PROGRAM: Bravo 2000 Winter Opera and Dance

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

The Official Magazine 1S

of the Detroit Opera House

la

Michigan Opera TheatreS 2000-2001 Season is lovingly dedicated to the memory of Lynn A. Townsend and Robert E. Dewar

BRAVO IS A MICHIGAN OPERA THEATRE PUBLICATION

Dr. David DiChiera, General Director

Laura Wyss, Editor

CONTRIBUTORS

MICHIGAN OPERA THEATRE STAFF

Alvin Ailey American Dance Theater Staff

American Ballet Theatre Staff

Arts ' League of Michigan Staff

Ballet Internationale Staff

University Musica l Society Staff

PUBLISHER

Live Publishing Company

Frank Cucciarre, Design and Art Direction

Chuck Rosenberg, Copy Editor

Toby Faber, Director of Advertising Sa les

COVER PHOTO

Detail from the Detroit Opera House, Mark]. Mancinelli, MJM Photography

A special thanks to J eanette Pawlaczyk and Bill Carroll

Michigan Opera Theatre wou ld like to thank Harmony House Records for donating season recordings and videos.

Michigan Opera Theatre's 2000-2001 subscription and Single tickets have been gr acious ly sponsored by Hunter House, Harmonie Park. Physicians' service provided by Henry Ford Medical Center

Alitalia is the official airline Michigan Opera Theatre.

Pepsi-Cola is the official soft drink and juice provider for the Detroit Opera House.

Starbucks Coffee is the official coffee of the Detroit Opera House

Steinway is the official piano of the Detroit Opera House and Michigan Opera Theatre. Steinway pianos are provided by Hammel MuSiC , exclusive representative for Steinway and Sons in Michigan.

President Tuxedo is the official provider of fonnal wear for the Detroit Opera House.

Mi chiga n Opera Theatre is a nonprofi t cultural organization whose ac tivities are supported in part by the Mi c higan Council for Arts and Cultural Affairs , the National Endowment for the Arts. and other individuals. corporations and foundations Mi c higan Opera Theatre is an Equal Opportunity Empl oyer •

METAL RESTORATION

Dent and scratcl-l removal .

Re -attachmen t • S terlin g, brass, copper, bronze, and plate

Ben Wearley, silversmith (248) 549 -3016

Wearley Studio Gallery

1719 West Fo urteen Mile Road Royal Oak (East of Woodward Ave., at Crooks Rd., nex t t o tbe sw corner)

Open Tuesday through Saturday

References avaJable upon request

DAIMLERCHRYSLER

Our Commitment to Dance at the Detroit Opera House

Dea r Friends,

It is m y grea t plea sure to we lcome yo u to th e Detroi t Opera Hou se, home of Mi c hi gan Opera Th ea tre . We a re so yo u co uld Join u s for this p er formance, and we look forward to seeing yo u o ft en the co ming months.

Th e wi nter season a t the Detroit Opera Hou se ep itomiz es our miss ion to provid e a di versit y o f programmin g and provid es so m ething [or everyone In these four month s , we pre se ntJonathan La rsons sma sh hit mu sical Rent (an appropriate :!i follow -up to our La Boh em e) and launch Detroit 's larges t danc e se ri es .

As yo u can see b y o ur winter offerin gs , we are deeply co mmitted to staging the greatest in d an ce programming. This N ove mb er, we proudly continue Detroit 's holid ay tradition b y s taging a lavish , fulllen gth p ro du c tion of Th e Nutcr acker, performed by Ba ll et Int ern a ti on ale and featurin g our own Michigan O p era

Th ea tr e Orchestra. In p artne rship with Th e Arts League of Michi ga n and th e University Musica l Socie ty, we present the Alvin Ai ley American Dance Thea ter thi s Febru ary In March, Am e ri can Ball e t Theatre re turns to it s mid wes t home for a brea tht aki n g, full -length production of Th e Merry Wid ow, featurin g the enchan tin g music of F ranz Leha r. And , before our d ance seaso n end s, we wi ll introdu ce th e Joffrey Ba ll et of Chicago.

Thirt y years ago , our drea m to produ ce opera in De troit w as co n s id ered fool-

hard y Thou gh th ere were m an y obs ta cles to overcome, through the vision , dedication , coo peration and hard work o [ many, the dream has b een realized, and on a grand e r sca le than we could have ima gined.

Today, we fa ce many of the sa me challenges , as we pursue our vision to ma ke dance a m aj or for ce in our co mmunity We are optimistic about the growing enthusiasm and support for d an ce programming a t the Detroit Opera Hous e. Sin ce we fir s t b egan presenting a danc e se ri es in 1997, we ha ve see n an increase in ticket sa les and subs cripti on s. In fact , the 2000-2001 Daimler Chr ys ler Dance Series at the Detroit Op era Hou se represents our mo s t a mbitiou s dance seaso n to dat e.

I am very gra teful to Daiml erCh rys le r, wh ich has sponso red every dance series since the o p enin g o f the De troit Opera H ouse and s p on so red Les Ball ets

d e Monte-Carlo s production o f Ci nd erella , whi ch launched our 2000-2001 dance seaso n.

In addition to our corporate sponsors, I wou ld like to thank thos e individuals w ho help ma ke dance at th e De troit Opera Hou se possib le. Our g ra titud e to Maggie and Bob Alle see, Dav id Handleman , Pea rl and George Zeltzer, Shirley Schlafer and Audrey and Irving Rose. We are d eep ly grateful to th e gene rosity of th ese individua ls , who hav e demonstrated a strong commitme nt to th e cultural we ll -being of our co mmunity and recogniz e the importanc e of dance to the arts in our city

While we re m ain s teadfast in our co mmitment to presenting a world-class dan ce series, we s till have a great dea l of work to do to en sure its futur e. We ca n 't go it alone ; we n ee d your supp ort. We hop e yo u wi ll introduce a fri end to the wo rld of d an ce you love to help cre at e the audienc es of tomorrow and ensure the fut ure of dan ce in Detroit.

www.MichiganOpera.org

David DiChi era Founder and Gen eral Director Michigan Opera Th eatre

Starring Luciano Pavarotti

Thursday, December 21,2000 7:00 p.m.

Michigan Opera Theatre 's Verdi Festival begins in grand style with an extraordinary one-night-only performance of Aida in Concert , starring Luciano Pa varotti as Radames, the Verdi hero and leader of the Egyptian army The legendar y tenor will be accompan ied by the Michigan Opera Theatre Orches tra , along with a combined Michigan Opera Theatre Chorus and Rackham Symphony Choir.

Parma 0E,era Ensemble*

Saturday, January 27,2001 8:00 p.m.

On January 27, 2001,100 years from th e exact date of the master composer's death, Michigan Opera Theatre will present the North American premiere of the Parma Opera Ensemble. In cooperation with Teatro Reggio of Parma and The Verdi Opera Theatre of Michigan, the Parma Opera Ensemble, featuring Italian b ass Michele Pertusi, will perform themes from Verdi's most beloved operas along with so me of his lesser-known song collections.

VivaVerdi!*

Thursday, April 5, 2001 8:00 p.m. Viva Verdi is a specia l Michigan Opera Theatre concert of Verdi's best-loved arias, duets, choral and orchestral music. The concert features worldrenowned Italian tenor Marcello Giordani, soprano Indra Thomas, the Michigan Opera Theatre Chorus and Maestro Steven Mercurio lead ing the Michigan Opera Theatre Orchestra.

Part of th e Verd i Fes ti va l Pac kage

Michigan Opera Theatre's Verdi Festival is sponsored by Ford Motor Company

Copyright 2010, Michigan Opera Theatre

April 21-29, 2001

Verdi 's romantic tragedy cen ters on "the fallen woman" who proves more virtuous than the polite Parisian society that judges her. Violetta, a co urt esan dying of consumption , sacrifices all- her property, her happiness , h er dignityfor an impetuous nob leman who steals

___ --<!!!!!. her heart. With characters n o larger .. than life, this "d r awing -room tragedy " is the most popular rendering of Alexandre Dumas ' play La Dame aux Camelias. The composer gave his most heart -wrenching melodies to La Traviata. Starring Guisy Devinu , Michael Didyk and Christopher Robertson , conducted by Giuliano Care ll a and directed by Harry Silverstein

May 12-20, 2001

"Everything in this world is in j est " was not exactly Giuseppe Verdi 's credo; he dedicated his long life to perfecting the art of tragic opera. But in his eightieth year , the master was visited by his comic muse , and the result was FalstaJJ - a musical tribut e to Shakespeare 's scheming fat knight. Verdi 's scintillating score wrangles with th e bard's wit , as the merry wives vie for the last laugh. Starring John Del Carlo, Mauro Buda, Diana Soviero, Mariana Karpatova, Massimo Giordano , Nicole Heaston, Kate Aldrich, Patrick Marques, James Patterson and Matthew Tuell; conducted b y Maurizio Barbacini and directed b y Mario Corradi.

II" General

Motors. Michigan Opera Theatre 's 2001 Spring Season is sponsored by General Motors Corporatio n .

Copyright 2010, Michigan Opera Theatre

THE CAST

ROGER DAVIS

Chris tian Me n a

MARK COHEN

Ma tt Ca plan

TOM ,COLLINS

Mark Ri chard Ford

BENJAMIN COFFIN III

Blia n M. Love

JOANNE JEFFERSON

J acq u eline B. Arnold

ANGEL SCHUNARD

Shau n Earl

MIMI MARQUEZ

Saycon Sengbl oh

MAUREEN JOHNSON

Maggie Benpmin

MARK'S MOM AND OTHERS

Haven Burto n

CHRISTMAS CAROLER, MR. JEFFERSON , ·PASTOR AND OTHERS

Marcu s Ch aney

MRS. JEFFERSON, WOMAN WITH BAGS AND OTHERS

Cicil y Dani els

GORDON , THE MAN, MR. GREY AND OTHERS

Curti s Cr egan

STEVE , MAN WITH SQUEEGEE AND OTHERS

J ake Manab a t

PAUL, A WAITER AND OTHERS

Ju s tin A. J o hns ton

ALEXI DARLING , ROGER'S MOM AND OTHERS

Stacey-Lea Marhu e COPS

Pierre Angelo Bayuga , Domin iq u e Roy

UNDERSTUDIES

For Roger-Curtis C regan, joshua

Kobak ; for Ma r k-Cu rtis Cregan, j oshua

Kobak; for Tom Collins---Marcus Chaney, Fred jones; for Be nn y-Marcus Chaney, Fred jones; for joanne-Cicily Daniels,

Da na Dawson; for Angel- PielR Angelo

Bayuga, justin A. johnston , jake

Manabat; for Mim i-Dana Dawso n , Dominique Roy; for Maureen-Haven

BUllon, Stefani e Roth.

SWlN GS

Pierre Ange lo Bayuga, Dan a Dawson ,

Fred jones, j oshua Kobak, Stefanie Roth , Domin ique Roy.

THE BAN D

ConduclOrlKeyboa rds--She lley H an son

Associa te Con du ctorlKeyboards---j odie

Moore

Bass---Frank Can in o

Guitar- Bob Baxme ye r

Drums---Alan Ch ilds

Keyboards 2, Gu itar 2- justin

Kawashima

Book , Musi c and Lyri cs by

Jonathan Larson

with Jacqueline B. Arnold Pierre Angelo Bayuga

Maggie Benjamin Haven Burton Matt Caplan Marcus Chaney

Curtis Cregan Cicily Daniels Dana Dawson Shaun Earl

Mark Richard Ford Justin A.' Johnston Fred Jones

Joshua Kobak Brian M. Love Jake Manabat Stacey-Lea Marhu e Christian Mena Stefanie Roth Dominique Roy Saycon Sengbloh

Se t Design

Paul Clay

Costume Design

Angela Wendt

Musica l Arrangements

Steve Skinner

Musica l Direction

Shelley Hanson

Cas ting

Lighting Design

Blake Burba

Original Concepti Additional Lynes

Billy Aronson

Set Design Adaptation

Matthew E. Maraffi

Bernard Telsey Casting

General Manager

John Corker

Mus ic Supervision and Additiona l Arrangements

Tim Weil

Director

Sound Design

Steve Canyon Kennedy

Dramaturge

Lynn M. Thomson

Production Stage Manager

Beth Robertson

Touring Press and Marketing

Laura Matalon

Technical Supervision

Unitech Productions , Inc.

Choreography

Ma rli es Yearby

Original Cast Recording available on DreamWorks Records CDs and Cassettes.

Copyright 2010, Michigan Opera Theatre

A Note About the Plot

enny is Mark and Roger's former roommate. With the help of his wealthy father-in-law, Benny has bought the building in which Mark and Roger live as ' well as the lot next door, which is inhabited by a group of homeless peop le. Benny wants to build - a high-tech cyber-arts studio on the property: Toward this end, he plans to clear th e homeless from the lot and evict all the tenants from the building, including Mark and Roger.

Marks former lover, Maureen , schedules a performance protest of Benny's scheme for midnight on Christmas Eve. Benny offers a deal to Mark and Roger: If they convince Maureen to stop her protest , they can stay in the bui lding rent-free.

At the end of Act I, Maureen stages her performance. A riot erupts in the lot , which Mark videotapes. Th en Benny padlocks the building , locking out all the tenants.

Act II b egins on New Year 's Eve as Mark, Roger and friend s attempt to break back into the bUilding. The rest of the act follows the events of the year.

Benny is married to Alison Grey of Westport (whom we never see)

Benny used to live with Mark and Roger

Musical Numbers

Mark , Roger, Mrs. Co h en , Collins , Benn y

· .The Company

· .. Angel , Co llins

· Roger

· .Me and Mrs. jefferson

· .Angel

Benny, Mark, Co llins, Roger, Angel

.Mark, joanne

Paul, Gordon , Th e Company -

Anoth er Day

· Roger, Mimi, Th e Compan y

· Th e Company

· .The Company

· Co ll ins and Th e Company

.Angel, Co llin s We

I'll Cover You

Mimi , Roger, Mark , Maureen , j oanne, Co llins, An ge l , Mrs. Co h en, Alexi D arling, Benny

..... Maureen , j oann e Without You.

Roger, Mimi Voice Mail #4

·

, Mimi , Roger, Maureen , joanne , Co llin s , Benny

· Pastor , Mark, Co llins, Benn y, Ro ge r

· .. Rogers mom, Mimis mom, Mr. jefferson, Mrs. Cohen .Roger, The Company

Copyright 2010, Michigan Opera Theatre

Artist Profiles

Jacqueline B. Arnold

joanne

Off-Broadway: Bright Lights, Big City. Regional: A Midsummer Night's Dream, The Goodbye Girl, Hair, The Miracle Workel; The Rainbow Goblins, Oklahoma! , Among the Chosen few. Jacqueline is a native Californian and pleased to be making her national touring debut with the fabulous cast of Rent. She wou ld like to thank all of her friends and family. "I love you all very much. "

Pierre Angelo Bayuga

Performing SWinglUnderstudy

Pierre returns to Rent after successfu ll y completing a year hm as Angel in the Benny Company. A native - of Windsor, Ontario, Pierre has also performed in the Canadian and German companies of Miss Saigon. "Thank you Tel sey casting and 1187! "

Maggie Benjamin

Maureen

Maggie rejoins the Benny tour after making her Broadway debut in Rent. She graduated from H arrison Per forming Arts Center in Florida for Theatre and majored in musical theater at U.C's Conservatory of Music. "My hope is that you leave this theater somehow inspired, somehow more gra teful for life. Thanks be to God!"

Haven Burton

El15emble

Haven hails from the land of sunshine and cell phones- Los Angeles. Born and raised in Southern California, she studied musical theater for two years in Santa Monica before appearing in her professional theatrical debut in Rent. "Hugs and thanks to Mom, Dad, Matt, Adam, Gramm y, Kathy and to my love , Hank. "

Matt Caplan

Mark

Matt recently gradua ted from Governors School for the Arts in Virginia, having p erfonned Frank ilv1enily We Roll Along) and Billy (Anything Goes). Regional: JesuS/Stephen (Godspell), Tom:iawyer (Big Rivel), Joe (Sc hool House Rock Live!). "Thanks to God, Mom, Dad, family, Gary Spe ll , Dr. Michael Ti ck and everyone at Bernard Telseyl"

Marcus Chaney

Ensemble

Marcus is happ y to join the cast of Rent. Cred its: Miss Saigon Oohn) Germany, Don 't Cope, Get Down the Pounds with Richard Simmons and recentl y with his fellow singers at Motown Cafe NYC He would lik e to thank God and his family for all their support during his career "LOVE YOU' "

Curtis Cregan

Ensemble

Cu rtis is elated to be j oining the Rent family. He has spent the pas t year handjiving across No rth America and Europe in Grease. Raised in Michigan, he n ow calls NY hi s home. Favorite ro les: Dickon in The

16 BRAVO

Secret Garden, th e Pinb all Lad in The Whos Tommy. He thanks h is friends, K.B. , Gavin , David and his lOving parents for the bes t support group a person cou ld ever \vish for.

Cicily Daniels

Ensemble

Cicily is thrilled to join the cast of Rent. Originally from Mary land, Cicily ea rned he r d egree in theater from Yale Unive rsit y. She was a featured vocalist in th e &st of Broadway for President Clinton. Regional: Little Shop of Horrors, Into the Woods, Big River TV: "The West Wing. " "Thanks to my friends and family for their un ending love and support."

Dana Dawson

SWinglUnderstudy

A nati ve New York e r, Dana is an international reco rdi ng artist with two go ld albums to her credit. She has appeared in national and regional theater, commercia ls and te levision specials. Dana is thrilled to be in Rent. She thanks her family for their love and the Lord for His many b lessings.

Shaun Earl Angel

This California native made his Broadway debut as Ange l , the role for which he won the 1997 Joseph Jefferson Award for Best Actor in a Supporting Role, when he performed with the first national tour of Rent in Chicago. TV: "Fa me" Oast two seasons). Films: Coming to An1elica and The Bodyguard , among others. Performed with Paula Abdul, Vanessa W illi ams and Reba McEntire. Stage debut: fam e-The Musical. He feels blessed and thanks God for performing in Rent.

Mark Richard Ford

Tom Collil1S

Mark joins this compan y from the Au stralian cast of Rent. A Chicago native , he has appeared OffBroadway in Birth of the Boom and in regional productions of Drea mglrls, Ain't Misbehavin ', Wasted and Still Life He was in the film I Don't Want to Hear It and sings \vith th e vocal group Mis tyque.

Justin A Johnston Ensemble

Originally from Gary. Indiana , he studied music, dance and telecommunications at Indi ana University in Bloomington. Regional credits: Once on This Island, joseph and the AmClZlI1g Technicolor Oreamcoat, j es us Otrist Superstal; Cats. Justin was a member of the Deepl y Rooted Dance Produ ctions Summer Intensive Program , Indiana University AfricanAmerican Dance Co. and Chorale Ensemble.

Fred Jones SWinglUnderstLIdy

Fred returns to Rent afte r a successful run in Australia, whe re he otigina ted the role of Benny. Residing in New York, he divides his time between singing, songwriling, producing and act ing. Recent film projects includ e Deadline and The Third Day. He is currently \V1iting music for his so lo debut release.

Joshua Kobak SWinglUnderstLIdy

Joshua attended CCM, moved to NYC with his band Swim, recorded an album and gigs out regularl y. He 's a co-founder of the Lila Company, which produces theatri cal inventions: The Colors of Love, Subway Train, Collectiv e Creative Minds. He thanks God, his family, Mickey, Katy and Scott.

Brian M. Love

Benny

Brian returns to this company after performing \vith Rent's first national tour. A native of Cleveland, Ohio, his regional credits include Ain't Mi.sbehavin' (Ken) ; Big River Qim); Kiss of the Spiderwoman (Valentin) ; Brother ; Can You Spare a Dim e?; and I1te All Night Strut. "Much love to family and praise to th e Lo rd. Without Him , I'd be nothing. "

Jake Manabat

Ensemble

Jake recently graduated from U.C Berkeley with a degree in econ omics and h as been seen as LunTha in I11 e King and I and as a featured performer in the U.C Mens Octet. Jake thanks his teachers, friends, family and especially his twin brother Jeffrey for their love, support and inspiration

Stacey-Lea Marhue

El15embleiDance Captain

Stacey- Lea is a native of Toronto, where she studied theater arts and majored in dance at the Claude Watson School for the Arts and The Ryerson Theatre School. Stage: Miss Saigon (Toronto), The Who's Tommy (Toronto, Germany, Canadian tour), Ln Cage (Toronto , Canadian tour). Film and TV: "Earth , the Final Conflict" (Gene Roddenbenry) , "Global Domination" (Sony CD - ROM), "Sing" (Tri-Star). "Thanks to all the special people in my life for yo ur love and support, espeCially my hu sband, Gary."

Christian Mena

Roger Christian is thrilled to return to Rent. Born in Chile and raised in Canada , Christian currently fronts Latin pop band iMamcujah! He is well known nationally for his soulful vocals and dynamiC range while singing fluently in English, Spanish and Portuguese. Christian is also the principal songwriter of h is bands current Critically acclaimed CD, iMaracujah! He recent ly played the lead role in the hit subc ulture short film Aftershock.

Stefanie Roth

SwinglUnderstLIdy

Stefanie makes her home in Toronto , Canada, and is deUghted to be here. Ma in cred its include I11e Who's Tommy, Damn Yankees, The Cradle Will Rock and Orpheus in the Underworld. "Thanks to my family and Ian for their love and support, and to God for my many blessings."

Copyright 2010, Michigan Opera Theatre

www Mich iganOpera.org

De t ro it Opera Ho u se

Dominique Roy

Performing Swing/ Understudy

Dominique, a Montreal native , has performed in the Canadian and Angel companies of Rent. She also made h er Broadway d eb ut in Rent. A professional dancer and actress, she performed in a variety of sh ows in Montreal, Toronto and th e Caribbean. "Thanks to Rosie and Mom for the supp o rt and the love jonathan, thank you for the miracle."

Saycon Sengbloh

Mimi

Sayco n is fro m Atlanta. Theatre: Chess (Alliance Th ea tre); Slam, Blach Nativity (Jomandi Prods.); Times, Psalm Thirteen, Soweto! Soweto! (Freddie Hendricks Youth Ensemble of Atlanta ). "Dawsons Creek" (WE), Mmy Jan e's Last Dance (MGM), "D itchdigger\; Daugh ters" (Family Channel), "F unny Valentines" (Starz!). "Thanks to God and my family. Hey Mom l "

JONATHAN LARSON (Book , Music, Lyri cs)

received the 1996 Pulitzer Prize for Drama for Rent. Rent received four 1996 Tony Awards (includin g Best Musical and two 'to Mr. Larson - Best Book of a Musical and Best Score of a Musical); six Drama Desk Awa rds (i ncluding Best Musical , Best Book of a Musica l , Best Music and Best Lyrics); Best Musical Awards from the New York Drama Cri ti cs' Ci rcle and the Ou ter C ritics' Cirde (off-Broadway); an d three Obie Awa rds (including O utstanding Book, Music and Lyrics). Previously, h e received the Richard Rodge rs Award, the Richard Rodgers Deve lopme nt Grant, the St e p hen Sondhe im Award and The Gilman &: Gonzales-Fa ll a Th eatre Foundation's Comme ndation Award. Earlier work included Supdbia; tich, tich BOOM! ; the sco re of ].? Morgan Saves the Na ti on; and selections of Sitting on the Edge of the Futu re. He also wro te music for "Sesa me Street" and the children\; book- cassettes An American Tail and Land Before Time, as well as for Rolling Stone magazine publisher Jann Wenn er. He conce ived, directed and wrote four original songs for Away We Go!, a chil dren\; video. Rent h ad its world premiere on February 13, 1996, at New Yor k Theatre Workshop and opened at Broadway\; Nederlander Theatre o n April 29. Mr. Larson di ed unexpectedly o f an undiagnosed, aortic aneurysm, believed to be caused by Marfan\; syndrome , on j an uaIY 25, 1996 - ten days before h is 36th birthday.

MICHAEL GREIF (Direction) received an Obie Awa rd an d Tony and Drama Desk n omi nations for his direction o f Rent at New York Theatre Workshop and the Nede rlande r Theatre. He was appointed artistic director of the La joll a Playhou se in 1994, where he most recently direc ted j essica Hagedorn\; Dogeaters , Rent, and Boy by-Diana So n. Past productions in La joll a include Randy Newman\; Faust (which h e also directed at the Goodman Theatre , Fall '96) and the West Coast premi ere of Tony Ku shne r \; Slavs! (in a co -produc tion that later played at the Mark Taper Forum in Los Angeles); Neal Bell \; adaptation of Th erese Raquin , joe Orton\; What the Butler Saw and Leon Katz \; TIle Three Cuckolds (which he co-adapted and co-directed with Bill Irwin) From 1990-1993, Mr. Greif was an artistic associa te at j oseph Papp\; Public Theatre, w h ere h e directed j ose Rivera\; Marisol, Constance Congdon\; Casanova, Tony Kushner's A Bright Ro om Called Day, Sh akespeare's P e/ides and So phie Tre a d we ll 's Machinal , which garnered him an Obie Award and a Drama Desk nomination. He has directed numerous productions across the cou ntr y, including P au la Voge l's The Baltimore Waltz, Donald Margulies' The Loman Family Picnic (Baltimore\; Center Stage), Caryl Churc hill \; Clo ud Nine, Brecht\; TIle Caucasian Chalk CiI'de

(Berkshire Theatre Festival), Chek ho v\; The Seagull (Williamstown Thea ter Fest ival), Sco tt McPherson's Marvin's Room (Trinity Repertory) and Caryl Churchill\; Mad Forest (Chicago\; Remains Theatre). Mr Grei f grew up in Brighton Beach, Brooklyn , and received a B.5. from Northwestern University and an M .FA. from the Universlty of Ca lifornia , San Diego. He sends his love to the Larson family.

MARLIES YEARBY (Choreography) received a 1996 Tony Award nomination for Best Choreography for Rent. She is a recipient o f th e New York Dance

Performance (Bessie) Awa rd and a nomination for th e j oe A. Callaway Award Thea ter commissions include the America n Music Theater Festival and Penumbra Theatre. Ms. Yearby is the founder/artistic director of the Movin' Spirits Dance Thea te r and h as toured with h er company, bo th na tionally and internationally. Com pan y commissions includ e Lincoln Center, American Dance Festival, ja cob\; Pillow and American Festival of Theatre and Dance in France. H

Bank One applauds the ha rd wor k and d edi ca tion of all a rtists who en rich ou r lives th ro ugh th e a rt s

It take s talent and di s ciplin e to orche s trate and deliv er a quality pe rfo rmanc e.

It is thi s same level of dedication and att e ntion to de tail that enable s u s to effecti v ely manage y our wea lth Fo

GENERAL MANAGEMENT

John Crocker

TOURING PRESS AND MARKETING

REPRES ENTATION

Laura Matalon, Erica J acobson

NATIONAL PRESS REPRESENTATIVE

RICHARD KORNBERG &: ASSOCIATES

Richard Kornberg, Don Summa, Rick Miramontez

CASTIN G

BERNARD TEl-SEY CASTING, C.S.A.

Dance Captain Head Carpenter

Head Electrician

Head Property Master Head Sound Engineer

Wardrobe Supervisor

H air and Makeup Supervisor

Flyman

Assistant Sound Engineer

Assistant Electricians

Stacey-Lea Marhue

J oseph Ippolito

Ronald G. Schwier

David Speer

Richard Camuso

Anne Ippolito

Jennifer Johnson

Shane Anderson

Tucker H oward

Steve Ramondo

Joel Dunham

Bernie Telsey, Will Cantler, David Vaccari, Assistant Wardrobe Supervisor John R. Furrow

Heidi Marshall, Lori Saposnick, Victoria Pettibone

Additional CASTING

Kim Orchen

COMPANY MANAGER

Roeya Banuazizi

Production STAGE MANAGER Beth Robertson

Technical Supervision

Production Property Master Ronald Groomes

Production Hair Supervisor Roger J Stricker

Assistant to Messrs.

Seller and McCollum

Assistant to Mr. Corker

Assistant to Sound Designer

Anne Tanaka

Teresa Gegare

John Shivers

Banking

Product Placement Accounting

Morgan Guaranty Trust Co., Barbara

Von Borstel

George Fenmore!

More Merchandising

International

Lutz &: Carr

DeWitt Stem Group

Kevin McCollum

Jeffrey Seller

John Corker

Anne Tanaka

Stage Manager ' Assistant Director

Associate Sound Designer

Costume Design Supervisor

Manager

Assistant Company Manager

Assistant Stage Manager Assistant Costume Designers

Choreographer's Assistant

Unitech Produc tions Inc.

Brian Lynch, Ken

Keneally, Manuel

Becker, J ack Culver

Bart Kahn

Abby Epstein

Jon Weston

Lisa Zinni

Marcia Goldberg

Ashley Finnerty

Thomas Borchard

Mirena Rada

Lisa Zinni

Terri Cousar Shockley

Music Coordinator

Casting Associate

Casting Assistants

Merchandise Manager

Tattoos by Merchandising

Title Treat m ent Design

Poster Artwork.

Production Photographer Legal Counsel

Technological Crallsmanship

Mich ael Keller

Jacqueline Mia

Pessah, Bethany

Grace Berg

Keis h aAmes

Craig Bums

Bill Gabbard

Temp Tu Marketin g

Show Property LLC

Spot Design

Amy Guip

J oan Marcus

Levine Plotkin &: Menin, LLPlLoren

The Production Studio LLC

Allan S Gordon

Elan Vital McAllister

Adam S. Gonlon

Timo thy C. Gordon

Anne Ca ru so

Vincent Caruso

Credits

Scenery by Atl as Scenic Studios. Lighting equi pment by Four Star Inc. VARI*UTE® automated ligh ting p rovided by Vari- Li te, Inc. Sound equipment by Masque Sound and Recordi n g Knitwear by Maria Ficalora Leatherwear by Kasla Memon e. Dyenamix. Custom shoes by DiFabrizio Water by Poland Spring. Ricola Inc. Sebastian InternationaL

Special Thanks to East Village Artists; Diesel, Tri p p, "Papi" Sportswear; Allan and Nan ette Larson; J u lie Larson McCollu m; Victoria Leacock.

"White Christmas" used by arrangem ent with the Irving Berli n Music Company; "Do You Know the Way to San Jose" written by Burt Bacharach an d Hal David, used by permission of Casa David and New Hidden Valley Music. "The Christmas Song (Chestnuts Roas ting on an Open Fire)" by Mel Torme and Robe rt Wells, used by permission of Edwin H. Morris &: Company, a division of MPL Comm u nications Inc. "Rudolph the Red-Nosed Reindeer" written by J ohnn y Marks, used by permission of St. Nicholas Music Inc.

Excl u sive Tour Direc tion

The Booking Group Inc.

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This production of Rent was premiered at the La Jolla Playh ouse, La J olla, CA

Michael Greif Terrence Dwyer Artistic Director Managing Director Des MeAnuff, Director in Residence

The La JoUa Playhouse, unde r the Artistic leadership of Des McAnuff from 1983-1994 and Michael Greif beginning in 1995, has earned international critical acclaim for its innovative productions of new plays, musicals and classics It has also won more than 200 major awards, including the 1993 Tony® Award as Outstanding Regional Theater. In 1997, the Playhouse celebrated the 50th Anniversary of its founding.

The actors and stage managers employed in this production are members of Actors' Equity Association, the union of professional actors and stage managers in the United States United Scenic Artists represents the designers and scenic painters for the American Theatre.

Backstage and front of the house employees are represented by the International Alliance of Theatrical Stage Employees (or IAT.5.E.).

The musicians employed in this production are members of the American Federation of Musicians.

Copyright 2010, Michigan Opera Theatre

• Sunrooms

• Conservatories

• Patio Rooms

• Skylights

Music by Peter I. Tchaikovsky

Libretto and Choreography by Eldar Aliev

Lighting Design by Robert Peterson

Set Design by Simon Pastukh

Costumes by Galina Solovyeva

Artistic Director ELDARALIEV

Assistant Artistic Dire ctor

IRINA KOLPAKOVA

The most popular ballet in the world.

The Nutcracker, the most popular ballet in the world, is based on author E.T.A. Hoffmann's story The Nutcracker and the Mouse King, first published in 1819 . Whil e hundreds of productions have been presented since the original staging in 1892, few have remained true to Hoffmann's tale . De¥oid of its origina l context, The Nutcracker for many becomes a flight of fancy It is simply the story of a young girl who receives a wooden nutcras:ker as a 'gift from a mysterious guest. Later she awakens to find her living room turned into the scene of a battle between toy soldiers and giant mice, and is whisked away on a whirlwind tour of a fantasy land. While it is certainly possible to enjoy The Nutcracker at face value, the true magic is found beneath the surface

Ballet Internationale artistic director Eldar Aliev created The Nutcracker with the purpose of conveying the fam iliar holiday story in a way that can be understood and enjoyed by audiences of all ages. To accomplish this goal, Aliev returned to Hoffmanns story to make clear issues such as who the Nutcracker is and why he looks the way he does, why Clara feels compelled to help him, and how Drosselmeyer carne to possess his mysterious powers. With all of The Nutcracker's elements now visible, audience members can find their own meaning in the production. Youngsters may appreciate only the grand spectacle of the costumes and sets, while ado lescents might begin to identify with Claras journey to maturity Similarly, adults may focus on the choreography or grasp the larger imagery of life 's perpetual cycle Regardless of age or perspective, the key to enjoying The Nutcracker is to-if only for two hoursbelieve in magic.

Prologue

An old man, tired and uninspired, ambles about his room. We recognize him as author E.T.A. Hoffmann only when he is transformed with creative energy and is inspired to write a new story As the work begins, the authors vivid imagination transports us to the home of the Von Stahlbaums. The action is frozen, and Hoffmann prepares to choose a main character. He sees something speCial in a young girl. Hoffmann casts the girl as Clara and himself as the mysterious Herr Drosselmeyer Act 1

The Von Stahlbaums and their children, Clara and Fritz , are hosting a Christmas

party As the guests celebrate, the party is interrupted by the surprise arrival of the eccentric Herr Drosselmeyer As usual, he delights the crowd with wonderful gifts and magical toys. Drosselmeyer gathers the children and, using life-size dolls as props , tells them the story of "The Nutcracker and Sugar Plum Fairy "

The Story of the Nutcracker

In a faraway land called the Kingdom of the Sweets, there lived the handsome Nutcracker Prince and the beautiful Sugar Plum Fairy The two were very much in love and anxiously awaited the day they would be married. Before the glOriOUS wedding day, the Mouse Queen Rathilda grew jealous, becau se she was

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neither beautiful nor in love. Out of spite, Rathilda tried to steal the Sugar Plum Fairy's beauty, but the Nutcracker Prince stopped her. Angry with the prince, Rathilda cast an evil spell, turning him into an ugly wooden nutcracker.

After Drosselmeyer 's story, all the children except Clara return to the party The Von Stahlbaums' daughter has a romantic soul, and she cannot bear the thought of the Prince being separated from his true love. She asks Drosselmeyer if anything can be done to help the Nutcracker Prince. Drosselmeyer tells Clara that, if she is willing to go through great trials, she can help , and gives her the nutcracker doll. Clara 's impetuous little brother, jealou s of the attention his sister receives, breaks the doll. Drosselmeyer places the doll und erneath the tree , and party continues.

Unab le to sleep that evening, Clara downstairs around midnight to check on her doll and is frightened by a group of large mice. When the mice turn

on Clara and she is abo ut to sacrifice her life for the Nutcracker, Drosselmeyer intervene s. Imp ressed by Clara's brave act, Drosselmeyer teaches her magic. Drosselmeyer then vanishes as qUickly as h e appeared , and Clara faces her next trial. Just as the Mouse King is about to defeat the Nu tcracker, Clara summons all her strength and bravery, and slays the vile rodent. Rathilda's spell is broken , and the Nutcracker returns to his human form as the handsome Prince. Eternally

grateful to Clara, the Nutcracker Prince takes her to see the extraordinary Kingdom of the Sweets.

Act II

Drosselmeyer, wielding the unlimited power of the authors imagination, prepares the Kingdom of the Sweets for Claras visit and vanishes before she arrives. The Nutcracker Prince introduces Clara to the Sugar Plum Fairy, the King and Queen , and the wedding ceremony begins. An array of delicious entertainment awaits. There are the exotic Spanish, Arabian, Chinese and Russian dances, followed by the little Shepherds. Then the magnificent Waltz of the Flowers begins Finally, the Nutcracker Prince and the Sugar Plum Fairy dance a romantic pas de deux for Clara Drosselmeyer appears and tells Clara it is time to go.

Epilogue

Still at his desk, ETA. Hoffmann completes the final chapter of a story that h e hopes will teach and inspire generations to come

The arts enrich our lives in ways that go beyond the spoken word or musical note They make us laugh. They make us cry. They lift our spirits and bring enjoyment to our lives The arts and cultural opportunities so vital to this community are also important to us. That' s why (omerica supports the arts. And we applaud those who join us in making investments that enrich peoples lives

We listen. We undentand. We make it

Detroit Opera House

Regardless of age or perspective, the key to enjoying The Nutcracker is to-if only for two hours-believe in magic.

Artist Profiles

Eldar Aliev Artistic Director

Using his creativity and connections in the dance wo rld , Eldar Aliev has quickly transfonned Indian as o nl y professiona l ballet company into an internationally acclaimed / ense mble. In jus t six seasons, Eldar has recruited many outstanding dancers, expanded the repertoire to include the fin est in classica l and contemporary ballet and created a number of remarkable productions that have garnered acclaim from international d ance critics, such as A Thousand and One Nights, The Nutcrac ker and The Firebird.

Prior to joining Ballet Internationale, Aliev enjoyed a 13 -year career as a principal dancer with the Kiro v Ba llet, where he appeared in over thirty countries. He toured with the Kirov Ballet, Yekaterina Maximova, Vladimir'Vas iliev and th e St ar s of th e Ki rov and go lshoi Ballets, as well as in the Galaxy of Russian Ballet series. With his commanding presence and unique interpretations of lead roles in classics such as Swan Lake, La Bayadere, Le Corsaire, Spartacus, Do n Quixo te and others, Aliev quickly b ecam e a Kirov favorite and so ugh t-after guest star. H e appeared with numerous companie s, including the Bolshoi Ballet and the Australian Ballet, and h as been featured regularly in gala events in Gennany, J apan, Canada and the United States. Aliev is also we ll known for his perfonnances in several commercial videotapes, such as Kirov in London, ClasSiCS, Swan Lake, Le Corsaire and Pas -de-deux in White N ight. He tours the world crea ting n ew choreography, staging classical repertoire and teaching. H e is a 1999 Arts Council of Indianapolis Creative Renewal Arts Fellow, sponsored by the Lilly Endowment.

Barbara A. Turner Managing Directo r

Since becomin g Man agin g Director in the 1995/1996

Seaso n , Barbara Turner h as continually inspired and directed the business s upport staff of Ballet Internationale to consistently higher levels of perfOlmance. Through h er insightful lead ership, Ballet Internationale has expanded its suppo rt s taff, acqU ired state-of-the -art technology and provided inhou se as well as off-sight professional d evelo pment.

During her tenure, Ms. Turner has been instrumental in contribu tin g to the financia l growth of the Ballet. Sh e secu red the largest monetary gift in the companys hiStory, enabling the fu ndi n g of live mu sic for Ballet Intemationale perfonnances for the next three seasons. Sh e also e n couraged the name c han ge from Indianapolis Ballet Theatre to Ballet Interna ti ona leresulting in a hi gh er national and international profile for the compan y, which s till maintains a close re lationship with the Indianapolis and ce ntral Indiana cultu ral and business communities.

Before assum in g th e position as mana ging director, Ms. Turner served seven years as Ballet Internationales Director of Development. Under her 24 BRAVO

directorship, individu al contributions d oubled and co rporate support increased by more than 700%. Her experience in d evelopment and h er expertise in leadership h as positioned Ballet Internation ale as a blade runner in the forefront of professional arts appreciation in Indiana.

A native of Louisville, Kentucky, Ms. Turner holds a bachelors degree from the University of Kentucky and a masters degree from th e University of Louisville.

THE ARTISTIC STAFF

Irina Kolpakova

Assista nt Artistic Director

Fonner Prima Ballerina

Assoluta of the Kirov Ballet and favo rite partner of Mikhail Baryshnikov and Rudolf Nureyev, Irina Kolpakova is widely reCOgnized as one of the finest ballerinas in the last halfcentury Ms. Kolpakova joined the Kirov in 1950 and danced leading roles in all major ballets, including Stone Flow er, Legend oj Love, The Creation oj the Wor ld, The Nutcracker , Ray monda , Rom eo and Juliet, Les Sylphides, Otello , Giselle, Ci nderella , Don QUixote and La Bay adere during her illustrious 38-year career. She was the undisputed star of the Kiro vs fi rst tours to the United States in 1961 and 1964, enchanting audiences with h er interp re tation of the role of Princess Aurora in The Sleeping Beauty, regarded by many as the m ost beautiful of our time.

The last pupil of Agri ppina Vagan ova, famed founder of modem ballet ed u ca tion , Ms. Kolpakova ha s garne red many prestigious awards, including People's Artist of the Soviet Union and the Anna Pavlova Prize. Sh e is a remarkable teacher and coach, and is a jurist in seve ral international ballet competitions in Russia, Japan and the United States. Prior to joining Ballet Internat ionale, Ms. Kolpakova serve d as ballet mistress at the American Ballet Theatre in New York.

Dale Shields

Prin cipal Ballet Mistress

Ms. Shields is a fonner principal d ancer wi th Indianapo lis Ballet Theatre, where she appeared in lead roles in many productions including Giselle, The Sleeping Beauty, Swan Lake, Th e Nutcracker, Rom eo and Juliet, Gaite Parisienne, A Midsummer Dream and Coppelia, as well as George Balanchines Night Shadow and Jo se Limon's The Pavan e. Ms. Shields was invited by fonner artis tic director George Verd ak to perfonn and assist in the s taging o f the Russian premiere o f the b allet Le Bal in St. Pe te rsburg, Russia. As ballet mistress for Ballet Inte rnationale, sh e has bee n responsi ble for assisting in th e stagin g of Eldar Al ievs Th e Nutc ra cker, A Th ousand and One Nights and Th e Firebird. Ms. Shields has also assisted in the s taging of Alberto Alonso's Carmen, Martin Fredmann's Cinderella, Agnes d e Mille's Rodeo and Val Caniparolis Lambarena (in Indianapolis and Pretoria, South www MichiganO pera.o rg

Africa). A native of Winson-Salem, North Caro lina, Ms. Shield s studied at the No rth Carolina School of th e Arts as we ll as the J offrey School and Butler University, and has been a guest perfonner and teacher across the United Sta tes.

Tatiana Pali Ballet Mistress

Tatiana Pali achieved stardom as a Prima Ballerina with the Moscow Classical Ballet, garnering numerous int ernation al awards fo r her perfonnances in Swan Lake, Don Quixote, Giselle, Romeo & Juliet, Th e Creation oj the World, Paquita and many others. She wo n th e gold m edal at the p restigious International Ballet Competition in Varna, Bulgaria ; received the August Bo u rnonvi lle prize from the Paris Ballet Acad emy; was acclaimed with the title "Honored Artist of Russia" and was named as "Best Ballerina of the Year in Moscow" in 1991. Ms. Pali is regularly featured in interna tio n al galas and participated with other gold medalists in the "Russ ian All -Sta rs Super Gala" in Tokyo. Indiana poli s audiences h ave enjoyed Ms. Pali in many leading roles, including Princess Aurora in Th e Sleeping Beauty and the Sugar Plum Fairy in Th e Nu tcracker, as well as leading roles in Coppelia, Les Sylphides, Giselle, The Creatio n oj the World and many others. In April 2000, Ms. Pali retired as Principal Dan ce r with Ballet Internationale b y offering a magnificent and unforgettable perfonnance as Sch eh erazade in A Th ousand and One Nights. Sh e will co nti n u e to assist in the artistic direction of the company and is a member of the facu lty of The Aca d emy of Ballet Internationale

Regina Shestakova

Music Director

Originally from St. Petersburg , Russia, Mrs. Shestakova was the Accompanist for the Vaganova Academy from 1979-1986 and the Kirov Ballet from 19861996. She has been the Music u... _ £....1 Director and Company Pianist for Ball et Internationale since 1996. She perfonned the mu sic for a BBC documentary on Leningrad legend Natalia Makarova, and her work is fe atured on a new CD, "Favorite Classics of Ballet. "

PRINCIPAL DANCERS

Karen Scalzitti-Kennedy, principal , is a fonn er principa l dancer with Boston Ballet and Ballet West. Her classical repertoire includes principal roles in The Sleepi ng Beauty, Giselle, Don Quixote, A Mids ummer

Dream, The Nu tcrac ker, Abdallah, Ashton's Monotones, Anna Karenina, Ulac Garden, John Crankos Eugene Onegin, Les Sylphides, Carnival in Venice, Carmen, Cinderella, Rom eo & Juli et, A Thousand and One Nights and The Firebird He r contemporary repertoire includes lead

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De t ro it Ope ra Hou se

roles in Balanchines Bourree Fantasque, Who Cares?, Apollo, La Sonna mbula, Four Temperaments, Theme and Vwiations, David Bintleys All egn Divmi, Symphony in D, The Creation oj the World, Company B, Lambarena and Phaedra. Mrs. Scalzitti-Kennedy sta rred with Ferna nd o Bujones in a produ ctio n o f Ch oo San Goh's Romeo & Juli et at the Kennedy Ce nter in Washingto n , DC , and toured wi th Mr. Buj on es throughout the United States and Puerto Rico. Sh e is from H awthorne, New jersey, and received h er formal training at th e lrine Fokine Schoo l of Ballet and with jeremy Ives. This is h er six th season with Ballet Internationale.

Sara Viale, p rin Cipal. To rino , Italy n ative Sara Via le studied at the Accademia d ell a Danse de Princess Grace in Mo naco an d the Accade mia Regionale di Danza Tea tro Nuovo Torino. She danced with Tea tro Nuovo Torino and Ater Balletto in Italy, and toured throughout Europe with both companies. Ms Viale also danced with Swi tz e rl and 's Zurich Ball et for two years, spending much of this time und er th e direction of Uwe Scholz. Ms. Viale guest-stars annu ally in The Nutcracke r (New Orleans) and has b ee n featured in Cap ezio adve rtising. She has received critical acclaim for her soloist roles in Ballet Internationales Carmen, A Thousand and One Nights, The Creation oj the World, The Nutcrac ker , Walk and Talk, The Firebird and Phaedra, and is an audience favorite. This is Ms. Via les sixth seas on with Balle t Internationa le.

Irina Komarenko, prinCipal. A native of Ukra in e, Ms. Komarenko is a 199 2 gra duate of the Alma-Ata Ballet Acad em y. Upon gradua tion , she j oined the world -renowned Donetsk Ballet and d an ced leading roles in Don Quixote, Giselle, La Bayailere and others. At the 1995 Inte rnat ional Festival "S tars o f th e Wo rld of Ballet," she received a dip loma of recognition, "Th e H ope of Ukrainian Ballet ," and in 1998 at the sa me eve nt , sh e was awarded a fest ival priz e o f recognition, "Hi gh Mastership " Ms. Komarenk o has to ured in Ita ly, France, Norway, Spain, Greece, Cyprus and Switze rland. In 1998, she was a finali st in the USA International Ballet Competition in j ackson, Mississi ppi , and in july of 2000, sh e received an award for being the best noncompeting partner a t Varnas International Ballet Competition (Bu lgaria).

Sh e j o ined Ballet Internationale in 1999 , performin g as Eve in The Creation oj the World, the Suga r Plum Fairy in The Nutcrac ker , the Nurse in Phaedra, Solo Varia tion in Napoli and Sch eh erazade in A Thousand and One Nig hts. She has been promoted to PrinCipal Dan ce r for the 2000-200 1 Seaso n

Erlends Zieminch, principal , returned to Ballet Internationale in th e 1996-1997 season from the New York City Ballet , whe re he won critica l acclaim performing soloist roles in George Balanchines Firebird, Di amonds, Concerto Barocco, and Vienna Waltzes. A native of Riga , latvia , Mr Zieminch graduated from the Riga Choreographic Institute and joined the latvian National Opera and Ballet Theatre , event ually reac hing principa l status.

Mr. Zieminch toured I ta ly, USSR, France, Singapo re, Malaysia, Sweden, No rway and Egypt before coming to the Uni ted States in 1990. His repertOire also includes lea d roles in Gise ll e, Swan Lake, Don QUixote, Paqui ta , Le Corsaire, The Sleeping Beauty, The Nutcrac ker, Pha edra, The Creation oj the World and A Thousand and One Nig hts.

Alexei Tyukov, principal. Mr. Tyuko v gradua ted with h onors from the Pe rm State Ballet Academy in 1995, in his home ci ty of Perm , Russia. The same year, h e joined the Perm State Ballet, where he performed lead roles in Swan Lake, Le Corsair, Giselle and Th e Nutcrac ker. He to ured extensively with the Perm State Ballet Theatre through Au stria , Germany, Ireland , China and japan. At th e 1998 International Ballet Competition "Arabesque ," Tyukov won first place in th e Senior Men's Division and was awarded "The Mikhail Arnopo lskii Prize ," given to the most talented participant of the competi tion. He joined Ballet Internationa le in 1999 and has since received rave reviews for his lea ding role p erformances in Phaedra, The NL1tcracker, The Creatio n oj the World and A Thousand and One Nights. In May 2000, he guest -starred in Cincinnati Ballets world premiere of Cinderella, d ancing th e role of the Prince In july, Tyukov was a finali st at the International Ballet Com petition in Varna , Bulgaria. He has been promoted to Principal Dancer for th e 2000-2001 season.

CORPS DE BALLET

Yuri Beletsky, a native of Kiev, U krain e, trained at the Kiev Ballet Acad emy of th e Ukraine. Upon co mpletion of hi s stu dies in 1994 , he was invited to join the Donetsk Ope ra a nd Ballet Theatre of the Ukraine, w h ere h e danced solo a nd princi pa l roles. At the Internation al Festiva l. "Stars of the Ballet World, " he h as been a featured artist in Tchaikovsky Pas de Deux, Pas Desclave pas de deux fro m Le Co rsaire and the pas de deux fro m the ba lle t Fo ur Kisses. His repertoire also includes La Bayadere, Gisell e, Don Quixote and Swan Lake. Mr. Beletsky has toured in Italy, France, NOlway, Spain, G reece , Cyp ru s and Switzerland before j oining Ba llet Internationale in 1999. He is manied to Irina Koma renko. www.

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Ogulcan Borova was recognized in 1996 as th e "Prize Winner " at th e Na ti ona l Competition in Turkey, his h ome co unt ry. He won a bro nze meda l in the junior Division a t the 1998 Varna International Ballet Co m petition in Bulgaria , was a finalist at the 1998 Paris International Ballet Competition and in 1999 was a semi -finali st at the japan Internation al Ballet and Modern Dance Competition. In Turkey, Borova da n ced lea ding roles in La Fille Mal Ca rd ee, Don Quixote, Flames oj Paris and Le Corsaire. H e j oined Ballet Internationa le in 1999 and successfu lly made hi s d ebut in th e fu ll -length ballet The Nutcrack er in the leading role of the Prin ce. He has also danced solo role s in the compan ys productions of Napoli , Phaedra , The Creation oj th e Wor ld and A Thousand and On e Nights.

Melinda Bower, from Parkersburg , West Virgi ni a, received her formal tr aining from North Carolina Sc hool of th e Arts , where she s tudi ed under Melissa H ayden, Duncan No ble, Fanchon Cordell and Ri ch ard Ga in There she performed in Th e Nutcrack er, Western Symphony, Ed wa rd Sti erles Lacrymosa and Mark Dend ys Symmetlies. Sh e is a gradua te of the Hungarian Dance Aca d em y in Budapest , Hungary, wh ere she danced as a soloist in Don Quixote and Robert No rths Entres dos Aquas. Ms. Bower joined Balle t lnternationale in 1997 and has taught th e adu lt ba llet classes for the Acad emy of Ballet Internationale since 1999.

Vadim Dulepa jOined Ballet Internationale this season from the Ontario Ballet Theatre in Toronto, Canada, where h e was Principal Dan cer He graduated from the Bolshoi Ba llet Academy in 1998 and was invited to j oin Moscow's Kremlin Palace Ballet as a soloist. Mr. Dulepa has danced a numb er of lead in g roles in Moscow as we ll as on interna tiona l tours arou nd th e wo rld He has been fe atured in The Nutcracker , Swan Lake, Romeo and Juli et and Tom Sawyer

Kerrla-Anne Dunn trained at the Harid Conservatory, s tu dying under Ma rj o rie Talchief and O liver Pardina. Upon graduatin g valedictorian , she began her professiona l career with the Milwaukee Ballet , and later wi th the Columbia City Ballet, wh ere s he performed the Fairy of So ng and the Diamond Fairy in Sleeping Beauty, the Autumn Fairy in Onderella, and soloist roles in BRAVO 25

Stephanie Ballard\; A Gatheling, Romeo and]uliet, Stars and Stlipes and Raymonda. Originally from Lynchburg, VA, Ms. Dunn celebrates her second season with Ballet Internationale.

Selahattin Erkan, from lzmir, Turkpy, studied with Shavkat Tur sonov at the Dokux Eyl University in Izmir, Turkey He was a semi-finalist at the Paris International Ballet Competition in 1998. In Turkey, he danced in La Fille Mal Gardee and The Flower Festival at Genzano, and since 1999 has danced with Ballet Internationale in The Nutcraller, Phaedra, Napoli, Th e Creation of the World and A Thousand and One Nights.

Svetlana Kazonina graduated from the Vaganova Academy of Russian Ballet in 1993, then jOined the Kirov Ballet of Maryinsky Theatre in St. Petersburg , her native city During her six-year tenure at the Maryinsky Theatre, she toured throughout the world with the company and performed in Swan Lake, The Sleeping Beauty, Don Quixote, Giselle, Raimonda, Les Sylphides, La Bayadere, Le Corsaire, and Serenade. This is her second season with Ballet Internationale.

Katherine Lawrence

Originally from Fairfield, Connecticut, Ms. Lawrence began her ballet training at the Connecticut Dance School. At age fifteen, she left home to train at the H arid Conservatory, where she graduated in 1998 as valedictorian At the conservatory she perfonned principal and soloist roles in Balanchines Serenade, Th e Sleeping Beauty and Raymonda. She has performed with the Hartford Ballet, joined Ballet lnternationale in 1999 as an apprentice and was promoted to Corps de Ballet [or me 2000-2001 Season.

So Yon Nam, a native of Taegu, Korea, studied ballet at Moscows Bolshoi Ballet Academy, graduating in 1995 Upon graduation, she joined the worldrenowned National Ballet o[ Korea, where she danced leading roles in Don QUixote, Giselle, !iii. La Bayadere and Swan Lake, and toured internationa ll y to Egypt and Israel. She was a semi -finalist at the Varna Int ernational Ballet Competition in Bulgaria in July This is Ms. Nam\; second season with Ballet Internationale.

Chieko Oiwa joined Ballet Internationale in 1999. A native of Nagoya, J apan, she is the recipient o[ many awards. In 1996 sh e received first place in the Junior Division of the Kobe Modern Dance Competition, in 1999 was a semi-finalist at the Japan International Ballet and Modern Competition and in 1997 won the IBM Award at the Asia Pacific International Ballet Competition. Most recently, Ms. Oiwa became a finalist at the Varna International Ballet Competition in Ju ly 2000. Her repertOire includes leading roles in Phaedra, Napoli and A Thousand and One Nights

Aaron Orlowski , of Fort Collins, Colorado, began his ballet training with the Canyon Concert Ballet. In 1997, he began studying at the University o[ Utah's Department o[ Ballet and became a member of the university'S resident company, the Utah Ballet. He also trained for four summers at Boston Ballet on full scholarship. Mr. Orlowski joined Ballet Internationale in 1999

Vadim Pijicov , a native of Novgorod, Russia, came to Ballet Internationale in 1997 from Italy\; Cosi-Stefanescu Ballet Company, w h ere he danced as a soloist. He graduated at the prestigious Vaganova Academy and enjoyed an ._ • • eleven-year career as a soloist with the Nati onal Opera and Ballet Theatre of Khishinev, Moldova. In 1993, he was awarded the special prize [or pas de deux at the International Ballet Competition in Costanza, Romania. Mr. Pijicov has toured in Austria, Bulgaria, France, Gennany, Hungary, Romania and Spain.

Laura Pullen , of Reston, Virginia, attended the North Carolina School o[ the Arts and the Virginia School of the Arts

During this time , she spent her summers training at the Eg1evsky Ba llet, the Kirov Academy, and the Hu ngarian State Ballet School. She danced with the Richmond Ballet aFld Ballet Austin before joining Ballet Internationale in 1999 Ms Pullen has danced demi-soloist and soloist roles in classical and contemporary ballets , and has also appeared in the film "The Newton Boys " as a featured dancer.

Rachel Rutland , [rom Columbus, Ohio, gradu ated from the Vaganova Academy in St. Petersburg. Sh e has danced profeSSionally with the Makarov Ballet Company CSt. Petersburg) and the Colorado Ballet, and is now in her fourth season with Ballet Internationale. Ms. Rutland has perfonned soloist roles in Les Sylphides, Sleeping Beauty, The Nutcracker and The Creation of the World.

Sergey Sergiev A native o[ Sofia, Bulgaria, Mr. Sergiev studied ballet at the State Choreographic Institute In 1993, he was awarded the third prize at the Bulgarian National Ballet Competiti on, in the name of Anastas Petrov. In 1996, he was a semi -finalist at the 17th International Ballet Competition in Varna, and in 2000, he perfOlmed as a guest artist at the 19th Varna International Ballet Competition, Super Gala performance. His repertoire with the Bulgarian National Ballet includes leading perfonnances in Giselle, Swan Lake, Zorba the Greek , The Goat Hom and The Nutcracker. This is Mr. Sergiev\; first season with Ballet Internationale

Janna Sinitsyna was born in St. Petersburg, Russia , and trained at the Vaganova Academy She made her pro fessiona l debut with the Kirov Ballet, where she was a member from 1989-91, touring to Canada, France, Gennany, Holland, Italy, Spain and throughout the United States. Ms Sinitsyna has perfonned with the Boston Ballet, New Jersey Ballet , and Tulsa Ballet Theatre. Her repertoire includes leading roles in Swan Lake, Romeo and]uliet, The Sleeping Beauty, The Nutcracker, La Bayadere and many others. She has danced with Ballet Internationale since 1998 and is a member of the faculty of The Academy of Ballet Internationale.

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Oybek Tashpulatov from Tashkent City, the Republic of Uzbekistan, graduated in 1987 from the Uzbek School of Choreography For the next ten years, he perfonned as PrinCipal Dancer with the Nationa l Academic Opera and Ballet Theatre in Tashkent City For his outstanding achievements in the field of dance, the country\; President gave Tashpulatov the national title of Honored Artist of the Republic of Uzbekistan in 1997. He has toured to Singapore, Thailand, H ong Kong, Malaysia and Gennany In 1998, Tashpulatov came to the United States to dance with the International Ballet at Carnegie Hall in New York City He has also made guest perfonnances in the Detroit Opera Ho u se

Ballet Theatte of Boston's Th e Nutcracker and in the Dance at Holy Trinity in New York City This is his second season with Ballet Inte rnationale.

Phillip Velinoy studied at the State Choreographic Institute in Sofia, then received full scholarships to both the Alabama School of Fine Arts and the Kirov Academy in Washington , D.C. In 2000 , he graduatep with honors on a full scholarship /. from Birmingham Southern Co llege- the first time in the school's 140- year history that su ch a sch olarship was awarde d in the perfonning arts. He danced with the Alabama Ballet for two years, performing leading roles in The Nutcracker, La Fill e Mal 0ardee, Paquita , Les Sy lphides , Le Corsair and George Lysenkos Esm eralda. Mr. Velinov received the 1998 Birmingham Fine Arts Society Award for Excellence in Dance and the same year was a semi-finalist at the 18th International Ballet Competition in Varna. This is Mr. Velinovs first season with Ballet Internationa le.

APPRENTICES

Rebekah Crisci magna of Indianapolis is a 1999 graduate of The Aca dem y of Ballet Internationale, whi ch she had attended since she was ten yea rs old. Under the direction of The Academy, sh e became 1997 and p erformed in Ballet International es Paquita, Coppe/ia, Sleeping Beauty, Firebird, Th e Nutcracker , Phaedra , The Creation of the World and A Thousand and One Nights. Ms. Crisci magna has been promoted to Apprentice for the 2000-200 1 season.

Lindsey Hanlon is also a 1999 graduate of The Academy of Ball et Internationale , where she had bee n training since s he was eleve n . A nari ve of Nob lesville, Indiana , Ms. H anlon also became a Ballet Internationale trainee in 1997, perfOlming in a number of the companys professional produ ctions over the three years, including Paquita , Coppe/ia, Sleeping Beauty, Firebird , Th e Nutcracker , Pha edra , Th e Creation of the World and A Thousand and One Nights. This is her first year as an Apprentice

Michigan Opera Theatre ! Orchestra

Winte r 2000-2001 Season

VIOLIN I

'Ch arlo tte Merker son

Conce rtm as ter

*Ve ld a Kelly

*Sash a Margolis

*Ann a Bittar We ller

J aso n Be ndle r

Kevi n Fikwych

J ames Kujawski

Cha rles Ro th

Elizab e th Rowin

Mary Sto lb erg

Melody Woo tton '

VIOLIN II

*Vic to ri a H a lto m Princip al

*Brooke

H o pl amaz ia n

*Aureli an O p rea

*Lydia Si- Ngaw Lu i

*Brya n T J o hns to n

'

J ulia Kurt y ka

Ka thryn Stepu ll a

J ane t Su llin s

VIOLA

*J o hn Madis on Plin ci pal

*Sc ott Stefanko

*Kath leen Grim es

*Barbara Zmich

Barbara Stolb erg

J ulia n ne Zinn

CELLO

'Na din e Del e ury Plin ci pal

*Dian e Bre d esen

*Minka Christoff

' Rob e rt Ree d

Sarah Cleveland

J oh n Iatzko

An drew Mci nt osh

BASS

*D er ek We ll er Pri ncip al

*Cla rk Sutt le

Arro n Keas ter

Sh awn Woo d

FLUTE

*Pam ela Hill

Prin cipa l

*Lau ra La r son

Ric h a rd Sh e rma n

OBOE

*J ean e tte L. Bitta r Plincip al

J are d H ou se r

Sally Pitu c h

Kris tin Reyno lds

CLARINET

Artenri c h es our

c ommunity. It b eg in s as

a moment th a t e mb races

th e soul a nd li ves on

as a mem ory th a t

b eautifi es life

Compu war e-a ppl a u ds

th e pe rfo r m e rs,

mu s icians a nd all who

s upport the Mi c hi ga n

Op era Th eatre .

*Brian Bowman Plin ci pal

*Kimb e rl y Co k

Lu eva n o Su zanne Roz m ary

BASSOON

*Kirklan d D Fe rris Pri nci pal

*Sc ott Arm stron g

HORN

'Su san Mu tte r Prin cipa l

' Carri e Ban fie ld

Tamm y Ko sinski

Martin Limoges

TRUMPET

Davi d Ku eh n A cting Prin cip al

' Go rd o n Simmons

TROMBONE

*Mau ry O kun

Plincipa l

*Greg Near

Mi c h ael Tyr rell

TUBA

Fritz Kaenzig

TIMPANI

*Gr egory White Pri nCipal

Te rrence Farmer

PERCUSSION

*J ohn F Dorsey Plin cipal

David Taylor

HARP

*Patric ia Ter ry -Ross Principal

KEYBOARD

Lawren ce Picard

PERSONNEL

MANAGER

Dia ne Bred ese n

* Member, Mi chiga n Opera Thea tre Orchestra

Detro it Federatio n of Mus icians, Loca l #5 , Am eri ca n Federation of Mu sici ans

COMPANY MEMBERS

Guillermo Asca

Kevin E. Boseman

Hope Boykin

Clifton Brown

Anthony Burrell

Linda Caceres

Samuel Deshauteurs

Linda-Denise Evans

J effrey Gerodias

Ve'rnard]. Gilmore

Venus Hall

Amos J. Machanic, Jr

Benoit-Swan Pouffer

Troy O'Neil Powe ll

Briana Ree d

Renee Robinson

Laura Rossini

Cheryl Ann Rowley

Matthew Rushing

Rosalyn Sanders

Wendy White Sasser

Bahiyah Sayyed

Glenn A. Sims

Dwana Adiah a SmaTIwood

Kristofer Storey

J eremiah Tatum

Asha Thomas

Desiree Vlad

Tina Williams

Richard Witter

Dudley Williams

Alvin Ail ey Foun de r

JUDITH JAMISON Artistic Director

Masazumi Chaya As sociat e Arti stic Director

with The 'Rudy Hawkins Singers

Dr. Rudolph V H awkins , Mu sic Direc tor for Revelations

The Alvin Ailey American Dance Theater is pro du ced by Alvin Ailey Dance Founda tion , Inc. Sh aron Gersten Lu ckman, Exec u tive Director

Support for this performance is provided by media sponsors , WDET 10(9 FM and WB20.

This performance is co-presented with the Univers ity Musical Society; Detroit Opera House and The Arts League of Michigan, with additional support from the Venture Fund for Cultural Participation of the Community Foundation for Southeastern Michigan

Special thanks to the Detroit Public Schools and the Detroit Public Library for their involvement in this residency

SpeCial thanks to the members of the Rudy Hawkins Singers, Music Director Dr Rudolph V Hawkins, and the Church of the New Covenant of Detroit.

The Steinway piano used in this performance is made possible by Hammell Music, Inc., Livonia, Michigan .

The Board of Trustees of Alvin Ailey Dance Foundation, Inc. gratefully acknowledges The Ford Foundation for its leadership support.

Major funding is also provided by the New York State Council on the Arts-a State Agency, the New York City Department of Cultural Affairs, the National Endowment for the Arts, AXA Foundation, The Sh ubert Foundation, and Time Warner, Inc.

Continental Airlines is the official airline of the Alvin Ailey American Dance Theater HealthSouth is ' the official provider of dance medicine and physical rehabilitative services for the Alvin Ailey Dance Foundation.

Alvin Ailey American Dance Theater is sponsored by Philip Mo rris C ompani es, Inc,

DAIMLERCHRYSLER

The 2000-2001 DaimlerC h rysler Dance Series is made possib le by The DaimlerChrysler Fund.

Dear Friends,

The University Musical Society, the Detroit Opera House, and The Arts League of Michigan are pleased to bring the Alvin Ailey American Dance Theater to the Detroit Opera House this winter, thanks in part to a generous grant from the Community Foundation for Southeastern This same partnership was pleased to be able to present The Harlem Nutcracker to more than 36,000 people during the holiday seasons in 1998 and 1999.

One of our proudest achievements with The Harlem Nutcracker was our role in the launching Bahiyah Sayyed and Benoit-Swan Pouffer of the Rudy Hawkins Singers, an outstanding gospel ensemble that was formed by Dr. Hawkins to perform the vocal component of Donald Byrds speCtacular dance piece. The group has gone on to receive high acclaim from critics throughout the US as they recently completed their first national tour of A Gospel Christmas. You'll hear the Rudy Hawkins Singers perform as part of Revelations in to day's performance.

We express our deep appreciation to our respective boards of directors who provide leadership and guidance in our collaborative efforts, to our many donors who provide significant financial support, to our many community partners whose involvement plays an absolutely critical role in our being able to bring this spectacular company to Detroit. Finally, we wish to thank you for supporting the performing arts in our community by attending tEis very special event.

Enjoy the performance!

Kenneth C. Fischer President University Musical Society

David DiC::hiera General Director Detroit Opera House

Oliver Ragsdale, Jr. President The Arts League of Michigan

Rudy Hawkins Singers

Dr. Rudolph V Hawkins , Music Director

Corrie L. Hix, Choir Manager

Nathan Brewe r, Accompanist, Rehearsal Assistant

Linda Adams

Gail Barker

Glor ia Black

Angela Bostic

E. Dianne Bradley

J ames Braswe ll

Yatonya Braswa ll

Maxine Brinson

Isaac Calland, Jr .

Thoedore P Co leman

Karen Cook

H erbert M.

Copeland

Mary Crawford

Adrian Leander

D avis

Malco lm K. D avis

Alice Dunbar

Tra cey D. Durden -

H enton Ellis , JT.

Ne t 'fa Enzinga

Sandra Feva- Dance

Silas Green, Jr

Darris A.

H alliburgh

Joyce M. H arris

Valerie L. Harvey-

Ford

Paula Hightower

Corrie Lyn H ix

Terry Hom

Armon d J ackson

Gloria Jo yce

McNairy

Yolanda R. Moore

Thomas Nance

Ki tish a Paulk

Marathon Poplar

Byron M. Reid

Virgin ia Ridgeway

Kenne th Rogers

Sammie Rushing

Regina Scott

Stacia Slaughter

Phyllis Thaxton

Valerie Thomas

Pamela Thompson

Lawrence Waller

Esthe r Walton

Reda WashingtonJackson

Elsa R. White

Linda C. Williams

Ernestine Worford

Ricardo Wright

List reflectiv e as of Novem ber 2000.

I GET

R L D S I When it comes to yo ur financial plan or inv estm ent portfolio, yo u don't h ave to compromise. National City's Private Client Group provides the bes t of both worlds in our indu stry - independent, personalized so lution s and serV i ce, combined w ith th e fin ancial strengt h an d reso urces of National City Corporation. Together, we deli ver a co mplet e range of wealth - building so lution s base d on yo ur n ee d s today and yo ur vision for the future. It 's a team approach, delivered to you through a dedicat ed Relationship Manager. The Privat e Client Gro up : The Best of Both Worlds. Call Newton Kimb erl y, Senior Vi ce President a nd Market Exec utive ,

Alvin American Dance

Wednesday Evening January 31,2001

8:00 p.m.

GRACE (1999)

Choreography by Ronald K. Brown

Music: Various Artists *

Costumes by Omatayo Wunmi Olaiya

Lighting by William H. Grant III

Brooklyn-born Ronald K. Brown has created and presented dances since 1985, with his NY-based company Evidence, at venues in the US , France , Brazil , England and Cote d 'Ivoire. Browns choreography has been performed by Daytori Contemporary Dance Company, African American Dance Ensemble, Cinque Folkloric Dance Theater, Philadanco, Ailey II (formerly Alvin Ailey Repertory Ensemble) and Alvin Ailey American Dance Theater. Brown has worked with and learned from Jennifer MullerfTHE WORKS, Mary Anthony Dance Theater/ PHOE N IX , Judith Jamison, Bessie Schonberg and Ann Carlson. He is the recipient of numerous awards including: New York Dance and Performance Award ("Bessie"), Na tional Endowment for the Arts Choreographers ' Fellowship, a New York Foundation for the Arts Fellowship, and a John Simon Guggenheim Fellowship.

Th e crea tion of this work was made pOSSible, in part, by AT&T, the John S. and Jam es L Knight Foundation and Th e Harkness Foundation Jor Dance

"Come Sunday," • by Duke Ellington (sung by Jimmy McPhail)

© Sony Music Emenainmem 1992

"Gabtiel,n by Roy Davis,jr. featuring Peven Everett, Umosia Music, 1997. PE Music Adm by EM I Music (ASCAP) Counesy of illrge Records and Xlarge Records

"Bless- It ," by Paul Johnson. Underground Therapy Musik. 1997. "The Rock Shock," by Roy Davis, Jr Underground Therapy Musik. 1998.

"Shakara," by Fela (Anikulapo) Kuti, © Shanachie Entertainment Group, 1992.

"Come Sunday,"·· by Duke Ellington (sung by Jennifer Holiday)

© Geffen Records O ti gtnally recorded on "Say You Love Me."

Published by Tempo Music, Inc.

•• Used by arrangement wi th G. Shinner, Inc ., publisher and copyright owner

INTERMISSION

FOLLOWING THE SUBTLE CURRENT UPSTREAM

(2000)

Choreography by Alonzo King

Music by Zakir Hussain, Miguel Frasconi and *Miriani Makeba

Costumes by Robert Rosenwasser

Lighting by Axel Morgenthaler

The creation oj this work was made possible, in part, by a grant Jrom AT&T, and with commissioning junds Jrom th e New York State Council on th e Arts.

• "Unhome ," by Miriam Makeba (Make ba Music Corp.) cou nesy of Novus and Bonji Music distributed by BMG.

INTERMISSION

REVELATIONS

(1960)

Choreography by Alvin Ailey

Music: Traditional

Decor and Costum es by Ves Harp er

Costumes for "Rocka My Soul" redesigned by Barbara Forbes

Lighting by Nicola Cernovitch

Liv e music perJorm ed by Detroit!> Rudy

Hawkins Singers .

Pilgrim Of Sorrow

I Been 'Buked

Arranged by Hall Johnson

Didn 't My Lord Deliver Daniel

• Arranged by James Miller

Fix Me, Je sus

Arranged by Hall J ohnson

Take Me To The Water

ProcessionaliHonor, Honor

Adap ted and arranged b y Ho wa rd A. Roberts

Wade in the Water

Adapted and arranged by Howard A. Rob erts "Wade in the Water" se quence b y Ella J enkins "A Man Went Down to the River" is an original composition b y Ella Jenkins.

I Wanna Be Read y

Arranged by James Miller

Move , Members, Move

Sinner Man

Adapted and arranged by Howard A. Roberts

The Day is Past and Gone

Arranged by Howard A. Roberts and Brother

J ohn Sellers

You May Run On

Arranged by Howard A. Roberts a nd Brother

J ohn Sellers

Rocka My Soul in the Bosom of Abraham

Ad ap ted and arranged b y Howard A. Rob erts

• Used by special arrangement wi th Galaxy Music Corporation, New York City

All perJormances oj Revelations are permanently endowed by a ge nerous giJt Jrom Donald L Jonas in celebration oj th e birthday oJhis wife Barbara and her deep commitment to th e Alvin Ailey American Dance Theater.

Theater Pe ormance Schedule

T hursday Ev en ing

Febru ary 1, 2001

8 :00 p.m.

BLUES SUITE

(1958)

Dedicatea to the memory of our Brother John Sell ers

Choreography by Alvin Ailey

Res tag ed by Masazumi Chaya

Assisted by Sylvia Waters and Hope Clarke

Music: Traditional

Decor and Costumes by Ves Harper

C9stumes Redesigned by Normand Maxon

Costumes for "Yanc ey Special" by Jose Coronado,

Lighting Originally DeSigne d by Nicola Cemovitch

Lighting by Chenault Spence

"Been d own so long

Getting up don't cross my mind

When yo u see me lau ghing

I'm laughing to keep from crying ... "

From the fi elds and b arre lhouses of the Southern Negro sprang the blues---songs of lo s t love, despair, protest , and angerhymns to the secular regions of his soul.

Good Mornin g Blues

I Cried

Mean 01' Frisco

House of the Rising Su n

Backwater Blu es

In The Evening

Yancey Special

Sl ow Drag- Going to Chicago

Sh am

Good Morning Blues

Thi s production was mad e possible, in part, by a grant from Th e Ford Fou ndation.

PAUSE

PAS DE DUKE

(1976)

Choreography by Alvin Ailey

Music by Duke Ellington

Costumes by Rouben Ter-Arutunian

Lighting by Chenau lt Spence

* "Such Sweet Thunder" (1957)

* "Sonnet for Caesar" (1957)

* "Sonnet to H ank Cinq" (1957)

# "Clothed Woman" (1948)

* "Old Mans Blues" (1930)

'Used with the permission of Tempo Music , Inc.

#Used wi th the p ermission of Merce r Ellington Publishing

This production was made possible, in part , with public Junds from the Nationa l Endowment for the Arts and th e New York State Council on the Arts-a State Agency, and by a gra nt from th e Ford Foundation.

Pas de Duke was Originally created for "A il ey Ce lebrates Ellington ," the Ailey con tribution to the bi centennial, that was performed at the New York State Th eater in August, 1976.

INTERMISSION

PHASES

( 1980)

(Excerpt)

Four dancers inspired b y the dynamiC sounds of Pharoah Sanders, Donald Byrd , and Max Roach , Choreography by Alvin Ailey

Restaged by Masazumi Chaya

Musi c: Various Artists *

Costumes by A. Christina Giannini

Lighting by Ch enault Spence

Astral Traveling

II Thembi

III Flight Time

IV Makin ' It

V It ' s Time

"'Astra l Traveling composed by Lonnie Liston Smith, played by Pharoa h Sand ers and Lonnie LislO n Smith

Flight TIme composed by L. MIzell. played by Donald Byrd. Cou rtesy of Al Ruby Music, Inc. and Alma Music Corp

Ma hin' It composed by H. Mason and L. Mizell , played by Do nald Byrd

It 's Time composed and perfonned by Max Roach

Th e creation of this work was made possible, in part, wit h co mmi ss ioningJu nds from Th e New York State Council on th e Arts.

INTERMISSION

REVELATIONS

(1960)

Please refer to page 32 for pro gram informati on on Revelations.

Friday Evening February 2, 2001

8:00 p.m.

BLUES SUITE

(1958)

Please refer to page 33 for program information on Blues Suite.

PAUSE

PAS

(1976)

Alvin Ail American Dance

Saturday Afternoon

February 3,2001

2:00 p.m.

DIVINING

(1984)

Choreography by Judith Jamison Restaged by Sarita Allen, Elizabeth Roxas and Masazumi Chaya

DE DUKE

Please refer to page 33 for program information on Pas De Duke.

INTERMISSION

PHASES

(1980)

Please rekr to page 33 for program information on Phases.

INTERMISSION

REVELATIONS

(1960)

Please refer to page 32 for program information on Revelations.

Music by Kimati Dinizulu and Monti Ellison

Costumes Originally DeSigned by Masazumi Chaya

Costumes by Andy Kay Oamison Project)

Lighting Originally DeSigned by Chenault Spence

Lighting by Timothy Hunter Oamison Project)

Seeking Resting Moving On

Funds for this revival were provided, in part, by The Gladys Krieble Delmas Foundation.

PHASES

(1980)

(Excerpt)

IV Makin' It

Please refer to page 33 for program information on Phases.

INTERMISSION

REVELATIONS

(1960)

Please refer to page 32 for program information on Revelations.

Saturday Evening February 3,2001

8:00 p.m.

CHOCOLATE SESSIONS

(2000)

Choreography by Dwight Rhoden

Assistant to the Choreographer: Desmond Richardson

Music Composed by Antonio Carlos Scott

Costumes by Ricky Lizalde

Lighting by Michael Korsch

Piece Out

Buttercup *

Brotha Souffle Sista

Sole Soul

Truffle Sugar Bump

Bitter Sweet Somethin' Somethin'

The creation of this work was made possible , in part, by a grant from AT&T

' Sec tion contains an excerpt of "A Song for You ," music and lyrics by Leon Russell, perfonned by Donny Hathaway

PAl /SF

SWEET BITTER LOVE

(2000)

Choreography by Carmen de Lavallade

Assistant to the Choreographer : Dudley Williams

* Music: "Until It's Time for You to Go," by Buffy St. Marie, sung by Roberta Flack

"For All We Know," by Sam M. Lewis &: Fred Coots, sung by Donny Hathaway

"Sweet Bitter Love, " by Van McCoy, Blackwood, BMI, sung by Roberta Flack

Costumes by Geoffrey Holder

Lighting by Chenault Spence

Funds for this production were prOVided, in part, by The Eleanor Naylor Dana Charitable Trust.

* "Untillt's Time for You to Go," courtesy by Alma Music Corp.

"For All We Know, " courtesy of Chromwell Music Inc and Toy Town Tunes Inc.

"Sweet Bitter Love ," courtesy of Van McCoy Music Inc.

Renee Robinson

Theater Pe onnance Schedule

Saturday Evening, continued

INTERMISSION

DOUBLE EXPOSURE (2000)

Choreography by Judith jamison

Composed by Robert Ruggieri *

Costumes by Emilio Sosa

Lighting by Al Crawford III

Media Concept and Creation by Art in (Robert Ruggieri, Creative Director; Georg Skerbisch, Art Director; Eugen Director of Visual Design and Animation; and Jason Bodner, Production Coordinator)

Electronic Environment Designed by The Company "V" Gay Valgora, PrinCipal ; jessica Corr, Designer)

Technical Advisory by Mark Coniglio

Art in Commerce is a New York-based cross media company speCializing in conceptual design and its execution . Working in a wide va riety of venues ranging from stage production , and public and commercial spaces, to televis ion, film and interactive applications, its main focus is to emotionally move an audience through the use of multimedia.

jay Valgora is the PrinCipal of V, a new company that combines design and media to create unique buildings and spaces. His first two projects are the media environment for Alvin Ailey, and the architectural design for the first Independent Film Center for Robert Redfords Sundance Group in Portland , Oregon, featUring cinemas , an art gallery, and restaurants. Jay is also the Design PrinCipal of WalkerGroup/CNI, which combines all aspects of architecture , graphic deSign, industrial deSign, and interior design.

Sunday Afternoon February 4, 2001 3:00 p.m.

Composer and media artist Mark Coniglio is co-founder together with choreographer Dawn Stoppiello of Troika Ranch , a New York City-based dance theater commi tted to creating works that combine music, dance theater and interac tive digital media. He is recognized as a pioneer in the hybridization of dance and technology

Commissioned by Linco ln Center for th e Performing Arts, Inc. for Lincoln Center Festival 2000.

Th e creation of this work was also mad e po ssib le by grants from AT&T and Th e Harkn ess Foundation for Dance , and with the genero us support of Laren and Jesse Brill , Camill e 0. and William H. Cosby, Jr , Katherine G. Farl ey and Jerry 1. Speyer and Th e Peter Norton Family Foundation.

• Music track produ ced by Rick Kerr.

INTERMISSION

REVELATIONS (1960)

Please refer to page 32 for program information on Rev elation s

CHOCOLATE SESSIONS (2000)

Please refer to page 34 for program information on Chocolate Sessions

PAUSE

SWEET BITTER LOVE (2000)

Please refer to page 34 for program informa ti on on Sweet Bitter Lnve.

DOUBLE EXPOSURE (2000)

Please refer to the fi rst co lumn on this page for program information on Double Exposure.

INTERMISSION REVELATIONS ( 1960)

Please refer to page 32 for program information on Revelations.

About the Company

The Alvin Ailey American Dance Theater grew from a now fabled performance in March 1958, at the 92nd Street Young Men's Hebrew Association in New York. Led by Alvin Ailey and a group of young black modern dancers, the performance forever changed the perception of American dance. The Ailey company has gone on to perform for an estimated 19-million people in fortyeight states and in sixty-eight countries on six continents, including two historic residencies in South Africa. The -company has earned a reputation as one of the most acclaimed international ambassadors of American culture, promoting the uniqueness of black cu ltural expression and the

preservation and enrichment of the American modern dance heritage.

Born in Rogers, Texas on Janu ary 5, 1931, Alvin Ailey was introduced to dance by performances of the Katherine Dunham Dance Company and the Ballet Russe de Monte Carlo. His forma l dance tra ining began with an introduction to Lester Horton's classes by his friend, Carmen de Lavallade.

When Mr. Ailey began creating dance, he drew upon his "b lood memories " of Texas, the blues, spirituals and gospel as inspiration, which resu lted in the creation of his most popular and cr it ically acclaimed work-Revelations.

Artist Biographies

Judith Jamison

Artistic Director

Judith Jamison was appointed Artistic Director of the Alvin Ailey American Dance Theater in 1989, after the death of her mentor, Alvin Ailey. A native of Philadelphia, she studied with the late Marion Cuyjet, was' discovered by Agnes de Mille and made her New York debut with American Ba ll et Theatre in 1964. She became a member of the Alvin Ailey American Dance Theater in 1965 and danced with the company for fifteen years to great acclaim. Recognizing her extraordinary talent , Mr. Ailey created some of his most endu ring roles for her, most notab ly the tour de force solo C'y.

After leaving the Company in 1980, Ms Jamison appeared as a guest artist with ballet companies all over the world and starred in the hit Broadway musical Sophisticated Ladies. In 1988, she formed her own company, The Jamison Project, and a PBS speCia l depicting her creative process, Judith Jamison: The Dancemaker, aired nationally the same year.

As a highly regarded choreographer, Ms. Jamison has created works for many companies. Her most recent ballet for The Ailey, Double Exposure, premiered at Lincoln Center Festival in July 2000. Divining (1984), Rift ( 199 1), Hymn (1993), Riverside (1995), Sweet Release (1996), and Echo: Far From Home (1998) are other major works she has choreographed for the Company.

Ms. Jamison is a master teacher, lecturer and author Her autobiography, Dandng Spirit, was published in 1993 She is a noted authority on modern dance and an advocate for education in the arts She is a board member of several organizations includ ; ing the advisory board of the H arkness Center for Dance Injuries. She is the reCipient of many awards and honorary degrees , including a prime time Emmy Award and an American Choreography Award for Outstanding Choreography in the PBS Great Performances: Dance In America special, "A Hymn for Alvin Ailey." In December 1999 , Ms. Jamison was presented with the highl y prestigious Kennedy Center Honor for lifetime achievement in the performing arts.

Today, Judith J amison presides over a renewed Ailey organization, artistically and fiscally invigorat-

ed Her presence has been a catalyst, propelling the organization in new directions-the development of the Women\; Ch oreography Ini tiative, Company performances at the 1996 OlympiC Arts Festival in Atlanta, national appearances by the Company in American Express television and print ads, and the Company\; unprecedented return to South Africa She has continued Mr. Aileys practice of showcasing the talents of emerging choreographers from within the ranks of the Company. As Artistic Director of The Ailey School, official school of the Alvin Ailey American Dance Theater, she has helped to implement a multicultural curriculum including the dances of West Africa and South India; next year, Salsa classes will be offered as welL She has also been a guiding force in establishing a BFA program with The Ailey Scho ol and Fordham University, which offers a u nique combination of superb dance training and a superior liberal arts education. Ms. J amison is dedicated to ensuring the presence of the arts at the forefront of our culture, spearheading initiatives to bring dance into the community and programs that introduce children to the al1s. She remains committed to promoting the Significance of the Ailey legacy----dance as a medium for honoring the past , celebrating the present and fearless ly reaching into the future.

Masazumi Chaya was born in Fukuoka, Japan where he began his classical ballet traini n g Upon moving to New York in 1970, he studied modern dance and performed with the Richard Englund Repertory Compan y. Mr. Chaya joined Alvin Ailey American Dance Theater in 1972 and performed with the Company for fifteen years . In 1988, he became the Companys rehearsal director, after serving as assistant rehearsal director for two years. A master teacher, both on tour with the Company and in his native Japan , he served as choreographic assistant to Alvin Ailey and John Butler. In 199 1 , Mr. Chaya was named Associate Artistic Director of the Company.

Since then, Mr. Chaya has staged numerous ballets including Alvin Aileys Flowers for the State Ballet of Missouri (1990) and The Riv er for the Royal Swedish Ballet (1993), Ballet Florida (1995) ,

Although he created seventy-nine ballets over his lifetime, Alvin Ailey maintained that his company was not exclusively a repository for his own work. Today, the company continues Mr. Aileys mission by presenting important works of the past and commissioning new ones to add to the repertoire. In all, m ore than 170 works by over sixty-five choreographers have been performed by Ailey.

In 1989, after the death of Alvin Ailey, Judith Jamison was appointed Artistic Director of Alvin Ailey American Dance Theater Ms. Jamison wrote in her autobiography, Dancing Spirit, "I hope I'm a continuation of Alvin's vision. He has left me a road map. It's very clear. It works."

Nationa l Ballet of Prague (1995), Pennsylvania Ballet (1996) and Colorado Ballet (1998) He ha s also restaged Pas de Duke, The River, The Mooche, The Stack -Up , Episodes, Maseke1a Langage and Bad Blood for the Company. At the beginning of his tenure as associate artistic director, Chaya restaged Aileys For "Bird"- With Love for a Dance in America program entitled Alvin Ailey American Dance Theater: Steps Ahead In 2000 , Mr. Chaya restaged Ailey's Night Creature for the Rome Opera House and Th e River for laScala Ballet.

In the many years of his involvement with the Company, Mr. Chaya has cont inued to provide invaluable creative assistance in all facets of its operations. He assisted in the crea ti ve development of an American Express commercial featuring th e Company and each year offers creative direction for the Company photo shoots. He h as also appeared on J apanese television in both dramatic and musical productions.

Masazumi Chaya wishes to recogniz e the artistic contribution and spirit of his late friend and fellow artist, Michihiko Oka.

Ronni Favors began dancing as a child in her hometown of Iowa City, Iowa. After graduating from high schoo l , she traveled to New York to continue he r studies at The Ailey SchooL Ms. Favors h as been a member of Ailey II (formerly Alvin Ailey Repertory Ensemble), Alvin Ailey American Danc e Thea ter and the Lar Lubovitch Dance Company and has appeared in several music videos and'television commercia ls. She served as Lar Lub ovitch 's assistant in setting h is works on several companies, including Cleveland Ballet, the Juilliard Dance Ensemble and Ballet du Nord. Ms. favors was the ballet instructor at AileyCamps 1989 inaugural session in Kansas City and provided guidance in the national implementation of the program Ms. Favors assumed the position of Assistant Rehearsal Director in 1997 an d Rehearsal Director in 1999. During the Company's return to South Africa in the fall of 1998, Ms. Favors engaged and rehearsed South African students who performed in Alvin Aileys Memoria in Johannesburg.

The Rudy Hawkins Singers was founded b y the University Musica l Society (U Ms) and The Arts League o f Michigan in the Fa ll of 1998 to serve as an act ive, community-based choir for several special proj ec ts during the Ellington Centennial Yea r, induding Donald Byrd's Th e Harlem Nutcra cker and Bob Telso n and Lee Breu er s The Gospel at Colonus. Since th en , the choir has performed two seasons of Th e Harl em N utcra cker in Detroit. The Rud y Ha wkin s Singers is current ly comp rised o f fift y adult singers, all from the Detroit area. Unde r the musi ca l direction of Dr. Rudolph V Hawkins, the choir ha s been able to connect with both re gional and national audiences through performances and a series of mu sica lly- based edu ca tional events sponsored by the Universi ty Mu sical Socie ty in Ann Arbor and De troit.

In th e lat e Fall of 2000, the Rud y Hawkins Singers em barked on th ei r fir s t nation-wide tour of the US, presenting performances of A Gospel Christmas in citi es such as st. Louis, Cleveland , Kan sas City, and Buffalo, culminat ing in a h o liday performa n ce at Detroit s Mu sic Hall. Upcoming projects in cl ud e extensive resi d e ncy activities with the Liz Le rm an Dance Exchange in p e rforman ces unde r UMs auspices. The Rudy Hawk ins Singe rs have performed regionally on th e stages of the Detroit Opera Hou se, Music Hall , and Ann Arbors Powe r Center, and were seen in the national tel evision broadcasts of Amercia s Thanksgiving Day Parad e in Nove mbe r,of 1998 and 1999.

Dr. Rudolph V. Hawkins

(Music Director) h as an impressive arra y of musical direc tion , p er forman ce and composition.

Dr. Hawkins was Musical Directo r o f Artistic In spirations starring Cab Calloway at th e Kennedy Center for the Pe rforming Arts, Washington DC and was Choral Director for the Martin Luth er King Celeb ration featurin g Bette Midler at Radio City Music Hall in New York City. Dr. Hawkins completed a three- m onth tour of Jap an with the Phoenix Singers and h as directed the only gospel version of Jesus Chri st Superstar. H e was appointed Musical Directo r and Chief Song Writer/Arranger for Mamma

1 Want to Sing, the lon gest -running off-Broadway black mus ical. His televi sio n appearances include "Gospel Mu sic in Ameri ca " o n the Phil Donahue Show and the Regis Philb en Show A nati ve of Detroit , Michiga n , Dr Hawkins rece ived the "Spirit of Detroit" award from the Honorable Mayor Cole man A. Young and received a Letter of ReCOgnition from Presid ent Bill Clint on in 1996 for hi s dedication to th e community.

Guillermo Asca (Rego Pa rk , NY), or "Moe " as h e is affectionately known , was awarde d a sch olarship to The Ailey School and has danced with Ailey II , Ballet Metropolitano d e Caracas, Ballet Hispanico , Dance Compass and Fo ot Prints Dance Project. Mr. Asca join ed the Compan y in 1994.

Kevin E. Boseman (Anderson, SC) began training with Andrew Kuhars ky at the Greenvill e Ball et where he later mad e his p erforming d ebut. Mr. Boseman was a scholarship stu dent at The Ai ley School and has danced with Ailey II , the Martha Graham Dance Company and Donald ByrdlThe Group. He was in the 1995 revival tour of Your Arms To o Short to Box With God. Mr. Boseman joined th e Co mpany in 1997.

Hope Boykin (Durham, NC) is a three-tim e recipient

of the American Dance Festival's Youn g Tuition Scho la rship. Sh e attended Howard University and performed with Lloyd Whitmores New World Dance Comp an y in Washington, DC. Ms. Boykin was a student and intern at The Ailey School. She was assistant to the late Talley Beatty and an original member of Complexions-"A Concep t in Dance."

Prior to joining the Company in 2000 , Ms. Bo ykin was a m ember o f Philadanco and received a New York Dance a nd Performan ce "Bessie" Award.

Clifton Brown (Goodyear, AZ) began dancing at the age o f fiv e, and trained at various sc hools including Take 5 Dance Academy, Ballet Arizona , New School for th e Arts , and The Ailey School wh ere h e was a st udent in th e AileylFordham BFA Dance Pro gram. H e has also receive d a number of scholarships and awards including the Martin Luther King Sc holarship from the city of Phoenix , AZ and the Arts National Foundation of Advancement award. Mr. Brown joined the Comp an y in 1999.

Anthony Burrell (Philadelphia , PAl began his tra ining at Point Breeze Performing Arts Center. He later studied at variou s institutio ns including Philadan co, Pennsylvania Ballet, the University of the Arts, and The Ailey School. He has performed with Koresh , Eleon e Dance Thea ter and KTM.lE xtre me and Ailey II . He is t he national gold-medalli st of the NAACP ACT- SO Competition in Danc e. Mr. Burrell joined the Company in 2000.

Linda Caceres (Bronx, NY) b ega n her dance training at Ball et Hispanico School of Dance and is a graduate of La Guardia High Sch ool for the Performin g Arts. Durin g the summ er of 1993 , sh e was a scholarship student at the Pennsy lvani a Ball et , and in 1994 sh e was a finali st in the Arts Recognition a nd Talent Search in Miami , FL She has danced with El Piccalo Th ea tro della Opera and Ballet Hi spani co. Ms. Caceres joined the Compan y in 1996.

Samuel Deshauteurs (G u adelo upe, FWI.) be gan his dance training in his native country. After graduating from high school, he p e rform ed in Paris, France with the BalletJazz Rick Odums in 1996. His performance credi ts also includ e the Fred Benjamin Dan ce Company. He atte nded The Ailey School as a fellowship student and danced with Ailey II in 1999. Mr. Deshauteurs jOined the Company in 2000.

Linda-Denise Evans (Baltimore, MD) began h er dance training at the Baltimore Sc h oo l for the Arts under the guidance of Sylvester Campbell and Stephanie Powe ll Sh e was a scholarship stu d ent at The Ailey Sc hool and attended The Ju illiard School before joining Hubbard Street Dan ce Chicago, where she danced from 1989-1992. Ms. Evans h as received many awards including first place in the National ACT-SO Competition sponsored b y the NAACP Sh e was a finalist in th e Arts Recognition and Tale nt Search in Miami , FL and has received [WO Indivi dual Artist citations from th e s tate of Ma ryla nd . She has perfo rmed with the Capitol Ball et and wa s featured ?S a guest artist in the World Stars at the Opera International Ballet Gala in Budapest, Hungary. Ms. Evans joined th e Company in 1992.

Jeffrey Gerodias (San Diego, CA) s tudied at the San Diego Schoo l of Creative an d Performing Arts and the Bos ton Co n servatory o f Mus ic, Theater and Dance. He also studied at The Ailey Sc hool where he was a reC ipient of a Donna Wood Foundation

Awa rd during th e summer of 1994. He has danced with Ailey n and h e joined the Compan y in 1996.

Vernard J. Gilmore (Chicago, IL) began dancing at Cu rie Performing and Creative Arts High School in Chicago and later stud ied at the J oseph Holm es Chicago Dan ce Thetaer with Marquita Levy, Harri et Ross and Emily Stein. He attend ed Barat College as a dance scholarship recipient , won th e all-city NAACP ACT-SO Co mpetition in dance in 1993 and studied on sc h olarship at The Ailey Schoo l. A former member of Ail ey n , Mr Gilmore joined the Company in 1997

Venus Hall (Ch icago, IL) trained at J oseph Holm es Chicago Dance Theatre under the instruction of Rand y Duncan and Harriet Ross. Sh e was a scholarship student at Barat Co llege where she received h er BFA and was nam ed to numerou s honor societies Ms. Hall is a form er all-City winner of dance in the NAACP ACT-SO Competi tion She studied on scholarship at The Ailey School , was a m ember of Aile y II , and joined theCompany in 1997.

Amos J. Machanic, Jr. (Miami, FL) studied dance at the New World Sc hool of the Arts and continu ed hi s trai n ing at The Ailey School , where he was a scholarshi p recipient He was a m em ber of Ailey II and joined the Company in 1996.

Benoit-Swan Pouffer (Pa ris, France) attended the Conservatoire Na tional Superieur d e Danse de Paris and was a scholarship student at The Ailey School. He was first- prize winner at th e European Benetton Competition in Italy, and has worked with Complexions - "A Concept in Dan ce ," Philadanco , and Don ald ByrdlThe Group. Mr. PoufIer join ed the Company in 1997.

Troy O'Neil Powell (New York, NY) studied at The Ailey Schoo l from the age of nine and graduated from New York 's High School for the Performing Arts. He was a finali s t in the Arts Reco gnition and Tal ent Search in Miami , FL and h as taught master classes all over the wo rld As an up-and-coming choreographer, Mr. Powell has choreographed ballets for companies including Alvin Ailey American Dance Theater and California Dance Company. He has danced with Comp lexion s - "A Concept in Dance ," Footprints and Ailey n. Mr. Powell joined the Company in 1991.

Briana Reed (st. Petersberg , FL) gra duated from The Juilliard School with a BFA degree in dance and studied at The Ailey Schoo l as a scholarship student. She was then se lec ted to join Ailey II in 1997 and became a member of the Comp an y in 1998.

Renee Robinson (Washington, DC) began her training in classi ca l ballet at the Jones- Haywood Schoo l of Ballet. She was the recipient of two Ford Foundation sch olarships to the School of American Ballet and was awarded full scholarships to the Dance Thea tre of Harlem and The Ailey School. Ms. Robinso n was a member of Ailey [[ and joined the Company in 1981.

Laura Rossini (Atlanta, GA) began stu dying dance in Atlanta, Geo rgia with the late Pittman Corry. After training with Patri cia Bromley and Gary Harrison , she accepted a sc ho larship at Th e Ail ey Sc hool. She subsequently p erformed with Ailey II (formerl y Alvin Ailey Repe rtor y Ensemb le) before j oinin g Donald ByrdlThe Group. Ms. Ro ssini became a member of the Company in 2000.

Company Members in Revelations

Cheryl Ann Rowley (Miami, FL) began dancing more than thirteen years ago. She trained at the New World School in Florida. Ms. Rowley performed with Ailey II for three years and joined the Company in 1999

Matthew Rushing (Los Angeles, CA) attended the Los Angeles County High School for the Arts and trained at the Los Angeles Contemporary Dance Theater, Stanley Holden Dance Center and The Ailey SchooL H e has received the Spotlight Award and was named a Presidential Scholar in the Arts. Mr. Rushing danced with Ailey II and joined the Company in 1992.

Rosalyn Sanders (New Orleans, LA) studied at the New Orleans Center for Creative Arts. She has trained at Perry Mansfield, the Schoo l of American Ballet and The Ailey School. After receiving her BFA from The Juilliard School, Mrs. Sanders-Deshauteurs was a member of Ailey II She joined the Company in 2000.

Wendy White Sasser (Montgomery, AL) received her training from the Alabama Dance Theater and the Carver Creative and Performing Arts Center Magnet SchooL In 1994, she was named a Presidential Scholar in the Arts. She was a scholarship student at The Ailey School and has danced with Ailey II , Donald Byrd!Ihe Group and Complexion s - "A Concept in Dance." Ms. Sasser jOined the Company in 1992.

Bahiyah Sayyed (Brooklyn , NY) received he r early and most influential training at the Balt imore School for the Arts. While attending The Juilliard Schoo l, she performed with artists such as Jamel Gaines , Kevin Jeff, Dona ld Byrd!Ihe Group and Complexions - "A Concept in Dance. " After receiving her BFA degree, Ms. Sayyed joined the Frankfurt Ballet under the direction of William Forsythe. She joined the Company in 1998.

Glenn A. Sims (Long Branch, NJ) began his dance training at the Academy of Dance Arts in Red Bank, NJ. He was a scholarship student at The Ailey School and performed in the Garden State Arts Centers Talent Expo 1993. While attending The Juilliard School , he performed works by Glenn Tetley, Paul Taylor and Lila York. Mr. Sims has performed for the King of Morocco. He joined the Company in 1997.

Dwana Adiaha Smallwood (Brooklyn, NY) has a degree in modem dance from the North Carolina School of the Arts and also trained at the Martha Graham Cente r of Contemporary Dance , laGuardia

High School of Performing Arts, and as a scholarship student at The Ailey Schoo l. She is a former member of the North Carolina Black Repertory Company and three-time first place winner of the Apollo Theaters Amateur Night. Ms. Smallwood was a member of Ailey II and joined the Company in 1995.

Kristofer Storey (Pittsburgh, PA) began his train- -" ing in Pittsburgh at the Pittsburgh Ballet Theater" School and went on to earn his BFA from The 3 Juilliard School in 1998. Mr. Storey also studied at The Ailey School and Dance Theatre of Harlem. He E is an actor, singer, and has created works for The § Juilliard School , Spelman College and other schools f in the United States. Mr. Storey joined the Company in 1998.

Jeremiah Tatum (Long Beach, CA) began dancing at age eight with The Lula Washington Dance Theater in Los Angeles, CA. He studied on fellowship at The Ailey Sch ool and has attended the Idlywild Arts Academy and trained at the San Francisco Ballet School. He won the Spotlight 2000 Award and was named one of the most remarkable outstanding students in Los Angeles. Mr. Tatum joined the Company in 2000. At age seventeen, he is the youngest male member to join AAADT

Asha Thomas (At lanta, GA) began her dance training at Spelman Colleges Dance Extension Program in Atlanta. She has also received training from Ballethnic Dance Academy in Atlanta, Houston Ballet Academy and The Ailey SchooL Ms. Thomas graduated from North Atlanta High School of the Performing Arts and was a m ember of the Gary Harrison Dance Company in Atlanta She recently received her BFA degree from The Juilliard School before joining the Company in 1999.

Desiree Vlad (New York , NY) studied dance at St. Thomas School of Dance in the US Virgin Islands , the North Carolina School of the Arts and The Ailey SchooL She has performed with Ailey II, Ze 'eva Cohen Dance Company and in a production of Emperor Jones starring Cleavon Little. Ms. Vlad joined the Company in 1986.

Dudley Williams (New York, NY), graduated from the High School of the Perfonning Arts, and also attended The Juilliard School and the Metropolitan Opera Ballet SchooL He performed with the companies of Martha Graham, Donald McKayle and Talley Beatty and has made numerous solo appearances on television , both at home and abroad. Mr. Willi ams joined the Company in 1964.

Tina Williams (Elizabeth , NJ) started dancing at a local dance school under the direction of Michele Selvanto-Kowa lski. In 1994 Ms. Williams began her forma l training at The Ailey School, receiving a fellowship after her first year. She was later invited to join Ailey II in 1998. Previously, she danced with Footprints Dance Company, The Millennium Project, The Sh ore Ballet Company, and has performed in Italy as part of a youth cultural exchange tour. She joined the Company in 2000.

Richard Witter (Kingston, Jamaica) enrolled in Englands Air Training Corps to learn aviation at the age of fourteen. He flew solo for three years before moving on to study at the Northern School of Contemporary Dance. In 1987 he won the Cosmopolitan Dancer of the Year award. Mr. Witter has danced with Dance Theatre o f Harlem and joined the Company in 1994.

Alvin Ailey" Dance Foundation

Board Of Trustees

J oan H We ill, Chairman

Henry McGee, President

Phi li p Laskawy, Chairman, Executive Committe e

Vice-Chai rmen

GJido Go ldman

Bruce S. Gordon

Barbara Jonas

Arthur J. Mirante II

Sylvia Rh one

Carmen Thain

James G. Ab ru zzo

Simin N. Allison

Eleanor S. Applewh aite ,

Esq.

AnLhuny M. Calve tte

J udith M: Daven port

Ju dith Jamison

Addi e Jones

Joan Lazarus

Arthur J Mah on

Michael P Monaco

Martin Monas, Esq

Gabriella E. Morris

William Murray

Joyce M. Nelson

Lizabeth A. Newman

Rona ld A. Posey, AlA

Carolyn Schwenker Brody

Wendy Farrow Raines

Juli e Ratne r, Ed. D.

Nicolas S. Rohatyn

Lisa Schultz

Richard Speciale Lemar Swinney

J u lia A. Walker

Will iam H Webb

John Wren

Owirme n Emeliti

Stanley Plesent , Esq.

Haro ld Levine

Alvin Ailey· Dance Foundation

Administrative Staff

Sharon Gers ten Luckman , Execut ive DiI'ector

Development

Bennett Rink

Lauren Cherubin i

Leah Maddrie

Kathleen Hyppo hte

Jo hn Louis Bryan t

Director Associate Direct01; Individual and Government Support

Associate Director, Corporate and Foundation Support

Manager, Special Events

Development As sociate, l/lStitutional Giving Simmons Development Assistant

Marketing and Public Relations

Jodi Pam Krizer Director

Rubinee Hoyne Associate Director

Lynette Rizzo Marketing Associate

Dale Edwards Marketing Assis tant/Group

Jennifer Fya ll Sales Coordinator MW'keting Assistant/Program Coordinator

Finance And Administration

Pamela Robinson Director

Anto inette Ho lder Assistant Comptroller

Kat hleen D. Rose Accountant & Personnel Di rector

Th elma

Cameron -McBean

Samuel Co leman

Cari Cunningham

Sath i Pilla i-Colu cci

The resa Pa lazzo

Finance Associate Office Manager

Administrative Assistant Executive Assistant to Ms. Jamison Executive Assistant to Ms. Luckman

Amadea Edwards Executive Assistant to Mr Hunt

Alvin Aile y" American Dance Theater

Calvin Hunt Gen era l Manager/Director oj

Bernice Collins

David Gibson

Zinda Williams -J on es

Al Craw ford

Alaric E. Hahn

Kristin Young

Dave Sauers

Glenn Magnus

Derek Me nningen

Joe Gaito

Will iam Gregory

Christopher Kurtz

Zakaria AI-Ala mi

Shawn Read y,

Jon Taylor

Masazum i Chaya

Ronni Favors

Milton Myers

Troy 0 ' Neil Powe ll

Dudley Will iams

Donald). Rose M D.

Shaw Bronner

Rehearsal DU'ector/Company Teach er Company Teacher Company Teacher Company Teacher

Directo r oj the Harkness Center Jor Dance Inju ri es Physical Therapist oj

Hea lthSoLlth Corporation

The da ncers appearing III this perfOP.llanCe arc members o f the American Guild of members of the Int ernatIonal Alliance of Theatrical St.1ge Employees (lATSE).

The Ailey" School

Alvin Ailey

(1931-1989)

De n ise Jefferson

James Pau lson

Karen Arceneaux

Christie Ceaser

Sally Lelong

JoAn ne Ru ggeri

Benjamin Goetz

Kendra Jackson

Dawn-Mari e Tricarico

Hannah Schuster

Steven Brown

Christop her Gu thrie, Om a Jones

Program Directors

Ana Marie Forsyth e

Elena Comendador

Robert Atwood

Me lanie Person

M'Bewe Escobar

Max Luna Jl]

Founder

Di,'ector

Business Manager School Administrator

Administrative Assistant to Ms. Jefferson Financial Aid Administrator Admissions Officer/ International Student Advisor Registl"a r Assistant to Ms. Forsythe Junior Division Coordinator Bursar Senior Studio Manager

Studio Managers

BFA Program Administrator Junior Division Co-Director Ailey/PPAS Program Administrator Junior Division Co-Directo,' Ailey/PPAS Student Advisor

Actors Studio/New School Faculty Liaison

ALVI

Department Chairpersons

Celia Marino Ballet, Advisor Jor Students

Ana Marie Forsythe Horton

Jacqulyn Buglisi Graham-bas ed Modern,

Joan Peters Advisor Jor Students

Dunham

Fred Benjamin Jazz, Advisor Jo r Students

Ailey· II

Sylvia Waters

Derrick Minter

Patrick Ayoun g

Anna Marie Sifford

Abby Kepka

Rosa lynn Evans

Artistic Director

Rehearsal Directo r

Business Manager

Company Manager

Assistant Stage Manager Wardrobe Supervisor

Aileycamp , Arts-In-Education and Community Outreach

Nasha Thomas-Schmi tt Director

Nichelle Wright Assistant to Directo r

Gregory Hinton AileyCamp Too! Director

Ailey" Boutique

Colette Hawkins DirectOl; Product Development and Merchandisi ng Fine A rts Merchandising E/lSemble, Inc

Wanda Hayes , OmaJones Boutiqu e Staff

Production Company Manager Technical DiI'ecto,' Costume Supe.-visOl·

Lighting Supervisor

Stage Manager Assistant Stage Manager

Mast er Electlician

Mast er Carpenter

Sound Engineer Property Master Flyman

Assistant Electrician Assistant Lighting Supervisor

Wardrobe Assistants

Associate Artistic Director/ Company Teacher

The goa l o f the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audiences b y bringing to our communi ty an ongoing series of wo rld -class artists, who represent the diverse spectrum of today:S vigorous and exciting live performing arts wo rld. Over its 121 years, strong leadership coupled With a de vo ted community h as p laced UMS in a league of internationally-recognized performing arts presenters. Indeed, Musical America selecte d UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasona l program is a reflection of a thoughtfu l respect for this r ich and va ried history, balanced by a commitment to dynami C

UMS Board of Directors

Beverley B. GeItner, Chair

Lester P. Monts, Vice-Chair

Len Niehoff, Sec retary

David Featherman, Treasurer

Lee C. Bollinger

Janice Stevens Botsford

Barbara Everitt Bryant

Kathlee n G. Charla

Jill A. Corr

Peter B. Corr

Robert F QiRomualdo

Alice Davis Irani

Gloria James Kerry

Leo A Legatski

Helen B. Love

Alberto Nacjf

Jan Barney Newman

Gilbert S. Omenn

Joe E. O'Neal

Randall Pittman

Rossi Ray-Tay lor

Prudence L. Rosenthal

Maya Savarino

Herbert Sloan

Timothy P. Slottow

Peter Sparling

James L. Telfer

Marina v.N. Whitman

Karen Wolff

Elizabeth Yhouse

UMS Senate (fonner members of the UMS Board of Directors)

Robert G. Aldrich

Herbert S Amster

Gail Davis Barnes

Richard S. Berger

Maurice S. Binkow

Paul C. Boylan

Carl A Brau er

Allen P. Britton

and crea tive visions of wh ere the performing a rts will take us in the new millennium. Every day UMS seeks to cultivate, nurture and stimula te public interest and participation in every facet of the live arts.

While proudly affiliated with th e University of Michigan , housed on the Ann Arbor campu s, and a regu lar co ll aborator with many University units, UMS is a separa te not-for-profit orga nization that supports itsel f from ticket sales, corporate and individual contributions, fo undation and gove rnmen t grants, and en dowm ent income.

Visit us on the web at www.ums.org

Letitia J Byrd

Leon S. Cohan

Jun Cusuvich

Douglas Crary

Ronald M. Cresswell

John D'Arms

James J Duderstadt

Robben W Fleming

David J Flowers

Randy J Hanis

Walter L. Harrison

Norman G. Herbert

Peter N. Heydon

Kay Hunt

Stuart A. Isaac

Thomas E. Kauper

David B. Kenned y

Thomas C. Kinnear

F Bruce Kulp

Earl Lewis

Pa trick B. Long

Jud ythe H. Maugh

Pau l W McCracken

Rebecca McGowan

John D. Paul

John Psarouthakis

John W Reed

Richard H Rogel

Ann Schriber

Daniel H. Schurz

Harold T. Shapiro

George I. Shirley

John O. Simpson

Carol Shalita SmokIer

Lois U. Stegeman

Edward D. Surovell

Susan B. Ullrich

Jerry A Weisbach

Eileen Lappin Weiser

Iva M. Wilson

UMS Staff Administration/ Finance

Kenneth C. Fischer, President

Deborah S. Herbert , RSC Residency Coordinator

Elizabeth E. Jahn , Assistant to the President

John B. Kennard , Jr., Director of AdminisU·ation

Chandrik a Patel, Senior Accountant

John Peckham, Information Systems Manager

Box Office

Michael L. Gowing, Manager

Sally A Cushing, Staff

Ronald J Reid , Assistant Manager and Group Sales

Choral Union

Thomas Sheets, Conductor

Andrew Kuster, Associate Conducto,·

Jean Schneider-Claytor, Accompanist

Kathleen Operhall , Manager

Donald Bryant, Conductor Emeritus

Development

Christina Th oburn , Director

Mary Dwyer, Manager of Corporate Supp0l1

Karen Meske, AdvisOry Committee and Events Coordinator

Lisa Michiko Murray, Manage,· of Foundation and Government Grants

Alison Pereida, Development Assistant

J Thad Schork , Direct Mail, Gift Processor

Anne Griffin Sloan , Assistant DirectorInd ividual Giving

Education/Audience

Development

Ben Johnson, Directol"

Kristin Fontichiaro, Youth Education Manager

Dichondra Johnson, Coordinator

Anthony Smith, Audience Development Specialist

Warren Williams, Manager

Marketing/Public Relations

Sara Billmann, Director

Aubrey Alter, Coordinator

Ryonn Clute, Coordinator

Gu lshirin Dubash , Public Relations Manager

Production

Gus Malmgren, Director

Emily Avers, Production .and Artist Services Manager

Jerica L. Humphrey, Front-aI-House Coord inator

Production Supervisors

Eric Bassey

Mary Cannon

Steven Jarvi

Usher Supervisors

Paul Jomantas

Bruce Oshaben

Head Ushers

Ken Holmes

Joyce Holm es

Brian Roddy

Sanjay Pavipati

Nancy Paul

Edward Szabo

Programming

Mich ael J. Kondziolka, Director

MarkJacobson, Manager

President Emeritus

Gail W Rector

UMS Advisory Committee

Dody Viola, Chair

Robert Monis, Vice-Chair

Sara Frank, SecretQlyrn-easurer

Martha Ause

Barbara Bach

Lois Baru

Kathleen Benton

Victoria Buckler

Barbara Busch

Phil Cole

Patri ck Conlin

Elly Rose Cooper

Nita Cox

Mary Ann Daane

Norma Davis

Sally Stegeman DiCarlo

Lori Director

Betty Edman

Michael Endres

Nan cy Ferrario

Penny Fischer

Anne Glendon

Maryanna Graves

Linda Greene

Karen Gundersen

Jadon Hartsuff

Nina E. Hauser

Debbie Herbert

Mercy Kasle

Steve Kasle

Anne Kloack

Maxine Larrouy &th laVoie

Stephanie Lord

Esther Martin

Ingrid Merikoski

Ernest Merlanti

Jeanne Merlanti

Candice Mitchell

Na nc y Niehoff

Mary Pittman

le va Rasmussen

Penny Schreiber

Sue Schroeder

Meg Kennedy Shaw

Morrine Silve rman

Maria Simonte

Loretta Skewes

Cynny Spencer

Louise Townley

Bryan Ungard

Suzette Ungard

Wendy Woods

UMS Teacher

Advisory Committee

Fran Ampey

Kitty Angus

Alana Barter

Kathleen Baxter

Elaine Bennett

Lynda Berg

Yvette Blackburn

Barbara Boyce

Letitia Byrd

Doug and Nancy Cooper

Naomi Corera

Gail Davis Barnes

Gail Dybdahl

Keisha Ferguson

Doreen Fryling

Brenda Gluth

Louise Gruppen

Vickey Holley Foster

Taylor Jacobsen

Callie Jefferson

Deborah Katz

Deb Kirkland

Rosalie Koen ig

David Leach

Rebecca Logie

Dan Long

Laura Machida

Ed Manning

Glen Matis

Kim Mobley

Ken Monash

Eunice Moore

AmyPohl

Rossi Ray Taylor

Gayle Richardson

KatyRyan

Karen Schulte

Helen Siedel

Joan Singer

Sue Sinta

Grace Sweeney

Sandy Trosien

Melinda Trout

Sally Vandeven

Barbara Wallgren

Jeanne Weinch

Listing reflectiv e as of November 2000.

Dear Friends,

The Arts League of Michigan is pleased to present the world-renowned Alvin Ailey American Dance Theatre in partnership with the University Musical Society and the Detroit Opera House . This presentation is our third collaborative effort (The Harl em Nutcracker in 1998 and 1999) and again brings to the metro Detroit community the finest in American dance based in the African American cultural arts tradition.

The Arts League is especially excited about the Ailey company's visit because it offers us the opportunity to put into action key words in our mission statement. preserve and present. During its nine presentations , many will experience the Alvin Ailey American Dance Theatre and/or live dance for the first time. We hope each performance of the masterpiece Revela tions (accompanied live by Detroits own Rudy Hawkins Singers) and the other great works on the program will create a memory that you will want to experience again and again. If it does , we encourage yo u to bring a friend, a family member or a co-worker the nex t time yo u come

The more people who attend this and other presentations of The Arts Leagu e a nd our partners, the greater the potential for fulfilling our mission to preseve and prese nt the African and African American cultural arts tradition. for generations to come

Thanks for being here! Enjoy the performance. See you nex t time!

TH-E ARTS LEAGUE OFMICH-IGAN

Board of Trustees

Virgil Carr, Chairma n *

Sarah Norat-Phillips , Vice Ch air*

Gerald Smith, Vice Chair *

Thomas E. Kimble , Treasurer*

Sonya Pouncy , Secretary*

Doris Biscoe-Bailey

Alice Combs

Lynn A. Feldhouse

Charles Forbes

Arthur Johnson

Randy K. Lane

Helen Love, Ch airp erso n , Community Advisory Council *

William Luse

Harold McKinney

Andrew McLemore

James Solomon

Patricia Solomon*

Thomas Yack*

Donald Vest, Immediate past Chair

Oliver Ragsdale, Jr. , President*

*Member, Executive Committee

Virgil }i. Carr Chairman Oliver Ragsdale, Jr. President

The Arts League Of Michigan Staff

Oliver Ragsdale , Jr. , President

Sharon Banks , Public RelationslMa rketingiCommunity Outreac h

E. Dianne Bradley , Administrative Assistant

Anna Garner , Program Associate

Jennifer Green , Resource Development Associate

Jerica Humphrey , Activities Coordinator

Faye McKinney , Program Associate

The Arts League of Michigan Volunteer Corps

Hayes JOI,les

Chairman of Arts League of Michigan

Volunteer Corps

Ms Maria Curry-Smith, Team Leader

Ms Jean Carol Burke, Team Leader

Ms. Kay Gardner, Team Leader

Ms. Leona Hunter-Wade, Team Leader

Ms. LaSandra Nelson, Team Leader

Ms. Patricia Holmes Douglas, Team Leader

Dorothea Pullen, Team Leader

Vanessa Rush, Team Leader

Edna Adams

Ida]. Allen

Tonya Allen

Patricia Allen Cole

Ruth Anderson

Regina 'Bell

Cynthia Bowens

Carolyn Boynton

Rev. Beverly Brooks

Tenora Latrice Clark

Erika Clay

Karin Clissoud

Kimberly Conner

Dr. Allen Cushingberry

Barbara Cuthbert

Dawn Davis

Yolanda Davis

Elizabeth Dillon

Janeen Drugacz

Mya Edwards

Loman Gardner

Janet Humphrey

Devon Harris

M.Hall-Thiam

Maria Hayden

Rev. Leon Herndon

Etoi Jackson

Gertrude Marie Jackson

Ms. Lola Jones

Herman Kelly

Annette Kelly

Michelle Leflore

Evelyn Little

Regina Mack

Carole Malitz

Patty Meador

Sheryl Mitchell

Kathleen Newell

Debra Norfleet

Malika Odessa Davis

Silvia Puckett

Marguerite Pulliam

Rosalind Reaves

Janet L. Reus

Evelyn L. Rhodes

Leah Robinson

Carol Y. Sandlin

Richard Shemetulskis

Geoffrey Stebbins

Ida Stevenson

Mr &: Mrs. Don Stone

Violet Swazer

Russell Taylor

Janet L. Thomas

Nicole Thomas

Dorothy Tillmon

Michael Van Tull

Cheryl Ward

Deborah Watson

Rubye Weaver

Dr. Patricia WilkersonUddyback

Alma Wyden Simmons

AndreaYoung

Elaine Davenport

Kathleen Newell

Ernestine Thompson

Dee Dee Khalil

Stacy Simpson

Mildred White

Joyce Syms

Helen B. Love, Chairperson, Community Advisory Council

JimAho

Ericka Alexander

N. Charles Anderson

The Honorable Dennis

Archer

Linda Bade

Katherine Braggs

Rev. Edward Branch

Curtis Brock, II

Barbara Everitt Bryant

Ronald Bush, II

Letitia Byrd

Patricia Carrolle

Richard Carter

Sheryl Chambliss

Linda Clark

The Honorable Irma Clark

Sheila Cockrel

Kenneth Cockrel Jr

Patricia Allen Cole

Hurley Coleman

Nancy Coumoundouros

Sandra Delaine

Geralda Dodd

Deborah Dolsey-Diggs

C. Beth Duncombe

Richard Dunlap

Abdullah EI-Amin

James Emanuel

Bell Emma

Marie Ferguson-Jones

Delores A. Flagg

Linda Forte

Mildred Gaddis

David Gad-Harf

Larry Givens

Anneka Goss-Foster

Beverly Gray

Bernice Green

Dr. Karl Gregory

Elliott Hall

Karla Hall

Sue Hamilton-Smith

Frank Hayden

Vera Heidelberg

Dr. Victoria Holley-Foster

Teola P Hunter

Dr. Curtis Ivery

Uenda Jackson-Leslie

Aj D. Jemison

Clara Jenkins

Henry Johnson

Donna G. Johnson

William Johnson

Diana Jones

Hayes Jones

Lola Jones

Eleanor Josaitis

Shirley Kaigler

Thomas Kimble

Jim Kosteva

Mildred Kyles

Dr. Michael Lemmons

Josephine Love

Karen Love

Maryann Mahaffey

Honorable Conrad Mallett

Diane Manica

Sandra Martin

John Martin

Patricia McClary

Sharon McClendon

Janet Mendler

Debbie Mikula

Janet Millard

Charlene Mitchell

Eunice M Moore

Mark Nathanson

Dr. Norman V Osborne

Carol Paster

Dell Patterson

Kimberly Dr. Peoples

Maggie Porter

Annette Rainwater

Ronald Reed

Joyce Rhyan

Arlene Robinson

Richard Rogers

Dorothy Sanders

Honorable Brenda M Scott

The Honorable Martha Scott

Nettie H. Seabrooks

James Sharp

Horace Sheffield , III

Gerald W Smith

Creighton Smith

Gwendolyn Smith

Shirley R. Stancato

Frank Stella

Bobby Joe Stovall

Patricia Terry

Dr. Jane R. Thomas

Janet Torno

Rev. Darryl Totty

Dell Warner

Dr. Maurice Wheeler

Scott White-Alan

Debra White-Hunt

Pat Williams Taitt

Kathy Young-Welch

Choreography by Ronald Hynd

Production and Scenario by Robert Helpmann

Music by Franz Lehar

Orchestration by John Lanchbery

Scenery and Costumes by Desmond Heeley

Lighting by Michael J. Whitfield

Mr. and Mrs. Robe r t Allesee

Pea rl and George Zeltz er

Perform

Th e Merry Widow is sponsored b y Shirl ey Sc hlafer

Act I, Scene 1: It is Paris in 1905.

The scene is set inside the Ponteve drian Embassy, where the staff is busy preparing for a ball to be held that evening. Njegus, the ambassadors personal aide, enters carrying a pile of debt notes drawn to finance the ball. There is general lamentation about the country's precarious financial situation.

Ponteve dro is a tiny state situated deep in the Balkans

The country can ill afford to pay for such arY , extravagant diplomatic mission in Paris, but the governing aristocrats are notori0us free -spenders .

The ambassador, Baron Mirko Zeta, and h is young French wife , Valencienne , enter. They are accompanied b y Camille de Rosillon , a dashing French diplomat. A telegram arrives that announces that the beautiful Hanna Glawari, a recently widowed Pontevedrian, will be attending the ball that evening Hanna is worth 20 million francs and, reportedly, is seeking a new husband However, should she marry a foreigner , Pontevedro would lose the benefit of her wealth and, most certainly, slide into bankruptcy The- First Secretary of the Embassy, Count Danilo Danilowitch , is considered a prospective suitor for the young widow Such a match is thought to be ideal, as the widow's wealth would then remain in Pontevedro.

The Frenchman Camille and the ambassadors wife are left alone. He is passionately in love with her, but Valencienne maintains her virtue; she will not be easily seduced and plays hard to get, although she is tempted. Njegus enters and interrupts the couple at a tender moment.

Setting: Paris, 1905

broke off the affair. Danilo is amazed to find that his old sweetheart has turned into a glamorous and worldly woman . In h is confusion, Danilo mops his forehead with a handkerchief that Hanna recognizes as a keepsake she gave him when they parted .

In a quiet moment, Danilo attempts to explain himself and h is love for Hanna, but she brushes off his advances, declaring that what he really loves now is her money She then joins the other guests at supper. Danilo, rebuffed, reminisces about their early romance in Pontevedro in a wonderfu l dream scene, in which he is reunited with the yo ung Hanna of the past.

First Secretary Danilo then enters in a somewhat drunken state Njegus attempts to explain to him that he should try to marry Hanna, but Danilo falls asleep. The ambassador returns and orders his aide Njegus to ensure that Danilo is sober for the balL It is imperative that Danilo make a good impression on the wealthy widow that night.

Act I, Scene 2: The scene is set in the Pontevedrian Embassy ballroom. The beautiful widow Hanna Glawari arrives, and the handsome Danilo Danilowitch is presented to her. They are shocked to recognize one another, having been lovers in Pontevedro some years earlier. At that time , Hanna was a mere peasant girl with whom the aristocratic Danilo was infatuated. However, his parents thought the relationship might be improper, given their different class positions, and, in deference to his parents' wishes, Danilo

FollOwing supper, the ambassador invites the young widow to choose a partner for the first dance. Hanna regrets her earlier rudeness to Danilo and selects him. But , still smarting, he refuses. The ambassador's wife, Valencienne, urges the Frenchman Camille to dance with Hanna so as to avoid an awkward scene. In the course of changing partners during the dance, Hanna finds herself in the arms of Danilo. It is clear they are still in love.

Act II: The scene is set several days after the ball, in the garden of the villa at which Hanna is staying. Hanna is hosting a soiree to which the diplomatic elite of Paris is invited. The guests celebrate with Pontevedrian national dances , led by Hanna and Danilo.

Just before supper, the ambassador arranges to meet later that evening with Njegus and Danilo in order to discuss the latters romantic success with Hanna. Everything appears to being go ing well, and the y enter to join the dinner guests.

The ambassadors wife , Va lencienne , and the Frenchman Camille enter the deserted garden for a moonlit tryst.

Copyright 2010, Michigan Opera Theatre

www.Mich iganOpera.org

Valencienne is qUickly succumbing to Detroit Opera House

Ca mill es se duction, and they ente r the garden p avilion. But , unbeknowns t to them, th ey are observed b y Nj egus. At this moment , th e ambassa dor and Danil o renirn to the scene, and , to their su rprise , th ey witness th e adulterous romance whil e looking throu gh the key h ole of th e pavilion d oo r. Njegus locks the door to prevent the ambassa dor from atta cking the couple A struggle ensues for the key

Hanna qUie tly appears on the scene an d ob st;rves the situ a tion. To protect Valencienne from h er husb an d , Hanna enters the pavilion through a side door an d takes the p lace of the Ambassadors wife , w h o quickly slips away When the ambassador fina lly opens the d oor, he is amazed to see that it is Hanna who was insi d e with Camill e and not his wi fe . Hanna then announces, to everyones horror, th at she plan s to marry Camille. Realizing t hat such a marriage will send their country into bankruptcy, the

Ponteve drians are ab le to offer only fri gid congratu la tions. The onlookers quickly depart. Danilo is dumbfounded and hesit ates before leaving In a frenzy, he throws the handkerchief that Hanna h ad long ago given him a t h er feet, then sto rms off. Hanna picks up the handkerch ief, knOwin g that Danilo trul y loves her.

Act III: The scene is set insid e Maxims, the legendary Parisian re staurant. Th e Pontevedrian diplomats of Paris have come to dro wn their sorrows and to spend th eir last fr ancs in the fa ce of p ending economic doom. Camille arrives , hoping to find Valen cienne and to remedy circums tances. But Valencienne believes the marriage announce ment is true. Everyone jeers Camille. Hanna arrives and takes Camilles arm, w hich h e is n o t eager to offer. But such a display of affection is too mu ch for Danil o to b ea r. H e comes forwa rd an d ch all en ges Camille to a du el. Valenc ienne

cannot bear the idea of Ca mille being killed and so sh e intervenes, along with Hanna. It is clear to everyone, including th e ambassador, that Camille and Valencienne are in love

Everyo n e finally leaves , except for H anna, w h o is left, forlorn, with out a comp anion , her tes t of Danilo havin g go n e too far. However, Danilo qui etl y returns and embraces h er in his p en iten t arms.

Th e Merry Widow was given its World Premie re b y The Australian Ballet at the Palais Theatre in Melbourne on November 13 , 19 75 , danced b y Marilyn Ro we (Hanna Glawa ri ) and J ohn Meehan (Co unt Danilo Danilowitch).

Th e Merry Widow had its American Ballet Theatre Compan y Premiere at the Metropo litan Opera Hou se , New York on June 6, 1997 , dance d b y Su san J affe (Hanna Glawari) and Jo se Manu el Carreno (Count Danilo Danil owitch).

A Century Of A mencan puPPetry

Kermit the Frog, Punch and Judy, Josephine Baker and dozens of other puppets are pulling the strings during tfie holidays at the DIA in the special exhibition Punch 's Progress : A Century of American Puppetry

Use your MOT Nutcracker or DSO Holiday Festival ticket stubs for FR E E MUSEUM ADMISSION through December 31

Special Puppet Festival

Drop-in Puppet Workshops

EVERY SU N DAY, NOON - 4 PM

Puppet Shows for Kids and Families

EVERY W EEKEN D & HO LI DAY W EEK, D EC. 26 - 29, 3 PM

Puppet Shows for Young Adults and Adults

MOST WEEK ENDS, 7,30 PM

For a complete Puppet Festival schedule and ticket Information, call 313-833-8499•

Fickle, stunning, wealthy, extravagantThe Merry Widow

"The Merry Widow is in a traditionthe cult of the beautiful woman in a past world. Why, it's even adulterous! But I think basic humanity is rather ess ential to ballet. Sometimes I think our ballets are being abstracted to death. But th e music here is the linchpin. Everyone knows Lehar's waltz. His music is slightly erotic, but people can identify with it. Th e initial image here - a beautiful woman - goes bang into the subject. It goes to the heart."

, - Ronald Hynd , choreographer

The "Merry Wi do w," described by choreographer Ronald Hynd as the b eautiful woman, rep resent s much more than physical beauty Fickle, stunning, wea lthy, extravagant , she represents all that was splendid at the height of the Aus tro-Hungarian Empire in the nineteenth century In contrast, her country, Pontevedro , represe nts the confuse d , decadent , corrupt empire , grasping with its fingertips for a tottering , crumb ling position This juxtaposition adds considerable depth and a wealth of layering to what many perceive as simply a frothy, light operetta.

The origina l opere tt a , by the Hungarian composer Franz Lehar and his libre ttists Leon Stein and Victor Leon, was created in 1905. The world premiere took place at the Theatre am der Wien in Vienna on December 30 , 1905, starring Mizzi Gunther as the Widow. Right from it s firs t performance , The Merry Widow was a popular success, with such songs as "Vili a" and "Silly, Silly Ca valier " taking to the streets of Vienna, and it soon became part of the standard operetta repertoire. The Merry Widow was later performed in 1907 in New York at the New Amsterdam Theater, where it ran for 420 performances, and in London, where it was given 778 performances at Daly 's Theatre Lehar 's operetta has since be en 46 BRAVO

performed in twenty-four langu ages all over the wo rld , including Chinese and Hindustani

Despite its commercial appeal, The Merry Widow has never enjoyed much critica l acclaim. Sadly, it is generally identified as a silly romantic comedy of little artistic merit.

While critics may find The Merry Widow insignificant on a mu sica l leve lalth ough audiences have never tired of its wonderfu l wa ltz melodies - it possesses at least one serious virtu e: It is a biting and irreverent sa ti re of fin - du-siecle Vienna and Austro-Hungarian socie ty To understand this, it is impo rtant to have some background to the political clima te in Vienna during the period of The Merry Widow's c.reation It was fourteen yea rs before the Treaty of Versailles, and Vienna was the capital of the AustroHungarian Empire. By the end of the nineteenth century, the emp ire appeared, on the sur face , to be firmly establishe d and at the h eigh t of its imp erial glory as www.MichiganOpera

it sprea d over much of eas tern Europe. But all was not well.

The aging Emperor Franz Jo sef ruled the empi re in the face of mounting problems. Franz Jo sef was a memb er of the Hapsburg dynasty, which had ruled since Rudolf I became king of Germany in 1273. As the head of eleven national groups with as many languagesincluding Germans, Magyars, Czechs, Sl ovaks, Croats, Serbs, Slovenes, Italians , Romania n s, Poles, and Russians - Franz Josef had survived many crises over the years and felt he cou ld withstand many more. (Interestingly, it eventu ally proved to be not internal dissension, but the power of the Prussian megalomaniac Kaiser Wilhelm that wou ld destroy Franz Josefs empire. After remaining all-p owerful for 645 years, it co llapsed in 1918, following the First World War.)

Rivalries among the numerous ethnic groups within the empire caused cons tant tension. Many areas objected to Viennas autocratic rule and sought inde-

pendence The economy was wea k and primitive, particu larly when compared to the industrial progress in western Europ e . In Vienna, exorbitant amounts of money were spent supp orting a decadent and indolent aristocracy By 1889, things began to crumb le.

Franz]osef's son, the Crown Prince Rudolf, and his mistress Maria Vetsera died in a double suicid e pact at Mayerling, the princes hunting lodge. That same yea r , Franz]osefs wife, the Empress Elizabeth , was assassinated b y anarchists; in 1914, hi s nephew and heir, Archdu ke Franz Ferdinand, was assassinated at Sa rajevo, Yugos lavia.

The genius of Th e Merry Widow lies in its satiric exposure of thi s fragile and crumbling empire. Th e satire grows out o,f an identifica tion of Pontevedro with the Austro-Hungarian Empire The fictitious Balkan state of Pontevedro featur ed in the operetta would have been reminiscen t to Viennese audie n ces of anyo n e of the many tiny Balkan states that were

und er the emperor's ru le. In particular, a comparison cou ld be made with the principality of Montenegro (which , incidentally, rhymes with Pont eve dro ). Montenegro was si tuated in the distant south of the empire, just inside its borders , d eep in the Balkans. The region was exceedingly poor and primitive, and could not eaSily maintain an aristo cratic ruling class.

The eco nomic problems faced by Pont evedro (or Montenegro , for that matter) are not unlike those of the great Austro-Hungarian Emp ire. Nor is it a coincidence that the libertine sp iri t of the Pont eve drians was similar to an increasingly decadent morality among AustroHungarian society Carl Schorski notes in Fin du Siecle Vienna: Politics and Culture that "by the end of the century, the function of art for Viennese middle-class soc iety had altered, and in this change, politics p layed a crucial part. If the Viennese burghers had begun by supporting the temple of art as a surrogate form of

assimilation into the aristocracy, they ended by fi nding in it an escape , a refuge from the unpl easant world of increasingly threatening political reality"

Viennese theatergoers cou ld no doubt see themselves parodied b y the fre espending and pompous aristocrats depicted in the Lebar operetta. A bourgeois audience whose financia l wellb eing was of the Pontevedrians as similar to the dissolute aris tocracy of the empire. Ultim ate ly it was the bourgeois who had most to lose by the crumbling of the Austro-Hungarian Empire , and who wou ld have most keenly dependent on re sponsible econo mic d evelo pment wo uld have appreciated I71 e Merry depiction understood the compari son of their great nation wi th an insignificant Balkan prinCipality The Merry tongue- in- ch ee k comparison of po liti cal life in Vienna with that of a b edroo m farce wo uld have seemed singu larly apt, as the empire edged blissfull y toward its own co llapse

Detroit Opera House

Artist Profiles

Ronald Hynd

The Meny Widow - Choreograp h y

Britis h cho reograp h e r Ronald H yn d was trained by Ma rie Rambert and danced with Ball et Rambert before Jo ining The Ro yal Ba ll et in 1952. There , h e rose to the rank of prin cipa l da n cer, dancing all the great danseuo' nob le roles: Prin ce Siegfri ed, Albrec ht , Prince Fl orimund, the Prince o f the Pagodas, the Po e t in Les Sylp hides, Ivan Tsarevit ch in The Firebird, a nd the Fool in La dy and the Fool. Mr. H ynd often perform ed partnerin g hi s wife, Anne tte Pa ge, and also a pp eare d with Margot Fonteyn, Beryl Grey, Svetlana Be riosova, and Nad ia Nerin a.

Mr. Hyr,t d 's first cho reogra phy was se t to Igor Stravinsk y's The Fairy's Kiss fo r th e Du tch - Na tional Ba ll et. He was then-invited by Dame Beryl Grey to c rea te Dvorah Variations, wh ich began a long and productive partncrship wi th t he English Nat ional Ballet (formerly Lo ndon Fes ti va l Ball et). In 1970, he accepted the directo rship o f th e Bavaria n Sta te Ballet (Munich) at the invitation of John Cranko , but after three years was in such demand as a freelance choreograp h er t ha t h e d ec ided to take this path. He has to date produ ced e igh t full-length b allets, including hi s m os t famous work, Th e Meny Widow , whi ch was crea ted fo r Th e Austra lian Ballet. The ball e t was da n ce d around the wo rld b y Ma rgot Fonteyn and later stage d and filmed b y th e Natio nal Ballet of Ca nada, s tarring Karen Kain and J ohn Mee h an, who had c reated the ro le of Danilo. Si n ce th e n , th e ba ll et has bee n danced by sever al co mp anies, mos t re cently by the Vienna State Ope r a Ballet (1994) and La Sc ala, Milan (in 1996, d anced to gr eat acclaim by Su san Jaffe and Jo se Man uel Carreno). The Meny Widow was followed by a very successfu l staging of The Nutaacher for th e Engli s h Nat iona l Ballet , w hi ch was televised and shown worldwide. He also staged his version o f the Tchaiko vs ky classic for the Ballet d e Nice in 1996 , with new designs by Ezio Frige ri o.

In 1978 , Mr. H ynd create d Rosalinda (base d on Di e Fledermaus) for PA.c. T. Ballet , J ohannesburg, which has since had ten productions and numerous reviva ls. Le Diable a Quatre ( 1984), Coppelia (1985), King Ludwig II, and The Hun chback of Notre Dame ( 1988) are Mr. H ynd's latest fullle ngth bal lets. In 1993, he and Annette Page s ta ge d a new prod u ction of The Sleeping Beauty for the English Natio nal Ballet , marking the 100 th ann iversary o f Tchaikovsky's d ea th. He also created many one- act ballets, including a special version o f Sylvia to celebrate the thirti et h birthda y of Diana , Princess of Wales. Ope ra-ba ll ets and ice ba ll e ts for J ohn Curry comp lete Hynd 's output to date. Hi s works have been performed b y major co mpanie s in Europe, North an d South America, Aus t ra li a, Canada, So uth Afri ca a n d Japan. He has often co ll aborate d wit h musical composer/ arranger John La n chbery and designe rs Pete r Docherty and Desmond Heeley This staging of The Merry Widow marks hi s first association with Amer ican Ba llet Th eatre.

48 BRAVO

John Lanchbery

The Meny Widow - Orchestrati on

Born in London , J ohn Lanchbery wo n the Henry Smart Scholarship in Co m pos ition in 1942, which enab led him to study at the Royal Acade my of Music, where hi s teachers includ ed Sir Henry Wood. During th e war he se rved in the Royal Armoure d Corps , and, at the war's end, he returned to the Ro ya l Academy to complete his s tudies.

Mr. Lanchbery sp ent two yea r s in his firs t professio nal conducting post as th e Music Director of London's Metropolitan Ba ll et. He th en we nt on to wor k wi th the Sadl e r's We ll s Ba ll e t , se rving as the principal co ndu ctor of the comp any, late r known as The Ro yal Ballet , from 1960- 1972. After a tour wi th Th e Australian Ballet to th e United States in 1970, Mr. Lanchb ery beca me that co mpany's guest conductor and was s ub seq u ent ly appointed the company's music director in 1972.

Mr. Lanchbery arranged the scores for Sir Frederick Ashton's ballet La Fill e Mal Gardee and the Franz liszt music for Kenneth Mac Millan 's full-lengt h ballet, Mayerling, which was give n its World Premiere in the spring of 1978 at Cove nt Garden. He arranged th e Franz Leh ar score for the firs t full- length ballet pro du ct io n of Th e Meny Widow by The Australian Ballet , the first of five successful collaborations with ch o reograp he r Rona ld Hynd , and sub seq uen t ly con du c ted the Adela ide Sym phony and Singers in a 19 76 reco rding of highlights from The Meny Widow, which earned him a Gold Re cord in 1977. Mr. La nchbery has composed musi c for film s and variou s BBC sound and television programs, and hi s work on the film score for The Tal es of Beatrix Potter was highly accla imed. Other film score arrangements include Evil Under the Sun and the Oscar-nominated The Turning Point. Most recently, Mr. Lanchbery arrange d a score for th e sp ecial resto ration of D. W Griffith's sile nt film classic The Birth of a Nation ( 1915) and comp osed an o ri ginal score for John Ford's silent film Th e Iron Hor se ( 1924 ).

In Mr. Lan ch bery's p ast associa ti on wi th Ame ri ca n Ballet The a tre, he cond u cte d severa l perform ances of Gisel le in the sprin g of 1977 and conducted for the triumphant World Pre mi ere of Mikhail Baryshniko v's Don Quixot e Wedding) at the Kennedy Center in Washington, D.C. in 1978. Mr. Lanchb er y specia lly arranged th e Ludwig Minku s sco r e for Nata lia Makarova's full-length produ ct ion o f La Bayadere, which received its premi e re in 1980 at the Me tropolitan Opera House in New York. He also serve d as Am e rica n Ball e t Theatre's Music Director fro m 19 78 -198 0.

Ru ssia, China and Lo ndo n. He recently returned to Th e Au st r alian Ball et for a yea r as chief co ndu cto r , whic h includ ed the company's 1990 summ e r tour o f th e United States.

Most rece ntl y, Mr. Lanchbery completed a score for Ben Steve n so n 's Dracula, to music of Franz liszt.

John Lan chb er y ha s rece ived many honors He was the fir st foreign co nductor to receive th e Bol shoi Medal. In 1989, he was awarded the Queen Elizabeth II Coro nation Award from the Ro yal Academy of Dance and the Carina Ari Meda l , presented by HRH Princ ess Christina o f Sweden "for the furthera nce of the Art of Dance ." In 19 9 1, h e was awa rded the OBE in the New Year's Hon o urs li st.

Franz Lehar

Th e Merry Widow - Music

Toge th er with J ohann Strau ss and Ja cques Offenba ch , Franz Lehar is on e of the undi s put ed masters of operetta, a form of ligh t opera d eveloped in Pari s, Vienna and London during the second h al f of the nineteenth centu ry Offenbach led the success o f th e op eretta, w hich became popular th rougho ut Europe Th e Viennese soon began cr ea tin g th eir own opere ttas. Beginning with the varyi ng s uccess o f s u c h composers as Franz vo n Su ppe, it was fin all y th e "waltz king ," Joh ann Strauss II , who de throned Offe nb ach in 1870. A dan ce-ba nd co ndu ctor, Strauss was able to use his ba ckgr ou nd to adva ntage , incorporating dan ce rh ythms in his co mpositions and making the waltz the s tapl e of all operetta. It was another bandlead er, Franz Leliar , who continued the operetta tradition into the 20th century. Leliar was born in Komaron , Hungary, on April 30 , 1870 , in t o a musical famil y. His fath er was the h orn player in the orch es tra of the Theatre am d er Wie n as we ll as a m ilitary bandmaster and co mposer. At the age o f twelve, Lelia r was sent to the Prague Con serva tory to pursue serious s tudies in violin and comp os ition , and by 1888 was theate r violinist at BarrnenlElderfeld in the Rhine land Lehar used his ob ligatory military service to advantage b y playing in the bands o f infantry regiments and as a bandmaster. Finally, in 1899, he wa s posted to th e twenty-sixth infantry in Vienna, a City where h e co uld pursue his more ser ious musical interests. Until that time, Leliar 's pen h ad not b ee n dry. He h ad been composing d ances and marches , and, in 18 96, produced his first opera, Kukuska. Lelia r proved an instant success in Vienn a and, in 1902, left the military service to pursue full -t im e co mpo sit ion. He created opere tt as for th e Th ea tre am der Wien and the Carl th ea tre, in cluding two grea t successesWiener Frau en and Der Rastelbinder. Hi s next two works, Der Gottergatte an d Die Juxh eirat, pro ved to b e failures.

Copyright 2010, Michigan Opera Theatre

While maintainin g his close assoc iat io n with Th e Roya l Balle t , Mr. Lanchbery ap pears regul arly as ballet conductor with many o f th e wo rld 's leading ope ra houses, includin g Paris, Stockholm , Rio de Janeiro, New York an d Hous ton. He h as also toured with Th e Australian Ballet to Jap an , www.MichiganOpera.org

In 1905 , Leh a r was able to recoup his losses with the wo rld pre mi e re of The Meny Widow , which Detroit Opera Hou se

was to prove his mo st succes sful ope r etta and a perfect exam ple of hi s unique sty le of compo sition. Lehars fiueIll m elodic output had a quality and subsiance no t commo nl y found in this style o f composition and all owe d for an origi nality not heard in ot hq opere tta s Lehar's waltzes are unique and identifi ed by having a more swaying rhyth m tha n oth er waltzes. This swayi ng ha s bee n vis u ali ze d by Ronald Hyn d in his wal tzes fo r Th e Merry Widow, which are characte riz ed by a beautiful and uT,lUsual waltz mov ement.

Lehar continue d to compose operettas, though n one were co mpa ra b le in po pularity to Th e Merry Widow Leha r did n o t rest on his laurels. Though a creator of light entertainment, h e wanted to "enlarge the framewor k of operetta. People did not regard. it as an art form, but simply as a me an s of enterta inme nt , some th ing to be diverted by and th en forg otten." Lehar sought to reject these stereotypes in th e pursuit of more amb itious and se rious works. He att empted to create o pera wit h mo re sub stanti al subject matter and innovative musical styles. Sa dl y, th ese proved less popu lar with his pu b li c, who deemed them pretentious and sentimental, and believe d his tru e talent to lie in the light er operetta genre.

FollOwing the First Wo rld War, Leha r revi talized his fame in a se ries of new operettas tha t we re crea ted especially for the ta lents of the singer Richard Tauber, a mu sical partnership hera ld ed to this day. These operettas includ e Paganini ( 1925), Der Zarewitsch ( 1927), Friederike (1928) , an d Das Land des La chelns (192 9).

In 1934, Lehar produ ce d his last operetta, Giuditta , concludin g the end of a great mu sical era The follOwi ng yea r, Lehar founded hi s own mu sical publi shin g h o use, Gl ocken Ver lag (still in existence today), whic h took over the rights to m any of his works, including The Merry Widow. Th e onse t of the seco nd Wo rld War proved a difficult time for Lehar and his J ewish wife, Sop hie. Hitle r as ked Lehar to aband on his wife, but was defied by the compose r. Wishing to remain neutral from po litics , the Lehars di VIded the ir tim e between Vienna an d Bad Isehl, and we re spared persecuti o n only because Th e Merry Wid ow was Hitler's fa vo r ite opere tta. In 1 9 4 6, the Leha rs mo ve d to Zurich , where Sophie died in 1948. Lehar then returned taBa d Ischl , where he died o n October 24, 1948, at the age of 78. His villa is now th e Leha r Museum.

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1999-2000 Board of Directors

Dr.. :David DiChiera, President

Mr Cameron B. Duncan, Treasurer

Mr. C. Thomas Toppin, Secretary

Mrs. Robert Allesee

Mrs. Donald C. Austin

Mrs. Bella Marshall Barden

Mr. J. Addison Bartush

Mr. Richard A. Brodie

Mrs. William C. Brooks

Mr. Maurice Cohen

Mrs. Peter Cooper

Mr. Tarik S. Daoud

Julia Dono van Darlo w

Mr. Lawrence N. Davi d

Mr. David Denn

Mrs. Charles M. Endicott

Mr. Paul Ewing

Dr. Marjorie M. Fisher

Mr. Herman Frankel

Mrs. Lawrence Garberding

Mr. David Handleman

Mr. Kenn eth E. Hart

Mr. Eugene Hartwig

Mr. Richard Janes

Mr. Gary Johnson

Mrs. Charles Kessler

Mrs. Robert Klein

Mr Gerald A. Knecht el

Mr. A. C. Liebler

Mr. Harry A. Lomason

Mr. Alphonse Lucarelli

Trustees

Dr. &: Mrs. Mohamed K Ajjour

Dr. &: Mrs. Roger M. Ajluni

My. &: Mrs. Robert A. Allesee

Mr. &: Mrs. Jerry P D'Avanzo

Mr. &: Mrs. Tarik S Daoud

Julia Donovan Darlow &: John C.

Mr. &: Mrs. Douglas F Allison O'Meara

Dr. Lourdes V Andaya

Mr. &: Mrs. Thomas V Angott

Mr. &: Mrs. Robert L Anthony

Dr. &: Mrs. Agustin Arbulu

Dr. Harold Arrington

Dr. &: Mrs. Ingida Asfaw

Mrs. Donald]. Atwood

Dr. &: Mrs. Donald C. Austin

Hon. &: Mrs. Edward Avadenka

Mr. &: Mrs. Don H. Barden

Mr. &: Mrs. Lawren ce N. David

Mr. &: Mrs. John W Da y, Jr.

Mr. &: Mrs. David Denn

Mrs. Rob ert E. Dewar

Dr. Fernando G. Diaz

Dr Davi d DiChiera

Karen VanderKloot DiChiera

The Hon. &: Mrs John Dingell

Ms. Mary Jane Doerr

Mr. &: Mrs. Cameron B. Duncan

Mrs James Mariam Barnes Lady Jane Easton

Mr. &: Mrs. Lee Barthel

Mr. &: Mrs. ]. Addison Bartush

Mrs. Charles M. Endicott

Dr. Fern R. Espino &: Mr. Tom

Mr. &: Mrs. Mark Alan Baun Short

Mr. &: Mrs. W VictoLBenjamin

Mr. &: Mrs. Raymond Biggs

Mr. &: Mrs. John Boll

Mr. &: Mrs. Richard A. Brodie

Mr. &: Mrs. William C. Brooks

Mrs. Clarence G. Catallo

Mr. &: Mrs. Alfred Cheesebrough, III

Mr. &: Mrs. Frederick H Clark

Ms. Virginia Clementi

Mr. &: Mrs. Maurice Cohen

Hon &: Mrs. Avern L Cohn

Mr. Thomas Cohn

Mr. &: Mrs. Michael]. Connolly

Mr. &: Mrs. Peter Cooper

Mr. &: Mrs. Roland C. Eugenio

Mr. &: Mrs. Paul E. Ewing

Mrs. Frank Gennack , Jr.

Mrs. Jennifer Nasser

Mr. Jules L. Pallone

Mr. Charl es A. Parcells , Jr.

Mr. Roy Rob erts

Mrs. Irving Rose

Mr. William Sandy

Mrs Roger F Sherman

Mr. Frank Stella

Mrs. George Strumbos

Mr. Robert C. VanderKloot

Mr. George C. Vincent

Mr. Gary L. Wasserman

Mr. Richard C. Webb

Mr. George M. Zeltzer

Mr. Morton Zieve

Mrs. Aaron H. Gershenson

Mr. &: Mrs. Yousif B. Ghafari

Mr. &: Mrs. Andrew Giancamilli

Mr. &: Mrs. Vito P Gioia

Mr. &: Mrs. H. James Gram

Mrs. Katherine Gribbs

Mrs. John C. Griffin

Mr. &: Mrs. Jacqu e Haddad

Mrs. Berj H. Haido stian

Mrs. Robert M. Ham ady

Mr. David Handleman

Mr. &: Mrs. Preston B. Happel

Dr. &: Mrs. Joseph B. Harris

Ms. Maria Harris

Mr. &: Mrs. Kenn eth E. Hart

Mr. &: Mrs. E. Jan Hartmann

Mr. &: Mrs. Eugene Hartwig

Hon. &: Mrs. David B. Henne lin

Hon &: Mrs. Joseph N.

Mr. Stephen Ewing Impastato

Dr. Haifa Fakhouri

Mr. &: Mrs. Alfred]. Fisher,]r.

Mr. &: Mrs. Herbert Fisher

Dr. Marjorie M. Fisher

Mrs. Elaine L. Fontana

Mr. &: Mrs. Mitchell B. Fo ster

Barbara Frankel

Mr. Herman Frankel

Mr. &: Mrs. Marvin A. Frenkel

The Honorable Hilda Gage

Mr. &: Mrs. Lawrence

Ms. Rosalind L Coopennan &: Garberding

Mr. Woody Robert so n

Dr. &: Mrs. Robert A. Gerisch

Mr. &: Mrs Verne G. Istock

Dr. &: Mrs. Charl es Kessler

Mr. &: Mrs. Eugene L Klein

Mr. &: Mrs. Robert Klein

Mr. &: Mrs. Gerald A. Knechtel

Mrs. Reva Kogan

Mr. &: Mrs. Mik e Kojaian

Mr. &: Mrs. William Ku

Dr. &: Mrs. Richard W Kulis

Mr. &: Mrs. Angelo Lanni

Mr. &: Mrs. Paul Lavins

Mrs. Walton A. Lewis

Dr. &: Mrs. Kim K Lie

Mr. &: Mrs. A. C. Liebler

Dr. &: Mrs. Robert P Lisak

Mr. &: Mrs Harry A. Lomason

Mr. &: Mrs. James H. LoPrete

Mr. &: Mrs. Alphonse S. Lucarelli

Cardinal Adam Maida

Mrs. Jessie B Mann

Mrs. Frank S. Marra

Dr. Ronald Martella

Hon. Jack &: Dr. Bettye

Mrs. David Jacknow Arrington-Martin

Mr. &: Mrs. Darnell D. Jackson

Mr. &: Mrs. Richard Janes

Mrs. Syb il Jaque s

Ms. Alyssa Martina

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Mr. &: Mrs. William T.

Mr. &: Mrs. Gary E. Johnson McConnick, Jr.

Miss H. Barbara Johnston

Mrs. William E. Johnston

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Dr. &: Mrs. Darn ell Kaigler

Mr. &: Mrs. John Kaplan

Mrs. Wade H. McCree, Jr.

Mr. &: Mrs. Frank McKulka

Mr. &: Mrs. Eugene Miller

Mr &: Mrs Theodore Monolidis

Mr. &: Mrs. Fred Morganroth

Mr. &: Mrs. E. Clarence

Mr. &: Mrs. Donald W Keirn Mularoni

_

Mr. &: Mrs. E. Michael Mutchler

Mr. &: Mrs. Fred C.

Mr. &: Mrs. j acq ues A. Nasse r Sc hneid ewind

Mr. Christopher Nern

Mr. Ralph Nic hols

Mr. &: Mrs Jules L. Pallon e

Mr. &: Mrs. Alan E. Schwartz

Mr. &: Mrs. Gregory ]. Schwartz

Mr. &: Mrs. Dona ld E.

Mr. &: Mrs. James Pamel Schwen dema nn

Mr. Charles A. Parce lls, Jr.

Mr. &: Mrs. Spe ncer Partrich

Dr Robert E. L. Perkins

Mr. &: Mrs. Brock E. Plumb

Mrs. Ra lph L. Polk

Mrs. David Pollack

Mr. &: Mrs. John Rakolta , Jr.

Mr. &: Mrs . Frank C. Shaler

Mr. &: Mrs. George C. Vince nt

Mr. &: Mrs. Alvin Wasserman

Mr. &: Mrs. Gary L. Wasserman

Mr. and Mrs. john DeCarlo

Dr. and Mrs Da vid DiChi er a

Mr. and Mrs. Aaro n H.

Mr. &: Mrs. Kenneth Way Gershenson

Mr. &: Mrs. Richard C. Webb

Mr. and Mrs. Don ald C.

Mr. &: Mrs. Gary L. White Graves

Dr. &: Mrs. Christo ph er D. Honorable and Mrs. Roman

Ms. Elham Shayota Wilhel m S. Gribbs

Mr. &: Mrs. Roger F Sherman

Mr. &: Mrs. Richard Sloan

Ms. Phyllis Funk Snow

Mr. Richard A. So nenkl ar

Mr. &: Mrs. Richard D.

Dr. &: Mrs. Sam B. Williams

Mr. &: Mrs. Eric A. Wiltshire

Mr. &: Mrs. Donald E. Worsley

Mr. and Mrs. john C. Griffin

Mr. and Mrs. H arr y L jones

Honorable and Mrs. Wa d e

Mrs. R. Alexande r Wrigley McCree, jr.

Hon. Jo an E. Young &:

Mr.

Mrs. Ruth F Rattner Sta rkwea th er Thomas L. Schellenberg

Dr. Irvin Reid &- Dr. Pamela

Trotman Reid

Mr. &: Mrs. Roy S. Roberts

Mrs. Patricia H. Rodzik

Mrs . Hans ROgind

Mr. &: Mrs Peter Ronan

Mr. &: Mrs. Irving Ros e

Mr. &: Mrs. Norma n Rosenfe ld

Mrs. L. Ross

Mr. &: Mrs. Anthony Rugerio

Dr. &: Mrs. Hershe l Sandberg

Mr. &: Mrs. William Sand y

Mr. &: Mrs. Arnold Schafe r

Mr. Frank D. Stella

Ms. Mary Anne Ste lla

Mrs. Mark C. Steve ns

Mrs. Rudol ph Sto ni sch

Mr. &: Mrs. Geo rge Strumbos

Mr. Ronald F Switzer

Mr. &: Mrs. La rry Zangerle

Mr. &: Mrs. Ted Zegouras

Mr. Harry ]. Ne d erlan der

Mr. E. H arwoo d Rydholm

Mr. and Mrs. Ne il Snow

Mr. and Mrs. Ri ch ard

Mr. &: Mrs. George M Zeltzer Strichartz

Mr. &: Mrs. Morton Zieve

Mr. and Mrs. Rob ertC.

Mrs. Paul Zuckerman VanderKloot

Mr. Roy Zurkowski

Mr. and Mrs. Sam B.

Dr. &: Mrs. Anthony R. Tersigni W illi ams

Mr. &: Mrs. Mark Thomas

Dr. Rob erta &: Mr. Shel don Toll

Mr. &: Mrs. C. Thomas Toppin

Mrs. Lynn A. Townsend

Founding Members

Mr. and Mrs. Theodore O .

Mr. and Mrs. Lynn A. Yntema

Townsend, Founding

Mr. &: Mrs. Tallal Turfe Chairm en

Mr. &: Mrs. Robert C.

H onorable and Mrs. Ave rn L

Dr. &: Mrs. Norma n R. Schakne VanderKloo t Co hn

BECOME A MEMBER

M"mg,n Opcr, MEMBERS

to announce the formation o f The

Mrs. John E. Amerman

Dr. Lourdes Andaya Avanti Society, a very spec ial m emb ership d '11 b . 1 d d' "Th A onors W1 e m c u e m e vantl

Within the stages of this initiative,

Mr. &: Mrs. Agustin Arbulu gro up. Socie ty" found ers sec tion of the dono r

Mr. &: Mrs. Art Blai r

To be come a m emb er of The Avanti wa ll in th e Grand Lobb y at the Detroit Roy E. &: Use Calcagno Socie ty, our only requ est is that yo u name Opera House. Other benefits wi ll include

Mr. &: Mrs. Charles Duncan Michigan Opera Th ea tre in yo ur es tate an annual Avanti Socie ty dinner attended Barbara Frankel p lan. This ma y be d on e as a d esigna tion b y wo rld-class arti sts , The Mr. Herman Frankel in your will, tru st or in surance plan. Avanti Society News lette r, Dr. Prisc ill a Greenberg

Mr. Lawrence W Hall erosity can crea te a personal 't(::;r( events and invit ation

Through thi s gift, your-gen- special informational

Mr. &: Mrs. Kenne th E. Hart legacy and give future gener- (g 'k privileges to the Mr. &: Mrs. Eugene L. Hartwig ati ons the wond erful expe ri- ......... • Board of Tru stees

Mr. Donald Jensen ence of world-class opera -- fIII11}fl?a "'"fMlJ An n ual

Mrs. Wa de H McC ree and danc e in a historically

f!l1D1 Mee tin g.

Ms. Jane McKee d c 1 dd f 1

Mr. Dale L. Pagon is

Mr. Richard M. Raisin

Ms. Phylli s Funk Snow

Mr. Ro nald E Swi tzer

Mr. Edward D. Tusset

Mr. Ronald Morriso n restore taci i ty In a ition, care u es tate If yo u h ave pl an nmg can mcrea se the amount that. includ ed Michi ga n O p era Theat re in your you can gIve to love d ones or other chan- estate plan or wou ld like to d o so, please table orgamzatlons b ecau se of reduce d contact H olly Barr, Assistant Di rec tor of esta te ta xes . Developme nt , at 313/237 -3268 for m ore

You can also increase yo ur income information.

Mr. &: Mrs. Geo rge Vincent

tmprove OUr.

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Henry Ford . For more information or a consultation call 1-888-434-7636 or go to HenryFord.com.

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AND MUCH MORE Copyright 2010, Michigan Opera Theatre

Department of Community Programs

Ka r en DiChiera, Director

Michigan Opera Theatre ' s popular and successful Community Outreach Program has been lauded for bringing opera to communities throughout the Midwest . Through partnerships, performances, lectures , demonstrations , workshops and masterclasses, the Opera Company ' s Department of Community Programs reaches more than 200,000 adults and children annually.

Here is a sample of some of the programs and services offered by Michigan Opera Theatre ' s Department of Community Programs:

Partnerships and Collaboratives

The Department has collaborative progr ams and partnersh ips with many different nonprofit organizations, including the Arts Centered Edu cation (ACE) program, which oversees partnerships between Detroit area arts and cultural insti tutions and the Detroit Public Schoo ls. The Department also enjoys severa l p artnerships wi th institutions of highe r learning, inclu ding Centra l Michigan University and Marygrove Co llege.

Time Out for Opera

A cable television series p roduced in collaboration with the Department of Community Programs , Dr. Jonathan Swift and Bloo m field Community Television (BCTV). The award-winning series is co -hosted and produced by Dr. Swift and Karen V DiChiera. Th e half-hour program is first aired four times a week on BCTV an d on the Flin t Pu b lic Broadcasting Station , WFUM , starting each January The Flint station is also availab le via cable to man y communities in SE Michigan and On tario, Canada.

Members of the Community Programs Troupe perform Nanabash -----

Schoolchildren enjoying a Michigan Opera Theatre Tour Program

James Tatum performs during jazz lectures

Tour Programs

The Department tours throughout Michigan : ne ighboring states and Ontario, Canada, providing perform an ces of one -act operas, m u sical revues , workshops and concert versions of full operas for audiences of all ages. All performances for elementary schools fit into the core curriculum and adhere to the Michigan Curriculum Frameworks and the Nationa l Goa ls 2000. Programs for midd le and high schools involve choir members and drama students in a final p er formance, either as singers or as stage crew, along with our pro fessional singers - The Artists of Commu nity Programs - and the professional stage staff.

Learning at the Opera House

Learning at the Opera House grew out of programs the Department has presented on a small scale at various times in various communities through out Mich igan. A uniqu e summer community program, which features classes , seminars, workshops, lectures and tours, Lea rning at the Opera House began in 1997. In its first year, the program fea tured twenty-seven classes and two worksh ops, and enj oyed an attendance of 500. By the yea r 2000, the program grew to eigh t yo uth workshops, ten adult workshops , seven Detro it architectura l tours, seventeen m u sic and arts his tory lectures, three visual arts lectures, two dance lectu res, seven oral history interviews , six sessions of Poets at the Opera Hous e and fifteen performances by stu dents and pro fessiona ls. This tota led seventy-five workshops, lectures and performances.

Attendance figures topped 1,700.

Michigan Opera Theatre 's Lea rning at the Opera House program was the recipient of Opera America's 2000 Education Success Award.

Community, School Lectures & Workshops

Community Programs give many works h ops in schoo ls th roughout our touring area. These range from one -person assembly programs on conducting and composing , to seven singers and technica l theater professionals working in a sch oo l for a week or onc e a week for a semester.

Adu lt organizations , such as Th e Adu lt Learning Institu te at Oakland Community College and various libraries as we ll as midd le and high schoo ls and co ll eges, request lectures on opera, the arts, arc hi tecture, arts an d learn ing - and many other top ics.

To find out more about Michigan Opera Th eatres out reach programs , please ca ll 313/237-3429 or 313/237 -3270.

Philip Smith performs his own composition in Create Opera!

Girl Scout Camp at the Detroit Opera House

Mrs. David Polla cklMrs. Ma ril yn RobinsoniMrs. Lind a Sc hafer

PricewaterhouseCoo pers LLP

Mr. Richard Raisin

Mr. Ant hony Rea

Darre l and Dawn Reece

Drs. Robert and Patricia Reed

Randall Re her, MD

Mr. and Mrs. John B Renic k

Mr. and Mrs. Ll oyd Reuss

Suzan ne and Robert L. Rewey

Glenn RitcheylHallRitchey Management

Co. -

Concetta &: Ge rald Ross

Mart in and Co nstance

RossfMervyn and Leslie Sternberg

Enrico and Denise Rosselli

Mr. Th omas F. Rost

Mr. and Mrs Jeffrey R9th

Dr. and Mrs. Harvey Roth

Mr. Anthony Rugiero

Dr. Hershel and Lois

Sa ndberg

Mr &: Mrs. Lee C.

Saperstein

Mr. and Mrs. 'Mark

S,hmid t

Mr. Laurence S. Schultz

ThE -NEW CENTU.RY FuNd .

Ma rk and Sa ll y Schwartz

Benjamin Schwegman and Judith TapperoSchwegman

Mr. and Mrs. Donald E. Schwe nd ema nn

September Mo on Production Network, Inc.

Dr. Brad ley G. Sewick and Laurie A. Sa il

Arl ene and Frank C. Shaler

Mr. Michael R. Shaw

Ms. Elh am Jabiru -Shayota and Ms. Nedda N Shayo ta

Sandy and Michael Short, MD

Dr. Sheldon and Sydelle Son kin

Named Gifts

We extend our gratitud e to the follOwing donors , who have underwritten designated areas in the Detroit Ope ra House :

Dr. &: Mrs.

Roger M Aj luni -

Grand Sta ircase

Mr. &:Mrs.

Robert A. All esee -

Ali esee Dance

Patron Lounge

Aliesee Dance &: Opera

Resource Lib ra ry

Anonymous Donor -

Grand Lobby

Anonymous Donor -

Broadway Facade

Dr. &: Mrs. Donald C.

Austi n -

Grand Centr al

Chand elier

BASF Corpo ration -

Media Studio

Classroom

Co meri ca Chari table

Founda ti on-

Grand Dome

Daim lerChrysler Co rporation -

Communit y

Performance Theater

Mr. &: Mrs Tarik S

Daoud -

Gra nd Drape

De troit Opera House

Ms. Ann e Mark ley Spivak

Ms. Mary An ne Stella

Mrs. Mark C. Stevens

Mr. and Mrs. Bob

Ste venson

Strategic Staffing Solu ti ons

Ch ri stine and George Strumbos

Joel and Shell ey Tauber

Thomas and Tracey Thompson

Michael and Nancy

Timmis

Dr. Roberta Toll and Mr. Sheldon Toll

Lynn A. and Ruth

L.Townsend

Ms. Vio lette Tuck

Mr. George C. Turek

Universal Forest Products, Inc.

Mr. and Mrs Melvin C. Vande rB rug

Mr. and Mrs. Art VanElslan der

Dr and Mrs. Leonard F.

Va nRaaphorst

Joseph and Rosalie Vicari

Victory ReSteel lnc.

John and Jo Vincenti

Sue and Bill Vi ti toe

Mr. and Mrs. John Vrana

Mr. and Mrs. Richard C. Ward

Mr. and Mrs. Alvin Wasserman

Mr. and Mrs. Gary L. Wasserman

Mr. and Mrs. Ric ha rd C. Webb

Keith and Christine

Weber

Mr and Mrs. William Widmeyer

Mrs Beryl Winkelm an

Mr. and Mrs. Lawrence A. WlSne

Mrs. Barbara Wrigley

Dr and Mrs. Clyde Wu

Mr. Todd A. Wyett

Ms. Shaio Fong YinTuinman

Ms. Gayle M. Zech

Mrs. Helen Zuckerman

BERESH JEWELERS

Parklane Twin Towers Hubbard Dr. & Southfield Fwy.

800.551.1250

We appraise and set diamonds purchased over the internet.

De troit Edison FoundationMezzanine Level in

O pera Hall

Mr. &: Mrs. Robert E.

DewarTrustee Circle

Madison Lobby

Ford Motor Co mpany -

Backstage

Renova ti on

Broadway Lobby

Herma n and Barbara

Frankel -

Ge ne ra l Directo rs

Circle Lounge

General Motors

Corporatio n -

Mad ison Lounge

Robert &: Alice

Gus tafso n -

Third Floor Lobby

Alcove, Madison

Richard &: Mary Lou

J anes -

Third Floor Lobby

Alcove, Broadway

Chaim, Fan n y, Lou is,

Benjami n and Ann

Fl orence Kau fm an

Memorial Trust -

Grand Sid e

Cha nd eli er

Wallis &: Roben M. KleinGrand Staircase Mirro r

Dolores &: Paul LavinsGrand Side Chandelier Grand Staircase Mirror Lear CorporationTrustee Circle Level in Ope ra Hall

The Lomason Fam il y -

The Willi am K. &: Neva Lomason Opera Loun ge

Oliver Dewey Marcks Foundati onThird Floor Prom enade Stai rcase Lobby to 2nd Floor, Madison MichCon FoundationLobby Boutiqu e

The Karen &: Drew Peslar Foundation

Co-Star Dressing Room

Mr. &: Mrs Irving RosePatron Elevator in Lobby Tower , Mrs. Caro lyn L. RossGrand Stai rcase Mirro r

Mr. &: Mrs. Lynn TownsendTrustee Circle Bro adway Lobby

Mr. &: Mrs. Geo rge VincentMadison Lobby

Mr &: Mrs. Alvi n Wasserma nBox Leve l Promenade World Heritage FoundationCon du ctors Dressing Room

Seve ral na med gift o p portunitie s are available in the Detroi t Opera House. For mor e in formation, p lease call the Development Department at 313/237-3433.

Administration & Staff

David DiChiera

General Director

Brett Batterson

ChieJ Operating Offic er

DEPARTMENT DIRECTORS

Karen VanderKloot DiChiera

Direc tor oj Community Programs

John Eckstrom

, Director oj Administration

Roberto Mauro

Director.oJ Artistic Administration

DCjvid W Osborne Direc tor oj Production

Mary Parkhill

Direc tor oj Developm ent

Jennifer Turner Directo r oj Faciliti es

Laura R Wyss

Directo r oj Communications

ADMINISTRATION

Bill Austin Assistant to the General Director

Linda DeMers

Executive Assistant

Beverly A. Moo re Receptio nist

Communications

Steve Havia ras

Director oj Marketing

Kimb erly MOgielski

Ti cket Services Manager

David Fl eming

As sista nt Marketing Manager

Jenise E. Co llins

Group Sales Coordinator

Jane Coe

Kimb erly Gray

Ti cket Services Assistant Managers

Kimb erl y Woods

Ti cke t Services

Detroit Opera House

Jeanette Pawlaczyk

Public Relations

Assistant/Archivist

Bill Carro ll Publi c Relations Volunt eer

Community Programs

Mark Vondrak

Tour Manager

Michael Hauser

Progra m Manager

Dolores Tobis

Office & Marketin g Manager

Betsy Bronson

Maria Cimarelli

Amy Dolan-Malan ey

Larry Picard

Karl Schmidt

Mark Vondrak

Barbara Wiltsie Outreach Touring Company

Development

Stephani Miller Yates

Assistant Director oj Dev elopment

Bradley L Stroud Director of Danc e Development

Lauren Allion

Membership Mana ge r

Herbe rt A. Ferrer

Mgr., Foundation & Government Relations

Heat her Hamilton Volunteer Coordinator

Kathl ee n M. McNamara

Corporate Campaign Manager

Roberta Starkweather

Boutique Manager

Ja ne West ley

Develo pment Associate, Gen.eral Director's Circle

Finance/Computer Services

Will iam 1. Schulz Controller

Kimberly Burgess-Ri vers Accountant

Dea nna Higginbotham

Accountant

Mary E. Pihajlich

Systems Manager

PRODUCTION

Production Administration

Eli sa beth Fleming

Assistant to Director oj Production

Elizabeth Neds-Fox

Production Assistant

Nancy Krolikowski

Local Transportation Coordinator

Pat Lewell en

Audition Volunteer

Music Department

David DiChiera

Music Director

Suzanne Mallare Acton

Assistant Music Director, Chorus Master

Diane Bredesen

Orchestra Personnel Manager

Technical Staff

Randall L Mauck

Tec hnical Director

Monika Essen

Prop erty Master

Kendall Smith

Lighting Coordinator

Shawn Kaufman

Assistant Lighting DeSigne r

Keith Kalinowski

Technical Assistant

Costumes

Suzanne M. Hanna

Costume Coordinator

Alice Moss

Wardorbe Mistress

www.MichiganOpera.org

Stage Crew

John Kinsora

Head Carpenter

Robert Mesinar

Head El ec trician

Alan Bigelow

Head Propertyman

Robert Martin

Head Flyman

Steve Kemp

Hea d Soundman

Gary Gilmore

Production Electri cian

Mary Ellen Schindel

Hea d oj Wardrob e

lATSE Local #38

Stagehands

lATSE Local #786

Wardrobe

DETROIT OPERA HOUSE

Trish Almquist

Event Coordinator

Sandy Muczinski

House Manager

Rock Monroe

Director of SecUlity

Ian A. Scott

Retail Manag er

Calvin Williams

Maintenance Supervisor

Deme trius Barnes

Jesse Carter

Cl yde Surrell

Building Engin eers

Aubre ll Hicks

Concessions Supervisor

Loraine Monroe

Burtron Reynolds

Stage Door Security

General Information

PHOTOGRAPHY & RECORDING DEVICES Unauthorized cameras and recording devices are not allowed inside the at any time. The taking of photographs of the theater or any performance is strictly prohibited. As a courtesy to our guests, we ask that all paging de vices, cell phones and alarm wztches be switched to silent mode prior to the start of a performance.

IN CASE OF EMERGENCY Doctors and parents are advised to leave their seat location (located on ticket) and our emergency number, 313/237-3257, with the service or sitter in case of an emergency. Please observe the lighted exit signs located throughout the theater. In the event of fire or similar emergency, please remain calm and wa lk - do not run - to the near- est exit. Our ushers are trained to lead you out of the building safely. A trained Emergency Medical Technician (EMT) is on site during most events. Please see an usher or staff member to contact the EMT.

RESTROOMS Ladies ' restrooms are located off the Ford Lobby (Broadway street entrance), down the stairs and also on the third floor (Madison street entrance) - please press "3R" on the elevator to reach these facilities. Gentlemen's restrooms are located under the Grand Staircase, and also on the third floor (Broadway street entrance) - please press "3" on the elevator to reach these facilities. Please note: All third-floor restrooms are wheelchair accessible.

NO SMOKING The Detroit Opera House is a smoke-free facility. Ash receptacles are provided on the exterior of all entry doors for those who wish to smoke.

USHERS Ushers are stationed at the top of each aisle. If you have a question or concern , please inform ushers, and they will contact management. If you are interested in becoming a vo lunteer

usher, please call the usher hotline at 313/237-3253.

LATE SEATING Latecomers will be seated only during an appropriate pause in the program and may view the program on closed-circuit television monitors located in the lobbies until an appropriate program pause occurs. Late seating poliCies are at the discretion of the production, not opera house management.

LOST & FOUND Lost and Found is located in the Security Department. Please see an usher if you have misplaced an article, or call 313/961-3500 if you have already left the theater. Items will be held in Lost and Found for thirty da ys.

PARKING Parking for all events is available in the Opera House Garage, located directly across from the Detroit Opera House (on John R. and Broadway streets). Prepaid parking is available through the box office Please call 313/237-SING for parking information.

ACCESSIBILITY Accessible seating locations for patrons in wheelchairs are located in all price ranges on the orchestra level. When inquiring about tickets, pleas e ask about these locations if you require speCial accommodations.

Assisted Listening Devices are available on a first-come, first-served basis. Please see an usher to request this service. Although this is a complimentary service, we will request to hold a piece of personal identification while you are using the devic e Pleas e contact the Box Office, should you desire special consideration.

CHILDREN Children are welcome; however, all guests are required to hold a ticket, regardless of age. We kindly ask that parental discretion be exercised for certain programs, and that all guests remember that during a program such as opera or ballet , the ability of all audience

IMPORTANT NUMBERS

members to hear the music is a prerequisite to enjoyment of the performance. In all cases, babes in arms are not permitted.

SERVICES Concession stands are located in all levels. Please note that food and drinks are not allowed in the auditorium at any time. Coat check is located in the Madison lobby. The cost is $1.00 per coat Please note that the Detroit Opera House does not accept responsibility for any personal articles that are not checked at the coat check. Drinking fountains are located in the lobbies on floors one and three. Public pay phones are located in the vestibule of the Ford Lobby and in the restrooms. Patrons in wheelchairs can access pay phones outside the third-floor ladies ' restrooms

RENTAL INFORMATION

The Detroit Opera House is available for rent by your organization Please call Jennifer Turner, Director of Facilities, at 313/961-3500 to receive rental information

TICKET INFORMATION The Detroit Opera House Ticket Office hours are as follows: Non-performance weeksMonday through Friday 10:00 a m. to 5:30 p.m. Performance days - 10:00 a.m. through the first intermission of the evening's performance, except Saturdays and Sundays, when the Ticket Office will open two hours prior to curtain. Tickets for all public events held at the Detroit Opera House are also available through all TicketMaster phone and retail outlets.

OPERA HOUSE TOURS Come join the Opera House Ambassadors for a backstage tour of the Detroit Opera House Learn about the history of the Opera House and its restoration. Meet the people behind the scenes, tour the stage and see how it operates. Tours are $ 10.00 per person . For more information, please call 313/237-3407.

Copyright 2010, Michigan Opera Theatre

Thursday , March 29,2001 at 8:00 p.m

The Merry Widow

Original book by Victor Leon and Leo Stein

Choreography by Ronald Hynd

Scenario by Sir Robert Helpmann and Ronald Hynd

Mu s ic by Franz Lebar

Orch es trated by John Lanchbery

Scenery and costumes by Desmond Heeley

Lighting by Michael Whitfield

Assistants to Mr. Hynd: Annette Page and John Meehan

Haima Glawari , a wealthy Pontevedrian w idow

Baron Mi-rko Zeta, Pontevedrian ambassador to France

Valencienne, his wife

Count Danilo Danilovitch, first secretary of the Pontevedrian Embassy

Camille de Rosillon, French attache at the embassy

Njegus, private secretary to the ambassador

Kiomov, undersecretary at the embassy

Pritsch, undersecretary at the embassy

Leading Pontevedrian Dancer

Magda and Ludmilla , two Pontevedrian ladies

Maitre d', Chez Maxim ' s

An Enraged Client

Her Friend

Can-Can Ladies and

nJLIEKENT

VICTOR BARBEE

ASHLEY TUTTLE

JOSE MANUEL CARRENO

ANGEL CORELLA

JOAQUIN DE LUZ

CLINTON LUCKETT

ETHAN BROWN

HERMAN CORNEJO

EKATERINA SHELKANOVA and ROSALIE O'CONNOR

Herman Cornejo

Erica Fischbach

Jennifer Ale x ander

Marian Butler, Erica Cornejo, Alina Faye , Elizabeth Gaither, Yena Kang, Anne Milewski

Stella Abrera, Tamara Barden, Kristi Boone, Carmen Corella, Karin Ellis-Wentz, Leyla Fayyaz, Ilona McHugh, Andrea Mitrovich, Carrie Peterson, Jennifer Quent, Maria Riccetto , Adrienne Schulte, Christin Severini, Johanna Snyder, Shannon, Volk, Alissa Wassung

Giray Atalay , Julio Bragado-Young, Jerry Douglas, Jamar Goodman, Carlos Molina, Justin Morris , Eric Otto, Alejandro Piris-Niiio , Sascha Radetsky , Flavio Salazar, Gennadi Saveliev, Isaac Stappas , Sean Stewart, Ricardo Torres , Yu Xin

Conductor : DAVID BRISKIN

The M erry Widow is produced by kind permission of The Australian Ballet. This production of Th e M e rry Widow is kindly made available by The National Ballet of Canada . This ballet version of Th e Merry Widow, choreography by Ronald Hynd and scenario by Robert He1pmann , has been made courtesy of the composer's and librettist's heirs and is used by arrangement with European American Music Distributors Corporation, sole U.S. agent for Glocken Verlag , Ltd., publisher and copyright oWner.

Copyright 2010, Michigan Opera Theatre