutcher Susan & John Curtis Cheryl & John Dailey Doorenbos Family Richard Duke Cheryl Eames Flo & Paul Eckstein Rhonda Elifritz-Rix Erin Ezzell Patricia & Fred Farsjo Patricia Fimbres Ethan Fox Mary Ann Gallagher Nanci Geres Ami Giardina Sarah & Brad Glenn Alyssa Ann Goldstein Michelle Gonzales Morton L. Goodman & Kathleen Niederst Jennifer Greenberg Sharon & Tim Gregory Jeffrey Haggerty Eva & James Hamant Barbara & Joel Hanania Barbara & Ken Hand Maren Hanson Kristine & Walter Harnden Susan Harrison Linda & James Hazelwood Bruce Heyse Elizabeth Hulst Frances Johnson-Gibbs Javae & John Jordan

Barbara Katz Dawn Kemp-Moye & Gordon Moye Louis C. Kirby Sue Klein Diane Kreizenbeck Donna Kucinski William & Linda Langer Raenelle & William Lees Mr. & Mrs. Brian Leiphart Karen Leong Cheryl Lewis Florence & Paul Libin Karie Lurie Christine Mackay Cynthia McClymont Tina Minchella Eve & James Morse McKay Moulton JoAnn Mulvihill & Mary Jane Lipshie Mr. & Mrs. Chetan Nayak Jane Nicholls Jordan Nimura David Novarina James Overturf Joey Parnes Shannon Payne & Richard Joos Suzanne & Simon Percy Valleria Pickett Ann & Richard Porras Suzanne Ramsey Nathalie Rennell Peter & Jeane Robbeloth Virginia Savage Jessica Scianna Janet Seely John Sickels Raj Sivananthan Tony Skrbek & Beverly Sloane Marilyn Slovak Daniel L. Smith Leslie Standerfer Trisa Summers Kathleen Sumner Orin & Mary Svarc Celia Vasfaret Tasha Vatistas Mary Walker Wilmore Washington Dayna Weary Beverly White Cindy & David Winston Darcey Winterland & Blake Bulloch Peggy & Bob Withers Tandy Young Linda Zeman Gayle Zerkel

DONORS

Meryl & Rich Rose Rosedale Hair Design Kent & Mira Rossman Jessica & Kyle Rowland Julie & Joseph Russomanno Beth Saiki-Olsen & Morgan Olsen Jeff Salomone Judy & Harold Samloff Mark Schiavoni Katherine & Bryan Schlueter Katherine & Randall Schmidt Lyrna & Michael Schoon Ken Schutz & Craig Thatcher Catherine Scott Christa & Donald Scott Judy Sera-Windell & Robert Windell Suzanne & Jay Simon Karen Stein Alan Stoff Katherin & Mark Strumpf Laura & Michael Suriano Christina & Tim Tarter Toby Teret Taylor Carla & Gary Tenney Tina Marie Tentori Holly, Kristen & Lauren Terrell Tewksbury Financial Group/John & Sunny Tewksbury Karen Thorn Kartika & Eric Thornbrew Susan Thrasher & Chuck Schwartz Kerie S. Trindle Byrne & Derek Byrne Mollie C. Trivers Zeena Ubogy M.D. & Millard Thaler M.D./Papillon Cosmetic Dermatology Center Steve Urke Julia & Robert Wacloff Barbara & Brian Waddoups Joseph Walters Dale & Sheryl Wanek Phyl Wason Suzanne & Craig Weaver Lori & Neal Weinstein Kris & Dale Wendt, Jr. Kristi & Gary West Betty & John Whiteman Wilhelm Automotive (Thomas Gyder) Dr. Brian & Dawn Williams Doris & Duly Winkler Coral & Thomas Wood Michelle & Chris Zachar Breann & Stephen Zapytowski, Jr. Joseph Zavislak

“If you stand for nothing, Burr, what’ll you fall for?” - HAMILTON Ruben J. Carbajal, Michael Luwoye, Jordan Donica, Mathenee Treco & HAMILTON Company, HAMILTON National Tour. Photo: Joan Marcus

VOLUME 16 | 2017

ASU GAMMAGE INNER CIRCLE PO Box 870205 Tempe, AZ 85287-0205 480.965.5062 asugammage.com

Upcoming VIP Events ANALOGY/AMBROSE: THE EMIGRANT

Saturday, November 18 BEYOND: Bill T. Jones/Arnie Zane Company ANALOGY/AMBROSE: THE EMIGRANT 7:00 p.m.

Save the Date You are invited to join ASU Gammage for our 2018 Broadway Adventure

Bill T. Jones and his company are creating the third and final installment of the ANALOGY TRILOGY, AMBROS: THE EMIGRANT. AMBROS is a culmination that could in fact be a beginning. tickets available

Photo: Andrew Jernigan

THE BODYGUARD

Tuesday, November 28 Cast Party: THE BODYGUARD 10:00 p.m. (approx.) Join ASU Gammage and cast members from THE BODYGUARD for beverages and light hors d’oeuvres on Opening Night. Exclusive VIP member benefit (Directors Club Member and above). must RSVP

Deborah Cox as Rachel Marron and Company in THE BODYGUARD. Photo: Joan Marcus

THE WONG STREET JOURNAL

Saturday, January 20 BEYOND: Kristina Wong - THE WONG STREET JOURNAL 7:00 p.m. THE WONG STREET JOURNAL breaks down the complexities of global poverty, privilege and economic theory. Wong combines self-skewering personal narrative with a hilarious interrogation of America’s legacy on the rest of the world.

Behind-the Scenes New York Thursday, June 7 Sunday, June 10, 2018

tickets available Photo: Jen Cleary