SummerScape Dance Program: Grace and Mercy

GRACE AND MERCY Ronald K. Brown / Evidence: A Dance Company

Fisher Center at Bard Sosnoff Theater July 5–7, 2019

Dear Friends, Welcome to the 2019 SummerScape Festival—seven weeks of dance, film, music, opera, theater, and cabaret celebrating the life and works of Erich Wolfgang Korngold (1897–1957), the great pioneer of Hollywood film music.

The festival opens with a dance program in part inspired by Korngold’s contemporary, Duke Ellington, whose standard “Come Sunday” is the centerpiece of the choreographer Ronald K. Brown’s magnificent Grace. Ron originally created Grace for the Alvin Ailey American Dance Theater in 1999, and it has since been acclaimed by audiences around the world as one of the greatest dances of the past century. Grace is usually performed to a recorded soundtrack, but for the work’s 20th anniversary we invited Ron to reconceive it as an entirely live experience, now premiering in these SummerScape performances. We’re thrilled to welcome Ron and his Brooklyn-based dance company, Evidence, to the Fisher Center for the first time.

The second half of the dance program is the world premiere of Mercy, a SummerScape commission that unites Ron with singer, musician, and composer Meshell Ndegeocello. In May, when Meshell was awarded this year’s Herb Alpert Award in the Arts for music, the panelists praised her as “a rare constellation in the artistic firmament, whose generosity of spirit defies the confines of genre and whose work dwells in both darkness and deliverance.” It’s an honor to welcome this musical legend back to Sosnoff Theater to perform her brand-new score.

Our Korngold celebration continues with Deborah Artman and Michael Gordon’s hallucinogenic music-theater performance inspired by the mysterious B-movie star Mildred Davenport, better known by her screen name—Acquanetta. Acquanetta’s most famous role was Paula Dupree, the “Gorilla Girl” in the sci-fi horror film Captive Wild Woman, released in 1943 (the same year that Duke Ellington wrote “Come Sunday”). The film’s campy excesses form the basis of Deborah and Michael’s deconstruction of the glamour and illusion of early Hollywood.

Acquanetta is directed by Daniel Fish, who staged the 2015 SummerScape production of Oklahoma!, now playing at Circle in the Square Theatre on Broadway (which won the 2019 Tony Award for best revival of a musical). It’s wonderful to have Daniel back with us at the Fisher Center, and to share with you a very different aspect of his virtuosic stagecraft.

We hope you enjoy both Grace and Mercy and Acquanetta, and look forward to seeing you at the Fisher Center and Spiegeltent throughout the summer.

Best wishes,

Gideon Lester Artistic Director for Theater and Dance

Fisher Center at Bard Chair Jeanne Donovan Fisher President Leon Botstein Executive Director Bob Bursey Artistic Director for Theater and Dance Gideon Lester presents

Ronald K. Brown / Evidence: A Dance Company

GRACE AND MERCY SummerScape Commission/World Premiere

Choreography by Ronald K. Brown Original Score for Mercy written and performed by Meshell Ndegeocello Music for Grace by Duke Ellington, Roy Davis Jr., and Fela Anikulapo Kuti Live Music for Grace performed by Peven Everett and Gordon Chambers Scenic and Lighting Design for Mercy by Tsubasa Kamei Original Lighting Design for Grace by William H. Grant, recreated by Brenda Gray Costume Design by Wunmi Omotayo Olaiya Assistant Costume Design by Zinda Williams Sound Design and Engineering by Dave Wegner Music Supervision for Grace by Peven Everett Music Supervision for Mercy by Jack DeBoe Stage Management by Michelle Kelleher Evidence: A Dance Company Michael Battle, Arcell Cabuag, Stephanie Chronopoulos**, Kirven Douthit-Boyd*, Joyce Edwards**, Paris Jones**, Valeriane Louisy Louis-Joseph, Hannah Richardson**, Randall Riley*, Annique Roberts, Matthew Rushing*, Keon Thoulouis, and Elaisa van der Kust** *Guest Artist **Apprentice Musicians Mario Abney, trumpet; Chris Bruce, guitar; Dan Chmielinski, bass; Peven Everett, keys; Meshell Ndegeocello, bass; Julius Rodriguez, keys; Abraham Rounds, percussion; Jake Sherman, keys; Corey Wallace, trombone Grace and Mercy will be performed with one 20-minute intermission.

Grace and Mercy is co-commissioned by the Fisher Center, Kennedy Center, Carolina Performing Arts at UNC Chapel Hill, and The Joyce Theater’s Stephen and Cathy Weinroth Fund for New Work. Grace was originally commissioned by the Alvin Ailey American Dance Theater in 1999, under the direction of Judith Jamison.

The 2019 SummerScape season is made possible in part through the generous support of Jeanne Donovan Fisher, the Martin and Toni Sosnoff Foundation, Board of the Fisher Center, Board of the Bard Music Festival, and Fisher Center members, as well as grants from the National Endowment for the Arts and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

On Grace Ron Brown’s Grace connects us to our ancient, ancestral heartbeat.

He carries that scintilla of beginning-of-time memory that dwells within us, which we forget belongs to us.

It is said to be interrhythmic, and has been layered with confusing meaning; God did not put us in this world to be confused, so clearly the B.O.T—beginning-of-time memory—is clear and clean and undeniable. It is the way our hand is held, an arm extends, a foot charging, a tilt of the head, a knowing back, an inner knowledge that is untouchable.

So, here is Grace—God’s Grace—allowing us to witness and experience our ancestors through the way in which Ron choreographs, explains, and translates how to move through this life courageously, and without hesitation, by claiming his beginning-of-time knowledge. Watch as “Come Sunday” sublimely moves us into the arms of Mother Earth, who welcomes the celebration of our heartbeats and inner rhythms that have propelled us to dance with an unalterable power.

This is how I experience Grace: looking at powerful men and women reminding us of our ancestors, bringing us to them. Shout, and clap, stand, move, have joy, have sorrow, and compassion, and love for what we see before us. And then, “Come Sunday” again, to rest us in what we’ve seen, and never forget our timeless, sacred rhythm of life since the beginning of time.

Thank you, Ron, and congratulations on your, . . . our, . . . Alvin Ailey American Dance Theater’s 20th anniversary of Grace. Thank you for sharing this with us. We love you.

Lovingly, Judi Judith Jamison is the Artistic Director Emerita of the Alvin Ailey American Dance Theater, which she led for 21 years starting in 1989, when Alvin Ailey chose her as his successor.

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Who’s Who Ronald K. Brown (Choreographer) founded Evidence, A Dance Company in 1985. He has worked with Mary Anthony Dance Theater, and Jennifer Muller/The Works, among other choreographers and artists. Brown has set works on Alvin Ailey American Dance Theater, Ailey II, Cleo Parker Robinson Dance Ensemble, Dayton Contemporary Dance Company, Jeune Ballet d’Afrique Noire, Ko-Thi Dance Company, Philadanco, Muntu Dance Theatre of Chicago, and Ballet Hispanico. He has collaborated with such artists as composer/designer Wunmi Omotayo Olaiya, the late writer Craig G. Harris, director Ernie McClintock’s Jazz Actors Theatre, choreographers Patricia Hoffbauer and Rokia Kone, and composers Robert Een, Oliver Lake, Bernadette Speech, David Simons, and Don Meissner. He choreographed Regina Taylor’s award-winning play, Crowns, and won an AUDELCO Award for his work on that production. Brown has won a Fred & Adele Astaire Award for Outstanding Choreography in the Tony Award–winning The Gershwins’ Porgy and Bess, adapted

by Suzan Lori Parks, arrangement by Diedre Murray, and directed by Diane Paulus. In addition, Brown was named Def Dance Jam Workshop Mentor of the Year in 2000, received a John Simon Guggenheim Memorial Fellowship, National Endowment for the Arts Choreographers Fellowship, New York Foundation for the Arts Fellowship, United States Artists Fellowship, and the Ailey Apex Award for teaching. Brown is a member of Stage Directors and Choreographers Society.

Mercurial and masterful, Meshell Ndegeocello (Composer and Musician/Performer, Mercy) has survived the best and worst of what a career in music has to offer. She has eschewed genre for originality, celebrity for longevity, and musical trends for musical truths. She has lived through the boom and bust of the industry and emerged just as she entered: unequivocally herself. Fans have come to expect the unexpected from Ndegeocello, and faithfully followed her on sojourns into soul, spoken word, R&B, jazz, hip-hop, and rock, all bound by a lyrical, spiritual search for love, justice, respect, resolution, and happiness. Each of Ndegeocello’s albums has been a step away from the last, each used as a chance to investigate and integrate new sounds and ideas.

Fans have been treated to everything from the deep funk of Plantation Lullabies, to the raw and confessional Bitter, to the melodic and lyrical Weather. Ndegeocello composed, arranged, and produced a jazz album in 2005, and recorded an homage to Nina Simone in 2012, a kindred musical spirit and among Ndegeocello’s most cherished inspirations. Her latest album, Ventriloquism, has the hallmarks of all of Ndegeocello’s work, lush and investigative, subversive and sublime.

Assured of her place as an authentic musical thinker and an uncompromising artist, she continues to discover, examine, and explore all that music has to offer her and how she can return the gift. A bass player above all else, she brings her warm and melodic groove to everything she does, including appearances alongside the Rolling Stones, Madonna, Alanis Morissette, James Blood Ulmer, the Blind Boys of Alabama, Tony Allen, John Medeski, Billy Preston, and Chaka Khan.

Peven Everett (Vocals, Music Direction, Grace) is an artist of many talents whose work alternately covers the territories of house, R&B, jazz, and hip-hop. Everett, who was born in Harvey, Illinois, received a scholarship to Berklee College of Music at the age of 17. He left to perform live with the likes of Betty Carter, Branford Marsalis, and Wynton Marsalis. His first performance was at Carnegie Hall. Since then, the multi-instrumentalist has played trumpet on a handful of jazz recordings (including Curtis Lundy’s Against All Odds), and has become a prominent figure in fishercenter.bard.edu

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the international house and R&B communities. Everett, who plays more than 13 instruments, performed and produced “Gabriel,” a massive hit on UK Garage and pop charts. This song was later featured in Ronald K. Brown’s Grace for Alvin Ailey American Dance Theater. Though he had a number of 12” solo releases prior to 2002, that year was extremely prolific for Everett; in addition to releasing one of the most-loved deep house records of the year, I Can’t Believe I Loved Her, Everett issued another excellent 12” (Soul Tempura), as well as a pair of soul-driven albums on his Studio Confession label (Speed of Light, Latest Craze, The Realness, My Brazil, Easy Living, Power Soul, King of Hearts, We Need House, Pinup Jazz, Thank You James, and Kissing Game). A third solo album was later released called Studio Confessions. In addition to leading his own groups— Peven Everett Quartet, and a big band, the Peven Everett Review—he boasts a library of recorded music exceeding 5,000 records. Everett is also lead singer for Damon Albarn’s Gorillaz, and has toured with them for over two years, performing for more than two million people. Everett is now poised for his new LP in 2019, collaborating with some of the biggest stars of hip-hop.

Singer-songwriter-producer and recording artist Gordon Chambers (Vocals, Grace) is no stranger to the music industry. His solo albums have been nominated for Independent Soul Album of the Year by SoulTracks.com and have been among CDbaby’s top R&B sellers. His No. 1 hits as a lyricist include Anita Baker’s Grammy-winning hit “I Apologize,” Brownstone’s Grammy nominated “If You Love Me,” Angie Stone’s “No More Rain (in this Cloud),” the Grammynominated theme of Set It Off “Missing You” (performed by Brandy, Tamia, Gladys Knight, and Chaka Khan), Yolanda Adams’s “Someone Watching Over Me,” and the Isley Brothers’ recent comeback smash “Just Came Here to Chill.” He has written for more than 75 recording artists, including household names Aretha Franklin, Whitney Houston, Beyoncé, Brandy, Trey Songz, Usher, Jamie Foxx, Gladys Knight, Chaka Khan, Patti LaBelle, and Marc Anthony. He is the winner of eight ASCAP songwriting awards and has four Dove Award nominations. His songs have been performed at the Essence Awards, American Music Awards, and the White House.

Since 2005, Chambers has been performing up a storm all over the world promoting his debut album Introducing Gordon Chambers, his sophomore CD Love Stories, his third album Sincere, and his new album Surrender. His prestigious appearances have included the White House, Essence Music Festival, Congressional Black Caucus, Apollo Theater, Carnegie Hall, Kennedy Center, and B. B. King’s—as well as European, Japanese, and South African tours.

Tsubasa Kamei (Scenic and Lighting Design, Mercy) is a scenic and lighting designer who has worked in theater and dance nationally and internationally for more than 10 years. Kamei started working with Evidence in 2015 at The Joyce Theater. This is his 55th production with them. His lighting design credits for the company include Four Corners (company premiere); She Is Here . . . (world premiere); Dancing Spirit (company premiere); New Conversations: Iron Meets Water (world premiere). He has also designed The Call (Alvin Ailey American Dance Theater), and Where the Light Shines Through (TU Dance), both choreographed by Ronald K. Brown.

Ibiwunmi Omotayo Olaiya, aka Wunmi (Costume Design) is a singer, songwriter, performer, and fashion designer. Born in London, and raised in Lagos, Nigeria, Wunmi commissions and designs costumes for the most influential choreographers and dance companies of our time, and was awarded a Bessie Award in 2000 for her work with both Ronald K. Brown and Marlies Yearby.

Wunmi was formally trained at the London College of Fashion, and she was a partner in a 6 Grace and Mercy

number of small design companies before starting her own line, Wow Wow by Wunmi, in 2012.

Wow Wow is primarily crafted in Nigeria, where Wunmi works with textile artisans and a small group of tailors to create her exclusive line of heirloom quality, one-of-a-kind pieces for men, women, and children. The online store is up and growing! Check it out at wowwow.wunmi.com.

Dave Wegner (Sound Design and Engineering) is an independent audio engineer based in the Lower Hudson Valley. He has a BS from New York University in engineering, and has made a lifelong study of musical performance. With roots in traditional theater, he has a more-than20-year history of audio engineering and sound design for drama, music, and dance programs through several notable institutions including MASS MoCA, in North Adams, Massachusetts, and Sailors’ Snug Harbor, on Staten Island, New York. He is currently establishing an audio production shop based out of Kingston, New York, with a mission to bring high-quality audio engineering services to performers and events in the Hudson Valley, Western Massachusetts, and the greater New York City area.

Michael Battle (Dancer) of Detroit, Michigan, began his dance training at the Detroit School of Arts at the age of 14, under the guidance of instructors Mayowa Lisa Reynolds and Nicole Burrell. Battle received scholarships from the Blue Lake Fine ArtsCamp/Foreign Exchange Program, Alvin Ailey American Dance Theater Summer Intensive, Dance Theatre of Harlem, and the American Dance Festival Summer Intensive. In 2008, he received an apprenticeship with the Lula Washington Dance Theatre. The following year, he joined that company as a member, as well as becoming the artistic director’s assistant. In 2010, he made his debut performance at the Hollywood Bowl Festival working with the world-renowned jazz composer Terence Blanchard.

In 2014, he was cast in the Broadway musical Hairspray, on the world’s biggest ship at sea with Royal Caribbean Cruise Line. Battle has performed works by Donald McKayle, Lula Washington, Christopher Huggins, Daniel Catanach, Ray Mercer, Dwight Rhoden, Tiffany Billings, Frit & Frat, Pat Taylor, Tamica Washington-Miller, Vincent Patterson, and many others. Battle is celebrating his first season with Evidence.

Arcell Cabuag (Associate Artistic Director and Dancer) is a Filipino American native of San Jose, California. In 1995, he moved to New York City and attended the Alvin Ailey American Dance Theater where he was introduced to Ronald K. Brown. His professional experience prior includes Rock the House for Paramount Pictures (California), The Shoji Tabuchi Show (Branson, Missouri), and the Richard Rodgers centennial production of The King and I. Cabuag can be seen in the episode “Choreographed” on Law and Order SVU, and a Codorniu commercial with Pilobolus, shot and aired in Barcelona. He is a dance professor at Long Island University (Brooklyn campus), the artistic codirector of Restoration Dance Youth Ensemble at RestorationART, and a master class instructor locally and abroad. Cabuag has also set Evidence repertory at UMass, Boston Arts Academy, the Peridance Certificate Program, Ailey Fordham BFA Program, UArts, and Boston Conservatory. Cabuag has assisted Brown in creating repertory on Philadanco Dance Company, Muntu, Ballet Hispanico, the Alvin Ailey American Dance Theater, Malpaso Dance Company of Havana, Cuba, and is associate choreographer for the Tony Award–winning Broadway and national touring production of The Gershwins’ Porgy and Bess. Cabuag joined Evidence in 1997, and won a Bessie Award in 2004.

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Stephanie Chronopoulos (Dancer) is a first-generation Greek American, born and raised in New York City. She graduated cum laude with a BS in dance from LIU Brooklyn. At LIU, Chronopoulos had the privilege of performing works by influential choreographers such as Khaleah London, Frederick Earl Mosley, Erika Pujic, Doug Varone, and Ronald K. Brown. In 2015, she became a company member of Forces of Nature Dance Theatre under the direction of Abdel Salaam. During her time with the company, she performed in the Bessie Award–winning The Healing Sevens at BAM’s DanceAfrica, and in the revival of Terrestrial Wombs at the Apollo Theater. Chronopoulos has also apprenticed with Jennifer Muller/The Works, and is now an apprentice with Evidence.

She is also a recipient of the Evidence Dance Workshop Series Beth Young Scholarship. This is Chronopoulos’s debut performance with the company, and she is honored to be dancing with this inspiring group of artists.

Kirven Douthit-Boyd (Dancer) of Boston, Massachusetts, began his formal dance training at the Boston Arts Academy in 1998, and joined Boston Youth Moves in 1999. He has trained on scholarship at Boston Conservatory and the Ailey School. Douthit-Boyd has danced with Battleworks Dance Company, Ailey II, and was a member of the Alvin Ailey American Dance Theater from 2004 to 2015. While dancing with AAADT, he originated roles in Ronald K. Brown’s Ife: My Heart, Dancing Spirit, and Four Corners. He resides in St. Louis, Missouri, where he is the coartistic director of dance at the Center of Creative Arts.

Joyce Edwards (Dancer), a native of Rochester, New York, is an undergraduate student at Brockport State University of New York, where she works to earn a bachelor of fine arts in dance and a bachelor of science in African and African American studies. Edwards became enamored with dance at the age of two, and recently furthered her studies alongside dance artists Beth Gill, Netta Yerushalmy, and Roz LeBlanc Loo. Evidence welcomed her as an apprentice in May of 2018, and she is thrilled to have the opportunity to deepen her relationship with this fantastic community of dancers.

Paris Jones (Dancer) began her dance training with the City Dance Theatre in Richmond, Virginia, and continued studying at Appomattox Regional Governor’s School for the Arts and Technology and the School of Richmond Ballet. She graduated magna cum laude from Howard University, where she obtained her BFA in dance, and continued on to complete the Ailey School’s Independent Study Program. She later joined Forces of Nature Dance Theatre where she has been performing for two years. Jones is an apprentice with Evidence, and is excited to have the opportunity to perform with the company.

Valeriane Louisy Louis-Joseph (Dancer) is a native of Nanterre, France. Upon moving to New York City, she studied at the Ailey School and graduated from the Certificate Program, where she performed works by Ephrat Asherie, Darshan Singh Bhuller, Winston D. Brown, Amy Hall, Earl Mosley, and Darrell Moultrie. She performed Alvin Ailey’s Memoria, restaged by Ronni Favors, at New York City Center. Louis-Joseph also worked with Chester Whitmore, Frit & Frat, Augusto Soledade Brazzdance, Davalois Fearon Dance, Bloodline Dance Theatre, Frank Muhuel Dance Company, and Will Brown Zen Flow Movement. She is a recipient of the Evidence Dance Workshop Series Beth Young Scholarship, and apprenticed with Evidence before joining the company. She is celebrating her first season with Evidence.

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Hannah Alissa Richardson (Dancer) of Toronto, Canada, has been performing since the age of three. She is a graduate of the Ailey School and has traveled extensively, competing in dance competitions, taking home numerous awards and top honors, and receiving many scholarships with her dance training from Maple Academy of Dance. She can also be found on TV shows such as Family Channel’s The Next Step, Disney Channel’s Backstage, and also in roles in movies. She plays Katie in the film Everyday, based on the book written by David Levithan and directed by Michael Sucsy. Richardson has performed works by Tracy Inman, Bradley Shelver, Ray Mercer, Earl Mosley, and Ronald K. Brown. She performed in Moonlight, choreographed by Robert Battle at Lincoln Center, and danced in Alvin Ailey’s Memoria in 2017 and 2018 at New York City Center. Richardson is also the newest apprentice member of Ailey II. She feels blessed being able to do what she loves most. This is her debut with Evidence.

Randall Riley (Dancer, courtesy of TU Dance) trained at the Rock School at Pennsylvania Ballet, the Ailey School, Earl Mosley Institute of the Arts, and Long Island University Brooklyn Campus’s BFA Program. He has worked with many artists including Darrell Moultrie, Kyle Abraham, Francesca Harper, Alenka Cizmesija, Alvin Ailey, and Gioconda Barbuto. Former member of Steps Repertory Ensemble and Dance Iquail, Riley is teaching creative movement–based modern dance classes for children and teens at TU Dance Center, while celebrating four seasons with TU Dance Company of Saint Paul, Minnesota. Having been a member of Evidence: A Dance Company for two seasons, Riley is elated and honored to return once again as a guest.

Annique Roberts (Rehearsal Director and Dancer) is from Atlanta, Georgia, and a graduate of Tri-Cities High School’s Program for the Visual and Performing Arts. She attended the Junior Division Summer Intensive Program at the Ailey School and the School at Jacob’s Pillow.

She graduated magna cum laude with a BFA in dance from Howard University under the direction of Sherrill Berryman Johnson. There, she performed works by distinguished choreographers such as Ronald K. Brown, Kevin Iega Jeff, Christopher Huggins, and Eleo Pomare.

Roberts joined Garth Fagan Dance in January 2004 and became senior dancer in 2006. She also taught at the Garth Fagan Dance School, and was featured in the August 2008 issue of Dance Magazine. Roberts joined Evidence in January 2010. She was nominated for a 2013 Bessie Award for Best Performer, and featured in the February 2013 edition of Time Out New York. She also holds an MA in arts administration from Savannah College of Art and Design, and currently serves on the Friends of Theater and Dance at Howard University Alumni Board and Jacob’s Pillow’s School Advancement Committee.

Matthew Rushing (Dancer, courtesy of Alvin Ailey American Dance Theater) of Los Angeles began his dance training with Kashmir Blake in Inglewood, California, and later continued his training at the Los Angeles County High School for the Arts. He is the recipient of a Spotlight Award and Dance Magazine Award and was named a Presidential Scholar in the Arts. He was a scholarship student at the Ailey School and later became a member of Ailey II, where he danced for a year. During his career, Rushing has performed as a guest artist for galas in Vail, Colorado, as well as in Austria, Canada, France, Italy, and Russia. He has performed for Presidents George H. W. Bush, Bill Clinton, George W. Bush, and Barack Obama, as well as at the 2010 White House tribute to Judith Jamison. During his time with the company, he choreographed three ballets: Acceptance in Surrender (2005), a collaboration with Hope Boykin and Abdur-Rahim Jackson; fishercenter.bard.edu

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Uptown (2009); and Odetta (2014). In 2012, he created Moan, which was set on Philadanco and premiered at The Joyce Theater. Rushing joined AAADT in 1992, and became rehearsal director in June 2010. He has been a guest with Evidence since 2014.

Keon Thoulouis (Assistant Rehearsal Director and Dancer) was born and raised in Brooklyn, New York. Before attending the Juillard School, Thoulouis began his training as part of the small neighborhood dance ensemble Honey Plus One (he was the plus one), under the beloved direction of the now-departed Velda Honeywell. He furthered his dance training at Fiorello H. LaGuardia High School of Music and the Performing Arts, where he studied ballet and Graham-based modern dance. He also attended Alvin Ailey American Dance Theater on scholarship, and is a second-level Arts Recognition recipient. Thoulouis also worked with prestigious teachers and notable choreographers, and performed with recording artist Tamia. In addition, he appeared in the televised Michael Jackson 30th-anniversary special, and danced with the King of Pop himself, along with Mya, Usher, Jill Scott, Whitney Houston, Deborah Cox, and Al Jarreau. Thoulouis was a member of Evidence from 2001 to 2008, and returned in 2014.

Elaisa van der Kust (Dancer), born and raised in Amsterdam, the Netherlands, started her dance training at the age of 16 at Art & Entertainment College, Amsterdam. After graduation from college, she continued her dance study in Paris at the Institut de Formation Professionnelle de Rick Odums. After studying in Paris for one year, she got accepted for the Independent Study Program at the Ailey School, and in 2017, she received a full level-two scholarship. In November of 2018, she started apprenticing for Evidence. She is a member of Oyu Oro Afro Cuban Experimental Dance Ensemble, and studies Afro-Cuban dance under Danis Perez Prades “La Mora.” She recently joined Urban Bush Women.

Mario Abney (Trumpet) fuses traditional and extended trumpet techniques in a most inventive way. Recognized for his ability to create pure musical dialogue and hear music in a universally spiritual way, he is one of New Orleans’ most pioneering young jazz musicians. Growing up in Chicago, he was inspired from a young age by the great pioneers Louis Armstrong, Dizzy Gillespie, and Miles Davis. The strong musical influence from his family as well as countless creative sessions at the Velvet Lounge were key markers in his and many others’ musical career and development. Since 2008, he has been in New Orleans, leading his own quintet and performing with renowned artists including Charmaine Neville, Ellis Marsalis, Delfeayo Marsalis, Irving Mayfield, Bill Summers, and George Porter Jr. Chris Bruce (Guitar) came of age in the ’70s, growing up in both Chicago and Los Angeles, and was exposed from a very early age to an incredibly vibrant and diverse musical landscape from Sly & The Family Stone and Funkadelic to Miles Davis and Neil Young. His journey has led to hundreds of collaborations as a player, producer, and listener. Known for his lyrical quality in performance, instinctive nurturing as a producer, and reactive cohesion with fellow collaborators, he has worked with brilliant artists Meshell Ndegeocello, Lizz Wright, My Brightest Diamond, and Seal, and with renowned producers Craig Street, Joe Henry, and Trevor Horn.

Dan “Chimy” (shim’-ee) Chmielinski is a critically acclaimed, award-winning bassist, composer, producer, and bandleader who creates original projects under his own brand, Chimy Music.

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Chmielinski has traveled with musicians such as Wynton Marsalis, Joey Alexander, the Jazz at Lincoln Center Orchestra, Marc Cary, Chase Baird, Brad Mehldau, Jon Batiste, Etienne Charles, Camille Bertault, and Bryan Carter. He leads several groups of his own featuring his original compositions, including Four by Four, an octet showcasing a jazz quartet alongside string quartet, and Circuit Kisser, an electronic ensemble of synthesizers, electric bass, and drums. He attended the Juilliard School studying under Ron Carter. The program chair, Wynton Marsalis, once publicly referred to Chmielinski as “a young star of jazz,” and considers him to be one of the most serious musicians of his generation. He is well studied in composition, and prolific in both film scoring and concert music. He was one of eight composers selected to participate in BMI’s Composing for the Screen Film Scoring Mentorship Program. He also recorded on the soundtrack of Woody Allen’s Café Society. He has composed works for dance, including an electronic composition, “Here, Now, Always,” scored to choreographer Caitlyn Javech’s 2017 piece.

Julius Rodriguez of White Plains, New York, had his beginnings in music at a young age— studying classical music and theory and teaching himself drums. Rodriguez never thought to limit his musical identity, and kept this value from early on. Studying at Manhattan School of Music Pre-College Division, he participated in many music programs and competitions, including NAACP ACT-SO (four-time national medalist), National YoungArts Foundation, Charles Mingus Festival, GRAMMY Camp—Jazz Session, and the Next Generation Jazz Orchestra. In 2016, Rodriguez was selected as a member of the Betty Carter’s Jazz Ahead residency at the Kennedy Center. That year, he began attending Juilliard School for jazz studies on piano. He has worked with a wide variety of artists including A$AP Rocky, Wynton Marsalis, Macy Gray, James Morrison, Dev Hynes, Jazzmeia Horn, Brasstracks, Nick Hakim, Roy Hargrove, Carmen Lundy, Kassa Overall, Gabriel Garzón-Montano, Abir, and many more; and played festivals such as the Portland Jazz Festival, DC Jazz Festival, Monterey Jazz Festival, North Sea Jazz Festival, Generations in Jazz, Camp Flog Gnaw, Treasure Island Fest, and Listen Out. Hailing from Sydney, Australia, Abraham Rounds (Percussion) started playing drums at the tender age of one and has never looked back. Now 27, and residing in Los Angeles, California, he is a member of his mentor Meshell Ndegeocello’s band. He has recorded, performed, and toured the world extensively with other artists such as Seal and Andrew Bird. His passion for the drums extends to production, writing, engineering, and his own duo project, Jake & Abe, alongside Jake Sherman. As a composer, he has contributed to all three seasons of the OWN hit TV series Queen Sugar, directed by Ava DuVernay, alongside Ndegeocello.

Jake Sherman (Keys) honed his sound by playing gospel organ at Baptist churches in Brooklyn, as well as performing and recording as a sideman with such artists as Bilal, Meshell Ndegeocello, Chance the Rapper, Nick Hakim, Gabriel Garzon-Montano, and Benny Sings. He has emerged into an artist with a truly unique vision, and has released two solo albums under his own name, on which he sings and plays all the instruments. He is one half of the duo Jake & Abe, which will soon be world famous.

Baltimore, Maryland, native Corey Wallace (Trombone) has gained respect and admiration in his field; he was selected as the 2012 Best Trombonist by the Washington City Paper for his “technical fluidity and for the heavy dose [of] introspection that sits right on the surface of fishercenter.bard.edu

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his playing.” He is well versed in various styles of music, and is always eager to collaborate with like-minded musicians. He has shared the stage with jazz legends and musicians such as Benny Golson, Nicholas Payton, Esperanza Spaulding, Robin Eubanks, Lee Konitz, Billy Harper, Valery Ponomarev, Jason Marshall, Marc Cary, Lauryn Hill, the Impressions, Kim Burrell, Bilal, Antone “Chooky” Caldwell, and Marcus Johnson, among many others. He has taught at Penn State University, Baltimore School for the Arts, Harlem School for the Arts, and in the New York City public school system. Currently based in Brooklyn, he leads the Corey Wallace DUBtet, and freelances all over the country as a musician, composer, and arranger.

Michelle Kelleher (Stage Manager) is based out of New York City, with credits in both New York and New Orleans, including the New York premieres of Heresy, She Kills Monsters, Future Anxiety, and The Vandal (Flea Theater); Marcellus Shale, Escape!, and Wake Up, You’re Dead (La MaMa, etc.), Last Life (Brick Theater and Ohio Theater); and And Miles to Go (Partial Comfort Productions). At Bard, she has been honored to work on student productions including Iphigenia Among the Taurians, These Young Men and Women, and Attempts on Her Life. She has additionally served as stage manager on several faculty and senior dance shows where she has worked with many of the College’s wonderful choreographers. She studied at Tulane University, where she received her bachelor’s degree in theater production. Kelleher is a proud member of Actors Equity and is excited to return to Bard for her fifth year.

Evidence: A Dance Company Ronald K. Brown, Artistic Director Arcell Cabuag, Associate Artistic Director Annique Roberts, Rehearsal Director Keon Thoulouis and Shayla Caldwell, Assistant Rehearsal Directors Tsubasa Kamei, Technical Director Pamela Green, PMG Arts Management, Booking Agent In partnership with The Joyce Theater and RestorationART evidencedance.com

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Special Thanks The production wishes to thank Alison Riley, Tinku Bhattacharyya, Marc Cary, Jack DeBoe, Pamela Green, and Aaron Mattocks for their contributions.

Evidence wishes to thank Alison Riley, Caleb Hammons, Gideon Lester, and the administrative and technical staff of the Fisher Center. Additional thanks to Pierre Apraxine, the Bay & Paul Foundations, Inc., Torya Beard, Bedford Stuyvesant Restoration Corporation, Ayodele Casel, Elena Comendador, Janet Cox, Sean Curran, Doris Duke Charitable Foundations, Dr. Indira Etwaroo, the Evidence Circle of Friends, Fund for the City of New York, GE Foundation, Bruce Gordon, Colvin Grannum, Pamela Green, Fatima Jones, Paunika Jones, Joseph and Joan Cullman Foundation for the Arts, Inc., The Joyce Theater, Sharon Luckman, Mary McCormick, Freddie Moore, Newman’s Own Foundation, NYU Tisch Dance, RestorationART, the RestorationART team, Linda Shelton, Karen Thornton, Tawana Tibbs, Tisch Department of Design for Stage and Film, Reginald Van Lee, and Vera Wells.

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Since the summer of 2003, the Fisher Center has been presenting and commissioning art for the enrichment of society and the enjoyment and education of our community. We thank the late Richard B. Fisher and the many others who believe quality arts experiences are vital to our lives. Please show your support and join the members below. Call 845-758-7987 or make a gift online at fishercenter.bard.edu/support.

Fisher Center Leadership Support Carolyn Marks Blackwood and Gregory H. Quinn The Ettinger Foundation Emily H. Fisher and John Alexander Jeanne Donovan Fisher Alan H. and Judith Fishman Ford Foundation Jay Franke and David Herro Gagosian S. Asher Gelman ’06 and Mati Bardosh Gelman Rebecca Gold and Nathan M. Milikowsky Barbara and Sven Huseby Millbrook Tribute Garden The Morningstar Foundation Nancy and Edwin Marks Family Foundation Anthony Napoli National Endowment for the Arts New York State Council on the Arts Rockefeller Brothers Fund Denise S. Simon and Paulo Vieiradacunha Martin and Toni Sosnoff Felicitas S. Thorne Andrew E. Zobler and Manny Urquiza Director Jamie Albright and Stephen Hart Anonymous The Arab Fund for Arts and Culture Anne Donovan Bodnar and James L. Bodnar Bob Dandrew, Local Economies Project of the New World Foundation The Educational Foundation of America Britton and Melina Fisher Dr. Terry S. Gotthelf Greenway Heritage Conservancy Amy and Ronald Guttman Richard and Jane Katzman Leo Shull Foundation for the Arts Prof. Nancy S. Leonard and Dr. Lawrence Kramer Nancy A. Marks Virginia and Timothy Millhiser New England Foundation for the Arts New Music USA Amanda J. Rubin Bonnie and Daniel Shapiro Sarah and David Stack Stair Galleries and Restoration Thendara Foundation The Vilcek Foundation

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Producer Amphion Foundation Terence C. Boylan ’70 and Illiana van Meeteren Cultural Services of the French Embassy Gary DiMauro and Kathryn Windley Catherine C. Fisher Paul and Lynn Knight Marika Lindholm and Ray Nimrod Samuel and Ellen Phelan Fiona and Eric Rudin Ted Ruthizer and Jane Denkensohn Patron Bob Bursey and Leah Cox Mary and Matthew Deady Johan de Meij and Dyan Machan Beverly Fanger and Dr. Herbert S. Chase Jr. James Gillson I. Bruce Gordon and David Levin Thomas and Bryanne Hamill Amy Husten and Jim Haskin Beth Jones and Susan Simon Abraham Nussbaum M.D. and Gail Nussbaum Myrna B. Sameth David Schulz

SummerScape Gala Leadership Committee Platinum Martin and Toni Sosnoff Platinum Host Carolyn Marks Blackwood and Gregory H. Quinn Jeanne Donovan Fisher Nathan M. and Rebecca Gold Milikowsky Manny Urquiza and Andrew E. Zobler Gold Host Felicitas S. Thorne Illiana van Meeteren and Terence C. Boylan ’70 Silver Host Stefano Ferrari Barbara and Sven Huseby Denise S. Simon and Paulo Vieiradacunha Host S. Asher Gelman ’06 and Mati Bardosh Gelman James LaForce and Stephen Henderson Anthony Napoli Florence and Robert A. Rosen

Benefit Committee Gold Helen and Roger Alcaly Silver Mara Alcaly and Joel Weaver Kathleen Augustine Dr. Miriam Roskin Berger ’56 and Jonathan Berger Johan de Meij and Dyan Machan Gary DiMauro and Kathryn Windley Alan H. and Judith Fishman Dr. Barbara Kenner Alison Lankenau Rosemary Levai Allan and Ronnie Streichler Anthony and Margo Viscusi

Bard Music Festival Leadership Support Bettina Baruch Foundation Robert C. Edmonds ’68 Mr. and Mrs. James H. Ottaway Jr. Felicitas S. Thorne Levin Vadim Golden Circle Helen and Roger Alcaly Jeanne Donovan Fisher Dr. Barbara Kenner National Endowment for the Arts Millie and Robert Wise Director The Ann and Gordon Getty Foundation Michelle R. Clayman Carlos Gonzalez and Katherine Stewart Thomas Hesse and Gwendolyn Bellmann Susan and Roger Kennedy Amy and Thomas O. Maggs Mastrand Foundation Drs. M. Susan and Irwin Richman David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Denise S. Simon and Paulo Vieiradacunha Dr. Siri von Reis Producer Kathleen Augustine Troy O. Dixon Stephen Fillo and Jane Gould John Geller and Alan Skog Matthew M. Guerreiro and Christina Mohr Edna and Gary Lachmund Andrew Solomon and John Habich Solomon Sarah and Howard Solomon Stewart’s Shops Stony Brook Foundation

Patron Anonymous Leon Botstein and Barbara Haskell Lydia Chapin and David Soeiro Helena and Christopher Gibbs Elena and Fred Howard Alison L. Lankenau Martin L. and Lucy Miller Murray Janet and Michael Sirotta Edwin Steinberg Allan and Ronnie Streichler Olivia van Melle Kamp Irene Zedlacher William C. Zifchak

Bard Music Festival and The Orchestra Now Gala Director Michael Dorf and Sarah Connors Susan and Roger Kennedy Patron Denise S. Simon and Paulo Vieiradacunha Felicitas S. Thorne Benefactor Jeanne Donovan Fisher Susan Petersen Kennedy Dr. Barbara Kenner Edna and Gary Lachmund Sustainer Margo and Anthony Viscusi Supporter Corina Larkin List current as of June 20, 2019

BOARDS

Bard Music Festival

Bard College

Board of Directors Denise S. Simon, Chair Roger Alcaly Joshua J. Aronson Leon Botstein+, Artistic Director Michelle R. Clayman David Dubin Robert C. Edmonds ’68 Jeanne Donovan Fisher Christopher H. Gibbs+, Artistic Director Paula K. Hawkins Thomas Hesse Susan Petersen Kennedy Dr. Barbara Kenner Gary Lachmund Thomas O. Maggs Kenneth L. Miron Christina Mohr James H. Ottaway Jr. Felicitas S. Thorne Siri von Reis

Board of Trustees James C. Chambers ’81, Chair George F. Hamel Jr., Vice Chair Emily H. Fisher, Vice Chair Elizabeth Ely ’65, Secretary; Life Trustee Stanley A. Reichel ’65, Treasurer; Life Trustee Fiona Angelini Roland J. Augustine Leon Botstein+, President of the College Mark E. Brossman Jinqing Cai Marcelle Clements ’69, Life Trustee The Rt. Rev. Andrew M. L. Dietsche, Honorary Trustee Asher B. Edelman ’61, Life Trustee Robert S. Epstein ’63 Barbara S. Grossman ’73, Alumni/ae Trustee Andrew S. Gundlach Matina S. Horner+ Charles S. Johnson III ’70 Mark N. Kaplan, Life Trustee George A. Kellner Fredric S. Maxik ’86 James H. Ottaway Jr., Life Trustee Hilary C. Pennington Martin Peretz, Life Trustee Stewart Resnick, Life Trustee David E. Schwab II ’52 Roger N. Scotland ’93, Alumni/ae Trustee Annabelle Selldorf Mostafiz ShahMohammed ’97 Jonathan Slone ’84 Jeannette H. Taylor+ James A. von Klemperer Brandon Weber ’97, Alumni/ae Trustee Susan Weber Patricia Ross Weis ’52

Live Arts Bard Creative Council Jeanne Donovan Fisher Dr. Terry S. Gotthelf Richard and Jane Katzman Stephen Simcock Sarah and David Stack + ex officio

Fisher Center Advisory Board Jeanne Donovan Fisher, Chair Carolyn Marks Blackwood Leon Botstein+ Stefano Ferrari Alan H. Fishman Neil Gaiman S. Asher Gelman ’06 Rebecca Gold Milikowsky Denise S. Simon Martin T. Sosnoff Toni Sosnoff Felicitas S. Thorne Andrew E. Zobler

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ADMINISTRATION Bard College Senior Administration Leon Botstein, President Coleen Murphy Alexander ’00, Vice President for Administration Myra Young Armstead, Vice President for Academic Inclusive Excellence Norton Batkin, Vice President; Dean of Graduate Studies Jonathan Becker, Executive Vice President; Vice President for Academic Affairs; Director, Center for Civic Engagement James Brudvig, Vice President for Finance and Administration; Chief Financial Officer Erin Cannan, Vice President for Student Affairs; Dean of Civic Engagement Deirdre d’Albertis, Dean of the College Malia K. Du Mont ’95, Chief of Staff Mark D. Halsey, Vice President for Institutional Research and Assessment Max Kenner ’01, Vice President for Institutional Initiatives; Executive Director, Bard Prison Initiative Dimitri B. Papadimitriou, President, Levy Economics Institute Debra Pemstein, Vice President for Development and Alumni/ae Affairs Taun Toay ’05, Vice President for Enrollment and Strategic Initiatives Stephen Tremaine ’07, Vice President for Early Colleges Fisher Center Debra Pemstein, Vice President for Development and Alumni/ae Affairs Bob Bursey, Executive Director Kristy Grimes, Director of Finance Michael Hofmann VAP ’15, Executive Assistant Jewel Evans ’18, Postbaccalaureate Fellow Kelly Harper, Administrative Intern Artistic Direction Leon Botstein, President, Bard College Gideon Lester, Artistic Director for Theater and Dance Caleb Hammons, Senior Producer Nunally Kersh, SummerScape Opera Producer Cathy Teixeira, Associate Producer Jesse Heffler, Artist Services and Programs Manager Development Alessandra Larson, Director of Development Kieley Michasiow-Levy, Individual Giving Manager Franchesca Chorengel ’18, Development Assistant Elise Alexander ’19, Development Intern

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Production Vincent Roca, Director of Production Sarah Jick, Associate Production Manager Stephen Dean, Production Coordinator, Concerts and Lectures Rick Reiser, Technical Director Josh Foreman, Lighting Supervisor Moe Schell, Costume Shop Supervisor Seth Chrisman, Audio/Video Supervisor Brynn Gilchrist ’17, Production Administrator Communications Mark Primoff, Associate Vice President of Communications Eleanor Davis, Director of Public Relations Darren O’Sullivan, Senior Public Relations Associate Amy Murray, Videographer Publications Mary Smith, Director of Publications Diane Rosasco, Production Manager Cynthia Werthamer, Editorial Director Ann Forbes Cooper, Editor Karen Spencer, Designer Marketing and Audience Services David Steffen, Director of Marketing and Audience Services Nicholas Reilingh, Database and Systems Manager Maia Kaufman, Audience and Member Services Manager Brittany Brouker, Marketing Associate Triston Tolentino ’18, Audience and Member Services Assistant Garrett Sanger, Marketing Intern Claire Thiemann ’11, Senior House Manager Jesika Berry, House Manager Emily Appenzeller, Assistant House Manager David Bánóczi-Ruof ’22, Assistant House Manager Cemre Erim, Assistant House Manager Rebecca Rivera, Assistant House Manager Hazaiah Tompkins ’19, Assistant House Manager Facilities Mark Crittenden, Facilities Manager Ray Stegner, Building Operations Manager Doug Pitcher, Building Operations Coordinator Chris Lyons, Building Operations Assistant Robyn Charter, Fire Panel Monitor Bill Cavanaugh, Environmental Specialist Sarah Dunne, Environmental Specialist Drita Gjokaj, Environmental Specialist

Bard Music Festival Artistic Directors Leon Botstein Christopher H. Gibbs Executive Director Irene Zedlacher Associate Director Raissa St. Pierre ’87 Scholars in Residence 2019 Daniel Goldmark Kevin C. Karnes Program Committee 2019 Byron Adams Leon Botstein Christopher H. Gibbs Daniel Goldmark Kevin C. Karnes Richard Wilson Irene Zedlacher Director of Choruses James Bagwell Vocal Casting Joshua Winograde Producer, Staged Concerts Nunally Kersh

SUMMERSCAPE SEASONAL STAFF Company Management Stacey-Jo Marine, Company Manager Jacob Schott, Associate Company Manager Ella Bennett ’19, Intern Allison Campbell, Intern Avalon Packer ’20, Intern Spiegeltent Hannah Gosling-Goldsmith, Operations Manager Laura Hirschberg, Production Stage Manager Erik Cuthell ’85, Site Supervisor Kurt Fischer, Audio Engineer Duane Lauginiger, A2 Stephanie Lutz, Lighting Designer Nick Hawrylko, Lighting Assistant Catherine Bloom ’18, Host Captain Emmett Dienstag ’18 MAT ’19 Host Captain Karianne Canfield ’21, Host Cluno Clark-Bruno ’20, Host Kerry Frye, Host Marissa Gaylin, Host Carly Newman, Host Alternate Mariya Andoniya Andonova TON ’21 Merchandiser Kaden Henderson TON ’22, Merchandiser Scene Shop JP Misciagna, Assistant Technical Director Mark Quiles, Seasonal Assistant Technical Director Shane Crittenden, Scene Shop Foreman/ Flyman Hick Renadette, Head Rigger/Flyman Gina Coatney, Stage Carpenter Brian Kafel, Stage Carpenter Michael Murphy, Stage Carpenter Shane Rogers, Stage Carpenter Sam Dickson ’19, Stage Carpenter Intern Brendan Dromazos, Stage Carpenter Intern Devin Richard, Stage Carpenter Intern Kathleen Taylor, Stage Carpenter Intern Alexandra Theisen, Stage Carpenter Intern Quinland Thompson, Stage Carpenter Intern Electrics Nick Ligon, Sosnoff Master Electrician Matthew Holcombe, LUMA Master Electrician Matthew Griffen, Sosnoff Programmer Shane Crowley ’18, LUMA Programmer Faith Craig, Stage Electrician Walter Daniels, Stage Electrician Connor Gibbons, Stage Electrician Dale Gibbons, Stage Electrician Nicole Sliwinski, Stage Electrician Intern Maggie Turoff, Stage Electrician Intern Costumes Joy Havens, Costume Coordinator Sarah Knight, Sosnoff Wardrobe Supervisor Katelyn Barrow, LUMA Wardrobe Supervisor

Gabrielle LaRoche, Costume Shop Foreman Leah Foley, Draper Johnna Fettinger, First Hand/Sosnoff Dresser Abbie Hackney, First Hand/Sosnoff Dresser Emma Holyst ’18, Costume Assistant Sosnoff Heidi Johnson, Stitcher Sarah Sa, Stitcher Isabelle Tabet, Stitcher/Sosnoff Dresser Jules Capuco, LUMA Dresser Jackie Vela, First Hand/Sosnoff Dresser Camily Begley, Stitching Intern/Sosnoff Dresser Sharon Greene ’19, Stitching Intern/ Sosnoff Dresser Katie Radford, Stitching Intern/Sosnoff Dresser Amanda Finamore, Stitching Intern Kat Karl, Stitcher/Sosnoff Wardrobe Intern Maddie Prentice, Stitcher/Sosnoff Wardrobe Intern Emma Jackson, LUMA Wardrobe Intern Chris Minter ’21, LUMA Wardrobe Intern Angela Woodack ’21, LUMA Wardrobe Intern Audio and Video Noah Firtel, Sosnoff Audio 1 Anya Kopishchke ’17, Sosnoff Audio 2 Sean Leo ’14, LUMA Video 1 Connor Martin, Audio Technician Jesse Chason, AV Technician James Garver, LUMA Audio 2 Nick Fopeano, Sosnoff Intern Properties Patrice Escandon, Properties Master Abigail Cain, Assistant Prop Master Zach Faber, Assistant Prop Master Hair and Makeup Stephanie Tomey, Wigs and Makeup Department Head Tony Lauro, Wigs and Makeup Department Head Noah Glaser, Hair and Makeup Staff and Crew Pelle Melio, Hair and Makeup Staff and Crew Caroline Schettler, Hair and Makeup Staff and Crew Bard Music Festival Emily Beck, Assistant Stage Manager Amy Cassiere ’19, Assistant Stage Manager Lynnae Dean, Assistant Stage Manager Lisa Krueger, Assistant Stage Manager Fennel Skellyman, Assistant Stage Manager Robert Strickstein, Assistant Stage Manager Eric Brodbeck, Stagehand Joseph Chandler, Stagehand Ricardo Chinchilla, Stagehand

Jon Collazo ’20, Stagehand Petra Elek ’19, Stagehand Sam Gohl ’20, Stagehand Valory Hight ’19, Stagehand Luis Herrara, Stagehand Shay Holihan, Stagehand Harrison Jarvis ’21, Stagehand Viveca Lawrie ’22, Stagehand Gavin Roca, Stagehand Matt Strieder ’21, Stagehand Audience and Member Services House Staff Sam Abate ’20 Doug Appenzeller Midori Barandiaran ’20 Mia Barbuto Ingrid Baumann ’22 Sarah Berns Harris Billeci Nellie Bowen ’20 Miles DeMartino Eric Dougherty ’20 Nina Sielski Elizalde ’22 Alexis Ferrara Livvy Ferrari ’21 Alice Finta Abigail Foster Jake Foster Sammy Furr ’21 Peter Gorga Samantha Gorga Anyata Hamilton ’22 Julian Matthews Kira Milgrim Ivy O’Keefe Jack Pagliante ’20 Oliver Pflaum Michael Picciuolo Heather Pinchbeck Isabel Polletta ’20 Aleksandra Ratnikova Emma Reed Alex Rivera Evan Rohrmeier Zach Schott Freddie Schultz Tristan Schumer Alex Snyder Alex Theisen Brooke Tyborowski ’20 Maggie Wainwright Maia Weiss Kristen Westerduin ’19 Audience and Member Services Representatives Emily Appenzeller Jonathon Comfort VAP ’19 Jewel Evans ’18 Noah Hoagland ’22 Emma Houton ’20 Lea Rodriguez ’22 Mia Schiffer ’20 Paulina Swierczek VAP ’19 Katherine Skinner ’21, Coach Ambassador

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Fisher Center at Bard The Fisher Center at Bard develops, produces, and presents performing arts across a range of disciplines through new productions and programs that challenge and inspire. As a premier professional performing arts center and hub for research and education, the Fisher Center supports artists, students, and audiences in the development and examination of artistic ideas, offering perspectives from the past and present, as well as visions of the future. Home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center provides outstanding programs to many different communities, including the students and faculty of Bard College, and audiences in the Hudson Valley, New York City, across the country, and around the world. The Fisher Center demonstrates Bard’s commitment to the performing arts as a cultural and educational necessity.

About Bard College Founded in 1860, Bard College is a four-year residential college of the liberal arts and sciences located 90 miles north of New York City. With the addition of the Montgomery Place estate, Bard’s campus consists of nearly 1,000 parklike acres in the Hudson River Valley. It offers bachelor of arts, bachelor of science, and bachelor of music degrees, with majors in nearly 40 academic programs; graduate degrees in 11 programs; nine early colleges; and numerous dual-degree programs nationally and internationally. Building on its 159-year history as a competitive and innovative undergraduate institution, Bard College has expanded its mission as a private institution acting in the public interest across the country and around the world to meet broader student needs and increase access to liberal arts education. The undergraduate program at our main campus in upstate New York has a reputation for scholarly excellence, a focus on the arts, and civic engagement. Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders. For more information about Bard College, visit bard.edu.

©2019 Bard College. All rights reserved. Cover: Evidence, photo by Matt Karas

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Individual supporters are essential to sustaining the Richard B. Fisher Center for the Performing Arts as an extraordinary part of cultural life in the Hudson Valley. Generous gifts from arts supporters like you help make everything at the Fisher Center possible. Our members support world-class performing arts and enjoy a variety of discounts and benefits. Please join us!

BECOME A MEMBER OF THE FISHER CENTER Friend ($75) Benefits include: • Access to tickets before the general public • Invitations to season previews and open house events • 10% discount on Spiegeltent dining • Four complimentary tickets to the SummerScape Film Series • Fully tax deductible Supporter ($150) All of the above, plus: • Waived ticket-handling fees (save $4.50 per ticket, $10 per subscription) • Invitation to a behind-the-scenes tour of the Fisher Center • Fully tax deductible Sponsor ($300) All of the above, plus: • Invitations to opening-night parties • SummerScape production poster • $250 tax deductible Sustainer ($500) All of the above, plus: • Bard Music Festival limited-edition T-shirt • SummerScape production poster signed by the cast • $415 tax deductible

Patron ($1,500) All of the Benefactor benefits, plus: • Access to the best seats and personalized ticket handling through the Patron Priority Line • Access to the Bard Music Festival Patron’s Lounge at Olin Hall • Recognition in performance programs • $1,180 tax deductible Producer ($2,500) All of the above, plus: • Pop-up Patron’s Lounge access at select performances throughout the year • Private, behind-the-scenes tour of the Fisher Center for you and your guests • $2,030 tax deductible Director ($5,000) All of the above, plus: • Reserved VIP parking for all events at the Fisher Center • Invitation for two to an intimate dinner with a world-class performer, creator, or scholar • $4,380 tax deductible

Benefactor ($1,000) All of the above, plus: • Bard Music Festival book (Princeton University Press) • Invitations to working rehearsals and directors’ presentations • $750 tax deductible

For more information: fishercenter.bard.edu/support

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845-758-7987

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BARDSUMMERSCAPE

THEATER July 11–21

ACQUANETTA

Music by Michael Gordon Libretto by Deborah Artman Directed by Daniel Fish Conducted by David Bloom ’13 GCP ’15 OPERA July 26 – August 4

THE MIRACLE OF HELIANE

New Production / U.S. Premiere Music by Erich Wolfgang Korngold American Symphony Orchestra, conducted by Leon Botstein Directed by Christian Räth FILM SERIES July 25 – August 18

KORNGOLD AND THE HOLLYWOOD FILM SCORE THE 30th BARD MUSIC FESTIVAL August 9–11 and 16–18

KORNGOLD AND HIS WORLD SPIEGELTENT June 29 – August 17

CABARET, MUSIC, AND MORE

845-758-7900 | fishercenter.bard.edu Be the first in line for news of upcoming events, discounts, and special offers.

Join the Fisher Center’s e-newsletter at fishercenter.bard.edu.