2017-18 PETRA AND THE WOLF March 18, 2018
FESTIVAL BALLET THEATRE
COPPÉLIA
March 24 & 25, 2018 CO-PRESENTED WITH PHILHARMONIC SOCIETY
ASPEN SANTA FE BALLET WITH JOYCE YANG April 5, 2018
THE DEL McCOURY BAND April 12, 2018
JOYCE YANG
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WELCOME IT IS MY PLEASURE TO WELCOME YOU TO THE BARCLAY.
Whether you are a frequent attendee or a first-time visitor to Irvine Barclay Theatre, we thank you for joining us tonight. The events in this program book represent the eclectic performances that make the Barclay such a special place in which to appreciate the performing arts. Whether enjoying memorable family programming like Petra and the Wolf, the great music of The Del McCoury Band, or delighting in the classic ballet, Coppélia, presented by Festival Ballet Theatre and Artistic Director Salwa Rizkalla, the Barclay’s unique and powerful performances always leave a lasting impression. And Aspen Santa Fe Ballet with the renowned pianist, Joyce Yang, presented by the Philharmonic Society of Orange County and Irvine Barclay Theatre, provide a rich musical and dance experience. We are indebted to all who help us maintain this unique community resource: our staff and our Board of Directors; our public partners — the City of Irvine and UCI; and you, the audience. I especially want to thank our season sponsor, City National Bank, for its enthusiastic support. Please check out our Patron Guide, available in the lobby. I hope you’ll be inspired to sample other presentations throughout the season.
Jerry Mandel, Ph.D. President, Irvine Barclay Theatre
Board of Directors CHAIR Ken Rohl Founder ROHL LLC Ramona Agrela Associate Chancellor University of California, Irvine Francisco J. Ayala Professor and National Medal of Science Laureate University of California, Irvine Stephen Barker Dean, Claire Trevor School of the Arts University of California, Irvine
Karen Cahill Community Leader
Michelle Grettenberg Deputy City Manager City of Irvine Jennifer Klein Community Leader
Jeff Lefkoff Associate Provost and Executive Vice Chancellor University of California, Irvine James C. Lindberg, MD, MBA Chief Medical Officer PersonalCare Physicians, LLC Terry McDonald Community Leader
William Parker Professor Emeritus Physics and Astronomy University of California, Irvine Penelope Parmes Parmes Law, Inc.
Gary Singer Senior Advisor RSI Holding LLC Julia Stannard Vice President/Private Banker City National Bank
Greg Rohl ROHL VP of Marketing ROHL LLC
Lynn O’Hearn Wagner Community Leader
Lynn Schott Councilmember City of Irvine
HONORARY Donald P. Wagner Mayor City of Irvine
Mickie L. Shapiro Community Leader
Howard Gillman, Ph.D. Chancellor University of California, Irvine
IRVINE BARCLAY THEATRE | 3
Irvine
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3/18
PETRA AND THE WOLF March 18, 2018 | Cheng Hall This performance is presented without an intermission.
PRODUCED BY
Lionheart Youth Theatre Emily Marks STAGING AND PUPPETRY BY
Glass Half Full Theatre ORIGINAL MUSIC COMPOSED AND PERFORMED BY
Mother Falcon
WRITTEN AND DIRECTED BY
Caroline Reck SET DESIGN
THE CAST
MOTHER FALCON
Connor Hopkins
Petra Gricelda Silva
Clara Brill Viola
Bird Katy Taylor
Claire Puckett Guitar and Banjo
TOUR MANAGER
Rachel Dendy
Duck Indigo Rael
Cat Caroline Reck Grandpa Zac Crofford
Wolf Connor Hopkins
Nick Gregg Cello
Riley Burgess Keyboard
Sterling Steffen Saxophone Roy Mullins Trumpet
Isaac Winburne Drums IRVINE BARCLAY THEATRE | 5
ABOUT THE ARTISTS Lionheart Youth Theatre is dedicated to producing and presenting adventurous performances for young audiences that embrace the fearlessness and imagination of the next generation. The company strives to create collaborative pieces utilizing artists from all disciplines that inspire young people with great storytelling and push the possibilities of what theater for a young person can be.
Glass Half Full Theatre creates new works of theater using both humans and puppets to address the momentous issues that humankind confronts across the globe. Their stories are designed to travel across linguistic and cultural boundaries to the heart of the imagination, where together with the audience they strive to question, to elevate, and to dream. Mother Falcon is one of Austin’s most talked about bands, recently described by NPR Music as “the little orchestra that can seemingly do the impossible.” They are known for their wide-ranging instrumentation and collaborative songwriting. Formed by bandleader Nick Gregg in 2008, the group has grown to include a collective of up to twenty musicians playing strings, horns, guitars and percussion.
The band began to garner national attention after the 2013 release of their album You Knew, including press from NPR, The Daily Beast, The Washington Post, The New York Times and Texas Monthly. The group has toured throughout the United States and Canada, and collaborated with artists such as Ben Sollee, Kaki King, Todd Reynolds and Gina Chavez. For the past six years, the band has been running an annual summer songwriting camp called the Mother Falcon Music Lab, encouraging young musicians to find their creative voice through composition and other mediums. Artist Representation: Holden & Arts Associates, Inc. P.O. Box 49036 Austin, Texas 78765 512-477-1859
Enriching life
in our community and beyond! Want to create a brighter future? The Barclay has just the ticket! We’re expanding our acclaimed ArtsReach programming to give more students the opportunity to learn with our featured artists, at the theatre and in their own classrooms. Master classes, Q&A’s, interactive workshops, and so much more! ArtsReach inspires young people to explore the arts and helps them develop stronger minds, increased confidence, and a sense of curiosity about the world. These extraordinary programs change lives, and your contributions make them possible.
Please give generously to ArtsReach today! For information contact: Lori Grayson, Director of Development grayson@thebarclay.org | 949.854.4186 | 949.527.2700 ArtsReach is supported by: An Anonymous Fund of the Orange County Community Foundation
6 | IRVINE BARCLAY THEATRE
IRVINE BARCLAY THEATRE | 7
F E S T I VA L B A L L E T T H E AT R E P R E S E N T S
11 T H A N N U A L
GALA OF THE STARS
Orange County’s International Ballet Festival Inspired Young Dancers Performance
For ticket information, visit FestivalBallet.org or call 714-309-1280
2018 INTERNATIONAL AUG 6 -17
SUMMER INTENSIVE GUEST FACULTY: Official School of Festival Ballet Theatre
714.962.5440 SouthlandBallet.com
8 | IRVINE BARCLAY THEATRE
Larissa Saveliev
Gennadi Saveliev
Christopher Powney
Patrick Armand
Founder & Artistic Director, YAGP
Co-Founder, YAGP & Former Soloist, American Ballet Theatre
Artistic Director, The Royal Ballet School, UK
Associate Director, San Francisco Ballet School
3/24
COPPÉLIA March 24 & 25, 2018 | Cheng Hall This performance will include a 20-minute intermission.
Choreography Arthur Saint-Léon Direction Salwa Rizkalla Music Léo Delibes
Scenery & Prop Design & Construction Brock Cielly, Theatre Ballet Premier
Lighting Design & Production Supervisor Don Guy Artistic Assistant Elizabeth Farmen Rehearsal Faculty Elizabeth Farmen Askar Kettebekov Natasha Miroshynk Hannah Przudlaka-Karacic Salwa Rizkalla Costume Design & Construction Heather Lerma Kaye Michel Barbara Vieuretta
Costume Coordinators Willa Bouwens-Killeen Ann Drew Social Media Marcie Taylor
Graphic Designer Marianne Hales
Production Coordinator Chris Schmidt Company Photographer Dave Friedman Skye Schmidt
The taking of photographs or use of recording devices is strictly prohibited.
IRVINE BARCLAY THEATRE | 9
FESTIVAL BALLET THEATRE
SYNOPSIS Act I Dr. Coppelius, the toy maker, is seen on his balcony with a beautiful young girl. He disappears just as Swanhilda enters the town square. She notices the girl on the balcony and waves to her. The girl, Coppélia, ignores the friendly gesture and continues to read her book. Swanhilda then hides as Franz, her betrothed, enters the square and flirts with the new girl. Becoming jealous, Swanhilda decides to get his attention by chasing a butterfly. When Franz catches the butterfly and pins it to his chest, the horrified Swanhilda quarrels with him and calls off their marriage.
Townspeople arrive and dance a lively mazurka. Suddenly, Dr. Coppelius enters the square leading Coppélia, who is dancing prettily. All of the young men, including Franz, flirt with her and try to gain her attention. But Coppélia does not seem to notice any of them. She and the toy maker return to the workshop just as the mayor enters, announcing that on the following day, a festival will be held honoring the new town bell, and any couple marrying on that day will receive a sack of gold as a dowry.
Franz tries to reconcile with Swanhilda as their friends dance. As a test of his love, Swanhilda tries the local custom of shaking a stalk of wheat near her ear. When she hears nothing, a sign that he is untrue, she runs off in tears. Franz tries to reassure her of his love, but Swanhilda is not persuaded. In disgust, Franz decides to climb up to Coppélia’s window and goes off to find a ladder.
The villagers begin to leave for their homes as Dr. Coppelius emerges for his evening walk. As he crosses the square, he drops his key. Swanhilda and her friends find the key and decide to explore the old man’s house.
Act II The girls sneak into Dr. Coppelius’ workshop and are frightened by the strange shadowy figures. As they are exploring, they discover Coppélia sitting behind a curtain. The girls introduce themselves to her, but she doesn’t look up. To their amazement, they discover that Coppélia is only a life-sized doll! Looking around the workshop, they find that all of the figures are life-sized dolls, and Swanhilda winds them up to watch them dance. Suddenly, Dr. Coppelius returns and angrily chases the girls around the workshop. All escape except Swanhilda, who hides behind the curtain. Meanwhile, Franz has found a ladder and climbs into the window, looking for Coppélia. He is confronted by Dr. Coppelius, who accuses him of being a thief. Franz protests, saying that he is only there because of his love for Coppélia. The old man, who believes he is a magician, gets an idea: Take the human spirit out of Franz and put it into the doll. He gives the unsuspecting Franz wine until he falls into a stupor. He then takes out a magic book and begins his strange experiment.
Swanhilda has listened to everything and decides to play a trick on Dr. Coppelius. She switches clothes with Coppélia and pretends to be the doll. As Dr. Coppelius weaves his spell, the doll comes to life. He is ecstatic, and the doll dances around the room, more and more lifelike. Soon Swanhilda tires of the game, knocks over all the dolls and reveals the lifeless Coppélia. As the horrified Dr. Coppelius mourns over his beloved doll, Swanhilda reconciles with Franz, and together they rush from the workshop.
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Act III The festival day has arrived, and everyone in the village comes out to celebrate the new town bell and the wedding of the village sweethearts. After the mayor gives out the dowries of gold, Dr. Coppelius arrives and demands justice for the damage to his workshop. The mayor offers him a bag of gold, which he refuses and instead offers the bag as dowry to the couple; and the celebration continues. Dances that depict a typical day include Hours, Dawn, Prayer and Work. A beautiful wedding pas de deux is tenderly danced by Swanhilda and Franz, and everyone in the village joins in the joyful finale.
FESTIVAL BALLET THEATRE
CASTING * Act I
Act III
Swanhilda.......................................................................... Beckanne Sisk
Waltz of the Hours ..................................... Natalia Burns, Bella Do, Sophia Johncox, Anjoulie Kempton, Tess Lethen, Amanda Luyks, Sami Santos, Monique Thibodeaux, Tiffany Tornay, Bianca Wajack
The Town Square
Franz................................................................................ Chase O’Connell
Dr. Coppelius...............................................................Charles Johnston Coppélia............................................................................... Skye Schmidt
Mayor.................................................................................. Thomas Varga
Mayor’s Wife...................................................Willa Bouwens-Killeen
Mazurka..........................................................Sage Bolar, Tess Lethen, Athena Skiathitis, Monique Thibodeaux
Franz’s Friends .....................................AJ Abrams, Alexander Fost, Greyson Hanson, Jacob Machmer
Swanhilda’s Friends.........................Tatum Backer, Cassidy Doan, Sophia Johncox, Ashley Lew, Moorea Pike, Lily Turner . Act II
Toy Shop of Dr. Coppelius
Chinese Doll....................................................................... Natalia Burns
Spanish Doll .............................................................................Sage Bolar
Scottish Doll ................................................. Athena Skiathitis (3/24) Silvi Lybbert (3/25) Pierrette Doll ................................................................. Bella Do (3/24) Tiffany Tornay (3/25)
INTERMISSION
The Town Square
Dawn Solo.................................................................................Sage Bolar
Dawn Corps..............................Senna Hashimoto, Avery Le Blanc, Maria Reyes, Angela Weiss (3/24) Natalie Burkley, Julia Dervieux, Eliza Herzfeld, Amanda Luyks (3/25)
Prayer .........................................................Cassidy Doan, Ashley Lew, Moorea Pike, Lily Turner, AJ Abrams, Alexander Fost, Greyson Hanson, Jacob Machmer
Work Solo................................................................ Silvi Lybbert (3/24) Athena Skiathitis (3/25) Work Corps.........................................................Callista Do, Elise Cho, Francesca Darmiento, Megan Suhr (3/24) Chamonix Bas, Hailey Holcomb, Gianna Pritchard, Emma Weston (3/25)
Dusk Solo.............................................................Skyler Cordrey (3/24) Tatum Backer (3/25) Dusk Corps......................................... Breanna Crossman, Kiera Lai, Elizabeth Schuster, Tracy Xing (3/24) Anna-Marie Leach, Sydney Madolora, Reagan Smith, Lauren Van (3/25)
Village Children.................................. Simone Carroll, Megan Liao, Adiya Marcus, Cassidy Nguyen, Ryu Nomura, Nara Park, Isabella Seccia, Emma Zucker-Murray (3/24) Kaitlyn Bresnan, Skyla Jin, Rachel Lee, Leilah Prevost, Loila Rhee, Bailey Stenstrom, Paisley Thanaritiroj, Audrey Weber (3/25)
* Casting may be subject to change.
Julian Chao, Emma Chen, Kaili Corsten, Ashley Do, Yuma Kainuma, Sophia Koo, Daria Podolsky (3/24 & 3/25)
Wedding Pas de Deux............ Beckanne Sisk & Chase O’Connell
Finale ......................................................................................... Entire Cast
IRVINE BARCLAY THEATRE | 11
FESTIVAL BALLET THEATRE
Aspiring to the peak of artistic excellence for nearly three decades, Festival Ballet Theatre at once attracts the best in professional dance to its home base while exporting its impeccably trained dancers as artistic ambassadors to he nation. Arts Orange County named Festival Ballet Theatre Outstanding Arts Organization of the Year in 2001. For more information on Festival Ballet Theatre, visit www.FestivalBallet.org. ABOUT SOUTHLAND BALLET ACADEMY Founded in 1983 by Salwa Rizkalla, Southland Ballet Academy has acquired a national and international reputation, and has played a prominent role in grooming world-class dancers while nurturing the love of dance in its Orange County home.. ARTISTIC DIRECTOR Salwa Rizkalla Artistic Director Salwa Rizkalla has contributed to the Orange County community for more than 30 years by presenting excellence in dance performance through Festival Ballet Theatre and providing top-tier classical ballet training at Southland Ballet Academy. ABOUT FESTIVAL BALLET THEATRE Festival Ballet Theatre is Orange County’s premier, accomplished professional ballet company. Our mission is to enrich Orange County’s artistic and economic vitality, to inspire love and appreciation for dance, and to invigorate ballet by:
• Presenting a season of exhilarating classical and contemporary performances • Providing a nurturing environment for dancers and choreographers • Offering stimulating educational outreach programs.
With reverence for classic masterpieces and a focus on developing future tours de force, Festival Ballet Theater is committed to presenting the best of dance, enriching lives, and developing a new generation of audiences and artists.
Festival Ballet Theatre is a well-established nonprofit arts organization founded in 1988 by Artistic Director Salwa Rizkalla. Boasting a roster of impressive, up-and-coming southern California talent, the company’s productions spotlight internationally acclaimed guest artists from prestigious companies such as American Ballet Theatre, Boston Ballet, Joffrey Ballet, the Kirov Ballet, New York City Ballet, Pacific Northwest Ballet, and the San Francisco Ballet. 12 | IRVINE BARCLAY THEATRE
During her professional dancing career, Ms. Rizkalla graced the stage in leading roles in well-known classical ballets as well as in contemporary pieces. She had the privilege of working under the direction of world-renowned choreographers Leonid Lavrovsky and Serge Lifar. As a young dancer, Ms. Rizkalla trained in the Russian Vaganova method and studied with ballet masters of the Bolshoi and the Kirov. As the culmination of her training, Ms. Rizkalla completed a Bachelor of Arts degree in Ballet Pedagogy. She established Southland Ballet Academy in 1983 and debuted Festival Ballet Theatre in 1988. In addition to teaching and directing, Ms. Rizkalla was a faculty member of several area institutions.
Many arts organizations have recognized her service. The Orange County Music and Arts Administrators and Orange County Performing Arts Center jointly recognized her with the Orange County Arts Educator of the Year Award for Secondary Dance (2003); Youth America Grand Prix awarded Ms. Rizkalla Outstanding Teacher accolades (2002, 2004, 2005, and 2012); and Arts Orange County recognized Ms. Rizkalla with the Helena Modjeska Cultural Legacy Award (2014). Ms. Rizkalla has been honored to impact the lives of hundreds of students and their families through her teaching. She is proud to be a dedicated educator, an energetic promoter of the arts, and an active participant in the cultural life of her community.
FESTIVAL BALLET THEATRE
GUEST ARTISTS Beckanne Sisk Beckanne Sisk was born in Longview, Texas, and studied at Longview Ballet Theatre until the age of 14. She then moved to Philadelphia, Pennsylvania to attend The Rock School for Dance Education’s RAPA program for four years. Sisk won the Jerome Robbins Award in 2007 and competed at the Youth America Grand Prix from 2007 to 2010. She then joined Ballet West II in 2010 and was promoted to principal artist in 2015. Sisk won the Princess Grace Dance Fellowship Award in 2012 along with the bronze medal at the Beijing International Ballet Competition. She has performed leading roles in Anna-Marie Holmes’ Don Quixote, John Cranko’s Romeo and Juliet, Adam Sklute’s adaptation of Giselle, The Sleeping Beauty and Swan Lake. Sisk was featured on a reality TV series on the CW called Breaking Pointe.
Chase O’Connell Chase O’Connell was born in Fredericksburg, Virginia. He started his professional training at 13 at the Kirov Academy of Ballet in Washington D.C. He then attended the Royal Ballet School in London for two years on scholarship and was subsequently offered a temporary contract with the Paris Opera Ballet Company. He then joined Ballet West II in 2012 and was promoted to principal in 2015. Chase has performed principal roles in John Cranko’s Romeo and Juliet, Adam Sklute’s adaptation of Swan Lake, George Balanchine’s Symphony in C (Second Movement), Jerome Robbins’ Fancy Free, Jiří Kylián’s Petit Mort, Overgrown Path and Forgotten Land.
COMPANY DANCERS AJ Abrams is a native of Long Beach, California. He trained at Pacific Northwest Ballet, Pennsylvania Ballet and School of American Ballet. At 19, he began his professional career at Ballet Austin. His credits with Ballet Austin include original works by Stephen Mills, including Hamlet, and a featured role in the ballet Touch and The Taming of the Shrew. He performed a solo role in Septime Webers’ Fluctuating Hemlines and principal roles as the Sugar Plum Cavalier in The Nutcracker, Albrecht in Giselle and the principal male in Balanchine’s Who Cares? Mr. Abrams has appeared in a music video for Florence and the Machine. He is currently a member of the Luminario Ballet of Los Angeles. This is AJ’s eleventh season with Festival Ballet Theatre.
Alexander Fost was awarded Mr. Dance USA in 2006 and Mr. Dance International in 2007 in Tokyo, Japan. After high school, Alexander focused on classical training and was recognized as one of the top 10 finalists at International Youth America Grand Prix (2008). Since then, Alexander has been dancing ballet professionally on a national scale. Aside from live theater and ballet, he has also appeared as an actor and dancer on multiple TV shows on Disney and ABC. He was a finalist on the eighth season of FOX’s hit dance show, So You Think You Can Dance. In addition to dancing, Alexander is now teaching and choreographing.
Greyson Hanson began his classical ballet training at the age of nine and transitioned into many other dance styles by age 12. Throughout his youth, he was an award-winning competitor in a variety of dance competitions. He is currently attending UCI, where he is double majoring in dance and exercise sciences. While at UCI, Greyson has received scholarships for his academic achievements and his artistry as a dancer. He has been accepted into the National Society of Collegiate Scholars and was awarded the William J. Gillespie Scholarship in Ballet Studies. Greyson started performing with Festival Ballet Theatre in 2015. He has danced in Don Quixote, Swan Lake and The Sleeping Beauty.
Jacob Machmer is a Master of Fine Arts candidate at UCI. He is currently studying and performing in the Department of Dance. Originally from Colorado, Jacob began dancing during his undergraduate studies. He trained at Canyon Concert Ballet and performed in numerous classical ballets and their variations, including The Nutcracker, Cinderella, The Sleeping Beauty, Alice In Wonderland and Paquita. Jacob has also performed in numerous contemporary works and has attended a summer training program with Hubbard Street Dance Chicago.
IRVINE BARCLAY THEATRE | 13
FESTIVAL BALLET THEATRE
CHARACTER DANCERS Skye Schmidt, a native of California, began her ballet training under Salwa Rizkalla in 1998 at Southland Ballet Academy, where she learned from numerous world renowned ballet masters, including Tatiana Legat; acting head of the Mariinsky Ballet, Yuri Fateyev; Vladimir Malakhov; and Alexei Ratmansky. Skye joined Festival Ballet Theatre in 2012 and has since performed principal, soloist and corps de ballet roles in The Nutcracker, Swan Lake, Giselle, among others. She has originated roles in works by choreographers Lillian Barbeito of Bodytraffic, Andrea Schermoly, Tong Wang and Josie Walsh. Skye graduated from UCI with a B.F.A. in Dance Performance. In 2016, she received the William J. Gillespie Foundation Scholarship for her outstanding efforts in classical ballet at UCI. Skye is an avid photographer and photographs for the Laguna Dance Festival, FBT and UCI. 2017– 2018 FBT TRAINEES Festival Ballet Theatre is proud to present the members of FBT Trainees, a junior company of student dancers with outstanding potential. Through FBT Trainees, Festival Ballet Theatre secures a talented base of dancers, offers performance opportunities “at home” and nurtures the stars of the future to a professional career in dance.
Charles Johnston. A native of California, Charles Johnston has called Festival Ballet Theatre his home since 1994. He has since danced all the lead character roles in the Company’s classical repertoire. Johnston continues to work as guest artist and has performed character roles with ABT, New York City Ballet and The Royal Ballet. A former teacher of dance and drama, he has studied with Frederic Franklin in New York; Michael Panaieff in Los Angeles; and Lila Zali, founder of the former Ballet Pacifica, in Orange County. Festival Ballet Theatre has been honored to present Mr. Johnston for over two decades. Thomas Varga is an actor and acting teacher based in Los Angeles. He earned his MFA in acting from UCI’s prestigious graduate actor training program. Professionally, he has performed in feature length and short films, as well as theaters up and down the West Coast, including work with Oregon Shakespeare Festival, New Swan Shakespeare Festival, Santa Rosa Summer Repertory Theater, Oregon Contemporary Theatre, and Counter-Balance Theater. For more information, visit www.tsvarga.com FESTIVAL BALLET THEATRE BOARD OF DIRECTORS Salwa Rizkalla, President Lisa Yamashita, Vice President Willa Bouwens-Killeen, Treasurer Cathleen Hunter, Secretary Gada Anis, Member ADVISORY BOARD Tom Lydon, Advisor Curtis Holdsworth, Advisor
GUILD CHAIRS Teri Schmidt, Grants Ann Drew, Volunteer Chair Jan Kempton, Boutique Chair
Top Row (left to right): Sophia Johncox, Lily Turner, Ashley Lew, Cassidy Doan. 2nd Row: Anjoulie Kempton, Sage Bolar, Monique Thibodeaux, Tamara Alfaro, Tiffany Tornay. 3rd Row: Skyler Cordrey, Tess Lethen, Athena Skiathitis, Tatum Backer, Bianca Wajack. Bottom Row: Moorea Pike, Silvi Lybbert 14 | IRVINE BARCLAY THEATRE
FESTIVAL BALLET THEATRE
SPECIAL THANKS TO FESTIVAL BALLET THEATRE DONORS Festival Ballet Theatre gratefully acknowledges the generosity of individuals, businesses and foundations for their contributions to our programs. DIRECTOR’S CIRCLE $10,000+ Anonymous Salwa & Sabri Rizkalla Technique Inc.
UNDERWRITER $5,000 – $9,999 Anonymous Bobbi Cox Lisa Ann & Tom Lydon Pulmonary Care & Sleep Associates CHOREOGRAPHER $2,500 – $4,999 Anonymous David Ling Lisa Yamashita
PRINCIPAL $1,000 – $2,499 Anonymous Keiko Ahara Luke & Eve Aucoin James Carter The Drew Family Teri & Chris Schmidt
ARTIST $250 – $499 Anonymous Willa Bouwens-Killeen Wendy and Daniel Harrigan Julia Kester Stephen Tornay Lana and Steven Weiss Rong Yang & Yao Liu
SOLOIST $500 – $999 Anonymous Diana Casey Tiana Dinh Jeffrey & Carole Herzfeld Cathleen & Phil Hunter The Kempton Family Diane & Wayne Kopit Lydia Ringwald Abril and George Turner
APPRENTICE $100 – $249 Gift in Honor of Lily Turner Julianne Littlefield Eric Traut James Traut
For information or to join our list of donors, please visit FestivalBallet.org or call 714.962.5440. To make a donation, please send a check payable to: Festival Ballet Theatre, 9527 Garfield Avenue, Fountain Valley, CA 92708.
Festival Ballet Theatre is a nonprofit, tax-exempt organization under Section 501 (c)(3) of the Internal Revenue Code. Federal ID #33-0283147.
SPECIAL THANKS TO FESTIVAL BALLET THEATRE SPONSORS Festival Ballet Theatre appreciates the generous support of its corporate partners.
Hal and Jeanette Segerstrom Family Foundation
SPECIAL THANKS TO OUR COPPÉLIA VOLUNTEERS Festival Ballet Theatre thanks all of the parents and volunteers who are integral to the success of this presentation of Coppélia. We appreciate all the time and energy you have put into fundraising, costumes, donations, marketing and development. Your efforts are truly priceless in allowing Festival Ballet Theatre to provide this beloved classic. IRVINE BARCLAY THEATRE | 15
Southland Ballet Academy Official School of Festival Ballet Theatre
Dedicated to Excellence Year-long classes offered for ages 3-adult
BALLET POINTE BOYS CLASS CHARACTER CONTEMPORARY JAZZ SUMMER INTENSIVES
FOUNTAIN VALLEY STUDIO 714.962.5440 IRVINE STUDIO 949.552.9905
SouthlandBallet.com
16 | IRVINE BARCLAY THEATRE
PHILHARMONIC SOCIETY OF ORANGE COUNTY A N D
4/5
ASPEN SANTA FE BALLET WITH JOYCE YANG April 5, 2018 | Cheng Hall This performance will include two 15-minute intermissions.
Part of the Eclectic Orange Series, sponsored by
Judith and Howard Jelinek
Sponsored by an anonymous fund of the
Orange County Community Foundation Commission sponsored by Michelle Rohé
Joyce Yang Piano
Aspen Santa Fe Ballet Founder
Bebe Schweppe Artistic Director
Tom Mossbrucker Executive Director
Jean-Philippe Malaty Aspen Santa Fe Ballet Representation: U.S. & Canada Cathy Pruzan 4709 Paradise Drive Tiburon, CA 94920 415-789-5051 cpruzan@aol.com
Europe Bernard Schmidt Productions, Inc. 16 Penn Plaza, Suite 545 New York, NY 10001 212-564 4443 bschmidtpd@aol.com www.bernardschmidtproductions.com
ArtsReach activities in conjunction with Aspen Santa Fe Ballet are sponsored by
Artists
Katherine Bolaños Sadie Brown Jenelle Figgins Emily Franc Anna Gerberich Seia Rassenti Watson Austin Reynolds Evan Supple Anthony Tiedeman Pete Leo Walker Joseph Watson
Production Stage Manager
Danny Bacheldor
Lighting Supervisor
Seah Johnson
Israel Offer Zaks OZ Productions +972-52-8765341 offerzaks@gmail.com oz-productions.co
Joyce Yang Representation: Arts Management Group 37 West 26th Street, Suite 403 New York, NY 10010 212-337-0838 www.artsmg.com IRVINE BARCLAY THEATRE | 17
Welcome! Welcome to tonight’s West Coast premiere performance by the Aspen Santa Fe Ballet and pianist Joyce Yang. The Philharmonic Society of Orange County is excited to partner with Irvine Barclay Theatre to co-present this unique evening of music and dance. The Barclay has a long history of distinguished dance presentations, and we are thrilled to further that with tonight’s performance. This collaboration was borne from a conversation between our former President and Artistic Director, John Mangum, and Joyce Yang in August 2014 in Aspen, where Joyce has a long connection. They subsequently reached out to Tom Mossbrucker and Jean-Philippe Malaty from Aspen Santa Fe Ballet, whose bold vision has vaulted them to the forefront of American dance. Together, they imagined an evening where the music would be much more than an accompaniment for dance—it would be an equal partner. The final piece fell into place when world-renowned choreographer Jorma Elo agreed to become part of the project, creating a new dance, which had its world premiere just two weeks ago in Aspen. What you’ll see tonight is that vision becoming a reality, a true fusion of pianist and dancers, one in which Joyce is an indispensable part of the choreography. I want to thank Michelle Rohé for underwriting the commission from Jorma Elo. Michelle, your generosity has elevated this into a special event and has brought an important new work to audiences in Orange County and beyond as part of this tour with Joyce and Aspen Santa Fe Ballet. Thank you for being here, and I hope you’ll continue to take advantage of the wonderful offerings brought to our Orange County community by the Barclay and the Philharmonic Society. Kimberly Dwan Bernatz Chairman and CEO Philharmonic Society of Orange County
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Since Irvine Barclay Theatre’s opening in 1990, the Philharmonic Society of Orange County and the Barclay have been close collaborators. During the past 28 years, the Society’s roster of chamber music, vocal, orchestral and cross-disciplinary presentations has made an enormous and complementary contribution to the Barclay’s own presentations and eclectic brand. Over the years, Irvine Barclay Theatre has been a home to some of the finest dance in the world, and this art form has been an important part of each of the Barclay’s diverse seasons. In fact, the theatre first introduced Aspen Santa Fe Ballet to Orange County audiences in 2009 as part of its contemporary dance series. The company returned last year with a mixed repertory of dance by the world’s foremost choreographers. It is, therefore, a special pleasure to be working together with the Philharmonic Society of Orange County to bring to you the West Coast premiere performance of Aspen Santa Fe Ballet and renowned pianist Joyce Yang. We are grateful to all who have supported this very special event. Thank you for coming tonight.
Jerry Mandel, PH.D President Irvine Barclay Theatre
PROGRAM
ABOUT THE MUSIC
WHERE WE LEFT OFF
PHILIP GLASS
Music: Philip Glass* Choreography: Nicolo Fonte Costume Design: Mark Zappone Lighting Design: Seah Johnson
Mad Rush and Metamorphosis II, which both appear on Glass’s 1989 CD Solo Piano, almost sound like the same piece. The composer’s trademark minimalism is on full display here, with an extreme economy of musical materials. In both pieces, an A-C minor third motive oscillates perpetually, and the melodic-harmonic language is entirely diatonic, meaning that the music only uses notes that belong to a single major or minor scale collection. Glass enacts tiny, almost imperceptible changes on his tonal material as the piece progresses. While Mad Rush juxtaposes meditative sections with “rushing” sections of high rhythmic intensity, Metamorphosis II shows a more gradual incorporation of rhythmic subdivision.
ASFB Commissioned Work
Piano: Joyce Yang Dancers: Katherine Bolaños, Sadie Brown, Emily Franc, Anna Gerberich, Seia Rassenti Watson, Austin Reynolds, Evan Supple, Anthony Tiedeman, Pete Leo Walker, Joseph Watson
Premiere: February 11, 2011, Aspen Santa Fe Ballet, Aspen, CO
Aspen Santa Fe Ballet’s production of Where We Left Off is made possible through the generosity of Toby Devan Lewis.
*Mad Rush, Metamorphosis No. 2 by Philip Glass. © 1979, 1988 Dunvagen Music Publishers Inc. Used by Permission. INTERMISSION
RETURN TO A STRANGE LAND
Choreography: Jiří Kylián Music: Leoš Janáček Costume and Decor Design: Jiří Kylián Lighting Design: Kees Tjebbes Staged by: Jeanne Solan Piano: Joyce Yang Dancers: Katherine Bolaños, Anna Gerberich, Evan Supple, Anthony Tiedeman, Pete Leo Walker, Joseph Watson Premiere: May 17, 1975, Stuttgart Ballet Aspen Santa Fe Ballet’s production of Return to a Strange Land is made possible through the generosity of Sherry and Eddie Wachs. INTERMISSION
HALF/CUT/SPLIT World Premiere
Choreography: Jorma Elo Music: Robert Schumann Lighting Design: Seah Johnson Costume Design: Nete Joseph
Piano: Joyce Yang Dancers: Sadie Brown, Jenelle Figgins, Seia Rassenti Watson, Evan Supple, Anthony Tiedeman, Joseph Watson Premiere: March 24, 2018, Aspen Santa Fe Ballet, Aspen, CO
Aspen Santa Fe Ballet’s production of Half/Cut/Split is made possible through the generosity of the Philharmonic Society of Orange County, Aspen Music Festival & School, The City of Aspen, and Bunni & Paul Copaken.
Mad Rush / Metamorphosis II
Minimalism represents a philosophical and aesthetic shift from the majority of Western music that preceded it, which valued formal complexity and stringent development of themes. By contrast, minimalism deliberately restricts itself and concerns itself with process rather than goal. Paradoxically, its performance demands intense concentration. It’s easy to take a wrong turn: performers must stay one step ahead, resist the entrancing effects of that which they produce.
LEOŠ JANÁČEK
On an Overgrown Path / Sonata: I.X. 1905 “From the Street” / The Diary of One Who Disappeared Janáček’s compositional voice defies classification. Educated in his native Moravia (now the Czech Republic) and subsequently at the Leipzig and Vienna conservatories, he absorbed the nationalistic voices of Smetana and Dvořák and the formal rigor of the Austro-German schools. Grounded in tonal systems and counterpoint but fascinated by the modal scales of folk traditions, Janáček synthesized his influences late in life to produce a body of music that is stunning in its range of colors and in its emotional immediacy.
His personal life was studded with unhappiness—a loveless marriage, the deaths of two of his children, an ongoing unrequited infatuation, and a struggle for artistic recognition. On an Overgrown Path, a set of character pieces for piano published in 1908, reflects Janáček’s suffering disposition through titles like “Unutterable Anguish” and “In Tears.” These compositions, while more tonal and Romantic than his later works, are still free and deeply expressive.
In 1905, Janáček attended a demonstration in support of a new Czech-language university in Brno; the peaceful protest met with a crackdown from the Austro-Hungarian government, and a young carpenter was bayoneted to death on the street. Janáček, profoundly shaken, began to work on a piano sonata about the event. The first movement, “Premonition,” is idiomatically vocal, with descending melodic plaints and spectral bare octaves in recitative. The second movement, “Death,” obsessively re-articulates a motive—first a statement, then an entreaty, then an escalating crisis, then an evanescence and a resignation.
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Janáček began work on his cantata The Diary of One Who Disappeared in 1916 after a local Brno paper ran a series of poems found in the diary of a missing youth who absconded with a gypsy woman. This protagonist’s passionate affair resonated with Janáček, who had begun a correspondence with a younger woman who could not fully reciprocate his affections. The resulting song cycle is rife with exoticism and folk modalities, with the piano an equal partner. While the Brno poetry cycle turned out to be a literary hoax and not an authentic relic of peasant life, Janáček’s fusion of the story with his inner world speaks to the subjective “truth” of certain narratives.
ROBERT SCHUMANN Carnaval, Op. 9
Schumann’s piano music rarely operates on just one level. On the surface, there’s an immediacy of character, an emotional “affect” that listeners can latch onto. Dig a little deeper and we find all manner of literary and cultural references: Schumann, also a novelist, poet and critic, believed in fortifying connections across the arts. Then there is the level of the personal—the inside joke, the secret cipher, the private message stitched into the essential fabric of the larger work. All of these tendencies are present in Carnaval, a series of 22 interlinked short pieces that Schumann began composing in 1834. At this point, he was studying piano and composition with Friedrich Wieck in Leipzig and was engaged to Ernestine von Fricken from the Bohemian town of Asch. Schumann, always an ardent lover, decided to compose a set of piano pieces based on the letters A-S-C-H (corresponding to the pitches A-E flat-C-B). Ernestine would not be the only woman in the piece, though, or in the picture: shortly thereafter, Schumann fell in love with Clara, the piano prodigy daughter of Wieck, and broke his engagement.
Carnaval has a loose narrative, depicting a series of encounters at the traditional pre-Lenten masked celebration of Carnival. Characters from the commedia dell’arte pop up (Pierrot, Harlequin, Pantalon and Colombine) as well as some of Schumann’s musical contemporaries (Chopin and Paganini, with both movements paying homage to the composers’ styles). Ernestine is portrayed in “Estrella,” and Clara in “Chiarina.” The movements “Florestan” and “Eusebius” represent facets of Robert Schumann’s own personality, the former expressing his dynamic impulsivity and the latter his introverted melancholia. In the finale of Carnaval, a loyal band of David’s followers march to do battle with the Philistines. This is Schumann’s recurring metaphor for artists of integrity taking a stand against empty virtuosity: though Carnaval poses considerable technical challenges, it is never flashy for its own sake, and Schumann’s intellectual acumen and sincerity of expression shine throughout. — Copyright Alana Murphy 2018 20 | IRVINE BARCLAY THEATRE
ABOUT THE ARTISTS JOYCE YANG Grammy-nominated pianist Joyce Yang came to international attention when she won the silver medal at the 12th Van Cliburn International Piano Competition in 2005. The youngest contestant at 19 years old, she also took home the awards for Best Performance of Chamber Music and of a New Work. A Steinway artist, she received an Avery Fisher Career Grant in 2010 and her first Grammy nomination in 2017 (Best Chamber Music/Small Ensemble Performance) for her recording of Franck, Kurtág, Previn, Schumann with violinist Augustin Hadelich. Yang has performed with the New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, San Francisco Symphony, Los Angeles Philharmonic and BBC Philharmonic, among many others, working with such distinguished conductors as James Conlon, Edo de Waart, Manfred Honeck, Lorin Maazel, Leonard Slatkin and Jaap van Zweden. She has appeared in recital at New York’s Lincoln Center and Metropolitan Museum, Washington’s The Kennedy Center, Chicago’s Symphony Hall and Zurich’s Tonhalle.
In the 2017/2018 season, Yang embarks on a journey of debuts, collaborations and premieres. Highlights include her 12th consecutive appearance as a guest artist at the Aspen Music Festival, her debut with the New Zealand Symphony Orchestra under Edo De Waart, performing Rachmaninov’s Piano Concerto No. 3 in five New Zealand cities, a reunion with the Baltimore Symphony Orchestra for three performances of Prokofiev’s Piano Concerto No. 3, and her first collaboration with the Aspen Santa Fe Ballet on a new work for dancers and solo piano choreographed by Jorma Elo. The work had its world premiere in Aspen in March, 2018. Yang will also perform alongside the Nashville Symphony Orchestra, Lexington Philharmonic, Eugene Symphony, Santa Rosa Symphony, Rochester Philharmonic, Milwaukee Symphony, Reno Philharmonic, Allentown Symphony, Oklahoma City Philharmonic, Vancouver Symphony and Asheville Symphony. She will continue her enduring partnership with longtime collaborators Alexander String Quartet with performances of works by Schumann and Brahms in California and New York. Born in Seoul, Korea, in 1986, Yang received her first piano lesson from her aunt at age four. In 1997, she moved to the United States to study in the pre-college division of The Juilliard School. After winning the Philadelphia Orchestra’s Greenfield Student Competition, she performed Prokofiev’s Third Piano Concerto with that orchestra at just twelve years old. Yang appears in the film In the Heart of Music, a documentary about the 2005 Cliburn Competition. www.PianistJoyceYang.com www.facebook.com/PianistJoyceYang
ASPEN SANTA FE BALLET Ballet’s Dynamic Story in the American West In 1996, Aspen Santa Fe Ballet Founder Bebe Schweppe invited Tom Mossbrucker and Jean-Philippe Malaty to create a ballet company in Aspen. A unique, multidimensional arts organization developed rapidly from the ballet school Schweppe had established in the Rocky Mountains. “Bebe’s vision for Aspen to have its own ballet company was the project of a lifetime,” says Malaty, ASFB’s executive director. “We embarked together on a serendipitous adventure. More than twenty years later, the connection between the dancers and our two communities is deep and inextricable.”
Forging a New Frontier The company began modestly with seven dancers. Growth was organic. Friends in the field‚Gerald Arpino, Trey McIntyre, Septime Webre, Dwight Rhoden—offered a start-up repertoire. Moses Pendleton’s popular Noir Blanc was a seminal event for the young ASFB. It launched a tradition of commissioning new works. An open, exploratory style emerged as Mossbrucker and Malaty tapped the creative scene in Europe where classical ballet was breaking from its boundaries. The athletic and adventurous American dancers found themselves at a crossroads of dance history. The divide between ballet and modern dance was dissolving. Innovative Business Model In 2000, the Aspen, Colorado-based ballet company forged a dual-city relationship with Santa Fe, New Mexico, broadening its scope and lending crucial revenue diversification. Under this hybrid business model, a roster of arts activities flourishes year-round in both cities. Performance, education, presentation, and community outreach all join in the mix. In 2014, ASFB shared resources with a local troupe, Juan Siddi Flamenco Santa Fe (JSFSF). This entrepreneurial project led to artistic heights at Jacob’s Pillow and New York’s Joyce Theater. Fortified with new experience and relationships, JSFSF continues to thrive in its own right. New Commissions ASFB’s mission places highest priority on developing new dance works and nurturing relationships with emerging choreographers. The company fostered the early careers of now in-demand global dance makers like Nicolo Fonte (nine commissioned Fonte works are in the ASFB repertoire), Jorma Elo (three commissioned Elo works), Edwaard Liang, Jacopo Godani, Helen Pickett, Cayetano Soto, Alejandro Cerrudo, and others. Works by late 20th century masters—William Forsythe, Jiří Kylián, Twyla Tharp— round out the repertoire. “We value building relationships with choreographers who become integral to the company. The natural beauty of our surroundings has a profound impact on creativity. Our choreographers find it inspiring to create here,” says Mossbrucker, ASFB’s artistic director.
Renowned in the U.S. & Abroad Based in the American West, ASFB occupies the vanguard of its field, brandishing a strong national reputation. Repeat engagements at the American Dance Festival, Harris Theater for Music and Dance, Jacob’s Pillow Dance Festival, Joyce Theater, The Kennedy Center, Saratoga Performing Arts Center, and Wolf Trap testify to the company’s popularity and ability to please audiences. The company has toured overseas as well, with prestigious invitations and bookings in Brazil, Canada, France, Greece, Guatemala, Israel, Italy and Russia. Premier funders—National Endowment for the Arts, New England Foundation for the Arts / National Dance Project, Joyce Foundation, Shubert Foundation, Wolf Trap Foundation, Jerome Robbins Foundation, and Princess Grace Foundation—have supported ASFB’s growth. Into a Bright Future Since its founding in 1996, ASFB has carved a reputation as a dance-lover’s dance company. It has genuinely reshaped the field, introducing new choreographic talent to national stages, fostering a new breed of exceptional dancer, and stimulating audiences with high-caliber performances. Fueled by an annual budget of over $4 million and an endowment nearly twice that size, the company’s strong artistic vision is supported by solid financial footing.
Jean-Philippe Malaty (Executive Director) was born in the Basque region of France; after receiving his baccalaureate in dance, he accepted scholarships to study at Mudra, Maurice Béjart’s school in Brussels, and at John Cranko’s ballet academy in Stuttgart. Invited by acclaimed instructor David Howard to study in New York, Jean-Philippe traveled to America under Howard’s tutelage. Jean-Philippe’s performance career began with Joffrey II. He also danced as a guest artist with Los Angeles Classical Ballet, Ballet Hispanico and the Lyric Opera of Chicago. Jean-Philippe segued from the stage to an administrative role while still in his twenties. A key member of Aspen Santa Fe Ballet’s start-up team, Jean-Philippe has been central to developing the company’s unique dual-city-based hybrid business model. He directs operations in two locations, overseeing a $4 million budget that he allocates to the company, two schools, an esteemed presenting series, and an awardwinning folkloric outreach program. Jean-Philippe’s first love is teaching and, when his schedule permits, he conducts master classes at schools and universities. He has served on panels for the Colorado Council for the Arts and the National Endowment for the Arts. In 2013, Jean-Philippe shared an honor with Artistic Director Tom Mossbrucker when the Santa Fe Community Foundation bestowed its Piñon Award on the company. In 2012, the Denver-based Bonfils-Stanton Foundation granted Jean-Philippe a Livingston Fellowship in recognition of his significant leadership role in Colorado’s non-profit sector. In 2010, in recognition of ASFB’s contribution to the field of dance, Jean-Philippe and Tom were honored with the Joyce Theater Foundation Award. IRVINE BARCLAY THEATRE | 21
A naturalized U.S. citizen, Jean-Philippe is proud to have forged a company alive with American energy, invention and eclecticism. “Dance is a celebration of the human spirit, and not a celebration of steps. Here at Aspen Santa Fe Ballet, we foster the spirit and the love of dance.” — Jean-Philippe Malaty
Tom Mossbrucker (Artistic Director) has been the artistic director of Aspen Santa Fe Ballet since 1996. For the past 20 years, he has built a prestigious arts organization, sharing two homes in Aspen and Santa Fe. In his role as artistic director, Tom cultivates highly sophisticated and challenging works of contemporary ballet. His shining achievement is ASFB’s roster of over 30 ballets created on commission by leading global choreographers. Tom began to dance at age four, studying tap in his hometown of Tacoma, Washington. He pursued classical ballet training at the School of American Ballet and Joffrey Ballet School. His 20 years as a principal dancer with the Joffrey Ballet, performing in over 70 ballets under the direct coaching of founders Robert Joffrey and Gerald Arpino, coincided with a period of high artistic achievement for the company. Tom danced in ballets by great twentieth century choreographers: Fredrick Ashton, George Balanchine, Laura Dean, William Forsythe, Jiří Kylián, Mark Morris, Paul Taylor and Twyla Tharp. Signature roles included Iago in Jose Limon’s The Moor’s Pavane; Champion Roper in Agnes DeMille’s Rodeo; Billy in Eugene Loring’s Billy the Kid; and Romeo in John Cranko’s Romeo and Juliet. It is this rich dance background that Tom brings to coaching dancers today. In 2013, Tom shared an honor with Executive Director Jean-Philippe Malaty when the Santa Fe Community Foundation bestowed its Piñon Award on the company. In 2010, in recognition of ASFB’s contribution to the field of dance, Tom and Jean-Philippe were honored with the Joyce Theater Foundation Award. A former board member of Dance USA, Tom currently serves on the board of The Gerald Arpino and Robert Joffrey Foundation. “We strive for continuity and enjoy bringing choreographers back to create second and third works...to us that is success.” — Tom Mossbrucker
CHOREOGRAPHERS Nicolo Fonte has created over 40 new works for dance companies spanning the globe, garnering praise and generating excitement for his daring and theatrical approach to dance. The Australian Ballet, Royal Danish Ballet and The Dutch National Ballet, among many others, all have works of his in their repertoire. Whether made to Ravel’s brash Bolero or the quiet intricacy of a Bach violin piece, Fonte ballets have common ground: “The choreography is inventive, creating expressive original shapes built on an undercurrent of implicit human relationships” (Maggie Foyer/Dance Europe). “What impresses the most is that his 22 | IRVINE BARCLAY THEATRE
choreography is obviously the result of a personal reflection —distinctly and unmistakably Fonte, proof of a rare quality” (Michel Odin / Danse). As a member of Nacho Duato’s Compañia Nacional de Danza in Madrid, Fonte forged a strong identity in the Spanish company for seven years, for both his dancing and his choreography. En los Segundos Ocultos (In Hidden Seconds), one of three ballets Fonte created for the company, was hailed as a breakthrough work of great impact with the poetic vision of a mature artist, and indeed this ballet established his presence on the international dance scene. From 2003 to 2006, Mr. Fonte enjoyed a creative partnership with The Göteborg Ballet in Sweden helping to establish the company’s distinct profile. There, he created his first full-length ballet, Re: Tchaikovsky, which appeared on the “Best of 2005” lists of both Ballett International and Dance Europe. Fonte has also played an important role in the ongoing development of Aspen Santa Fe Ballet as one of that company’s most popular guest choreographers. To date he has created eight highly successful works for ASFB. Mr. Fonte is currently the resident choreographer for Ballet West in Salt Lake City, Utah.
Jirí Kylián. Hailed as one of the world’s foremost living choreographers, Jirí Kylián was born in Prague and studied at the city’s Conservatory and London’s Royal Ballet School before joining the Stuttgart Ballet (Germany) under John Cranko in 1968. In 1973, he was invited by the Nederlands Dans Theater in Den Haag as a guest choreographer. By 1975, he was appointed the company’s artistic director. Jirí achieved his international breakthrough with Sinfonietta in 1978, set to music composed by his compatriot Leoš Janáček. His international reputation kept growing with such works as Symphony of Psalms (1978), Forgotten Land (1981), Svadebka (1982), Stamping Ground (1983) and L’Enfant et les Sortilèges (1984). Apart from developing choreographic works, Kylián has also built up a unique organizational structure for and within the Nederlands Dans Theater, adding two new dimensions to the Dutch ballet company. The world-famous Nederlands Dans Theater I has been expanded by Nederlands Dans Theater II (“The Young and Dynamic Company” of dancers between the age of 17 and 22) and Nederlands Dans Theater III (dancers/ performers beyond the age of 40)—each company with a distinctively individual repertoire. In April 1995, Jiří Kylián celebrated 20 years of directing the Nederlands Dans Theater by mounting the large-scale dance production, Arcimboldo, which involved all the dancers of Nederlands Dans Theater I, II and III. On that occasion, he received one of the Netherlands’ highest honors, becoming Officier in de Orde van Oranje-Nassau. In 1999, Kylián passed the artistic direction to the new generation. He stayed connected to the company as a choreographer until December 2009. In the years between 1973 and today, he has created 74 ballets for NDT. His entire body of work counts 98 creations to date. Besides creating for NDT, Kylián has made original works for the Stuttgart Ballet, Paris Opera, Swedish television, Bayerisches Staatsballet München and the Tokyo Ballet. His creations are danced by more than 100 companies and schools world-wide.
Jorma Elo is one of the most sought-after choreographers in the world. He has created works for companies including American Ballet Theatre, San Francisco Ballet, New York City Ballet, Bolshoi Ballet, Royal Danish Ballet, Royal Ballet of Flanders, Vienna State Opera Ballet, Stuttgart Ballet, Nederlands Dans Theater and Finnish National Ballet, among others. Elo trained with the Finnish National Ballet School and the Kirov Ballet School in Leningrad. He danced with Finnish National Ballet and Cullberg Ballet until joining Nederlands Dans Theater in 1990, where he enjoyed a 15-year career. Elo was appointed resident choreographer of Boston Ballet in 2005, where he has created many world premieres, including Sharp Side of Dark (2002), Plan to B (2004), Carmen/Illusions (2006 & 2009), Brake the Eyes (2007), In on Blue (2008), Le Sacre du Printemps (2009), Sharper Side of Dark (2012) and Awake Only (2012). Boston Ballet premiered a full-length performance titled Elo Experience in 2011. Elo was awarded the Benois de la Danse prize for best choreography in 2010, for his production of A Midsummer Night’s Dream, commissioned by Vienna State Opera Ballet, and Slice to Sharp for the Stanislavsky Music Theatre. In 2012, the Finnish Government awarded Elo the Dance Artist Prize. Elo was awarded the Choreography Prize at the 2005 Helsinki International Ballet Competition, and he was the recipient of the Prince Charitable Trust Prize and the Choo-San Goh Choreographic Award in 2006. He was nominated for a 2008 Isadora Duncan Dance Award. Elo has been featured in Esquire, Dance and Pointe magazines.
DANCERS
Katherine Bolaños, a native of Oklahoma City, is in her fourteenth season with ASFB. Katherine began her professional career with Ballet Oklahoma, where she remained for seven years performing mostly classical roles. As a guest artist with the Los Angeles Ballet Ensemble, she toured extensively in Taiwan and China. “I love the partnering in contemporary work and moving in a way that’s very slow, expressive, and creature-like. I enjoy rehearsing in the studio as much as performing on stage. The studio gives the freedom to grow artistically. On stage I feel like I’m in a different world.”
Sadie Brown, now in her fifth season with Aspen Santa Fe Ballet, began to dance in her hometown of Evansville, Indiana. She also studied at the Boston Ballet School, The Harid Conservatory, and the Walton School for Girls in Grantham, England. Sadie performed for three seasons with the Grand Rapids Ballet and as a guest artist with Evansville Dance Theatre, Evansville Ballet and Michigan Classic Ballet. Her guesting with Ballet Bratislava took her to Slovakia and Austria. “Dance allows me to explore emotions on such deep levels. When it’s time to perform, all those emotions come out. There is no better feeling than to have such free expression.”
Jenelle Figgins, a Washington D.C. native, began training at the historic Jones-Haywood School of Ballet and Duke Ellington School of the Arts. She then won a full scholarship to Dance Theatre of Harlem’s Kennedy Center residency. After earning a B.F.A. with honors from SUNY Purchase, she attended Springboard Danse Montréal. Jenelle is a 2014 recipient of the Princess Grace Award. Previously with Dance Theatre of Harlem, Jenelle is now in her third season with Aspen Santa Fe Ballet. “I want to continue to learn by pairing movement with aspects of humanity. There is so much self-discovery in collaboration—and being part of a creation process makes me happy.”
Emily Franc, a graduate of The Juilliard School, is marking her 11th season with Aspen Santa Fe Ballet. A native of Raleigh, Emily trained at the North Carolina School of the Arts. Prior to joining ASFB, she had the opportunity to tour with Hell’s Kitchen Dance in Aszure Barton’s Come In, which starred Mikhail Baryshnikov. Emily was selected as one of Dance Magazine’s “25 to Watch” in 2010. “I’m so grateful to be doing what I love, which gives my life a wonderful sense of purpose.” Anna Gerberich began her training at Central Pennsylvania Youth Ballet with Marcia Dale Weary. In 2004, she was invited by Jean-Pierre Bonnefoux and Patricia McBride to apprentice with the Charlotte Ballet. In 2005, she was hired into the company and was promoted to principal within four years. After 11 years with Charlotte Ballet, Anna accepted a position with the Joffrey Ballet. Anna received the Pointe Magazine NERDA Award of Promise in 2001. In 2014, Anna had the pleasure to appear in The Kennedy Center Honors, performing Balanchine’s Who Cares in acknowledgment of Patricia McBride. This is Anna’s second season with Aspen Santa Fe Ballet. Seia Rassenti Watson danced with Flamenco Y Mas as a youngster in Arizona, then trained in classical ballet with Linda Walker at the Tucson Regional Ballet. After graduating from the Kirov Academy of Ballet in Washington, D.C., she danced with North Carolina Dance Theatre, where she worked with Dwight Rhoden. Seia is in her ninth season with ASFB. “I feel most comfortable in the contemporary mode. I trained classically because I knew it would help me become a better dancer. But I really love the freedom and personal expression of the work we do here. I found my niche.” Austin Reynolds, from Detroit, Michigan, enters his first full season with Aspen Santa Fe Ballet after studying at Interlochen Arts Academy, Springboard Danse Montréal and The Juilliard School. He has had the pleasure of performing the repertoire of Jiří Kylián, Alexander Ekman and Ohad Naharin, as well as in new creations by Jennifer McQuiston Lott, Stephan Laks, Matthew Neenan and Zvi Gotheiner. “I am grateful to join a company that commissions new work and, with that, I am excited to make new discoveries alongside this inspiring group of individuals.”
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Evan Supple, a native of Toronto, Ontario, trained at Elite Danceworx before moving on to earn a B.F.A. from Marymount Manhattan College in 2016. While at Marymount, he danced in works by Dwight Rhoden, Paul Taylor, Aszure Barton, Desmond Richardson and Alexandra Damiani. He also toured internationally as a member of the NikolaisLouis Dance Theatre in 2013. Additionally, Evan was a featured soloist in the closing ceremony of the 2015 Pan-Am Games. He spent summers with Complexions, Canada’s National Ballet School and Springboard Danse Montréal. This is Evan’s second season with Aspen Santa Fe Ballet.
Anthony Tiedeman, a graduate of The Juilliard School, brings to Aspen Santa Fe Ballet his exposure to works by master choreographers Merce Cunningham, Paul Taylor and José Limón. Training in Lar Lubovitch’s choreography led Anthony to join Lar Lubovitch Dance Company for its Fall 2014 Joyce Theater season. A New Jersey native, Anthony has traveled abroad for summer intensives at Springboard Danse Montréal and Nederlands Dans Theater. This is Anthony’s third season with ASFB. “When I first saw Aspen Santa Fe Ballet at The Joyce, I was blown away by the intense physicality and strong, yet beautiful, technique. It’s a balance I try to bring to my own dancing.” Pete Leo Walker is in his third season with Aspen Santa Fe Ballet following five seasons with Charlotte Ballet, where he performed a diverse repertoire of neoclassical and contemporary works. A native of Jacksonville, Florida, Pete began training at Dansations Performing Arts Center and continued at the Nutmeg Conservatory for the Arts. Pete is a 2011 recipient of the Princess Grace Award. In 2013, he was featured as one of Dance Magazine’s “Top 25 to Watch.” “My mom was a part of the Rock Steady Crew in Brooklyn. She taught me to pop and lock, so contemporary classical ballet is the closest to my heart—with a technical element.” Joseph Watson, now in his ninth season with Aspen Santa Fe Ballet, began formal dance training at TWIGS (To Work In Gaining Skills), a respected after-school program in his home town of Baltimore. After graduating from the Baltimore School for the Arts, Joseph attended The Juilliard School, earning his B.F.A. in Dance. He was a member of North Carolina Dance Theatre prior to joining ASFB. “I try not to overthink a performance. I just tell myself that I’m about to go on stage to do what I love. I love the zen feeling I get when I’m out there.”
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ABOUT PHILHARMONIC SOCIETY OF ORANGE COUNTY Founded in 1954, the Philharmonic Society of Orange County presents the world’s most acclaimed symphony orchestras, chamber ensembles, soloists and international artists for the enjoyment and appreciation of Orange County audiences. A catalyst for cultural and educational development throughout the region, the Philharmonic Society is a key resident company in the Renée and Henry Segerstrom Concert Hall at Segerstrom Center for the Arts, and also presents concerts at Irvine Barclay Theatre and various venues in Orange County.
The Society has presented artists who set the standards for artistic achievement: Sir Georg Solti, Itzhak Perlman, Jacqueline du Pré, Daniel Barenboim, Lorin Maazel and Cecilia Bartoli, to name just a few. In addition, many of the world’s greatest orchestras have performed in Orange County by invitation of the Philharmonic Society. The Society celebrated the diversity of our cultural landscape with Eclectic Orange presentations, transcending the boundaries separating arts disciplines and seeking great art wherever it is found. Past Eclectic Orange events championed contemporary composers through commissions and sponsorship of regional and world premieres. Among the living composers presented were Tan Dun, Philip Glass, Osvaldo Golijov, John Adams, Edgar Meyer, Burhan Öçal and Mikel Rouse. Past presentations include the West Coast premiere of Steve Reich’s The Cave, the Southern California premiere of Terry Riley’s Sun Rings, the United States exclusive engagement of Théâtre Zingaro, and the West Coast premiere of Orion by Philip Glass.
Sharing the love of music with others and helping the community deepen its appreciation and enjoyment of music is a foundation stone of the Society. Over the years, millions of children have encountered classical music—many for the first time—at Philharmonic Society education programs. The Committees of the Philharmonic are the Society’s principal fund-raising and volunteer force. Together they create, fund and produce an extraordinary array of music education programs for children. The Committees also present a wide variety of fundraising events, including Philharmonic House of Design and the Huntington Harbour Cruise of Lights®. The Philharmonic Society’s nationally recognized music education programs for youth reach 160,000 Orange County students, from kindergarten through high school. More than 1,500 presentations are offered by professional musicians and trained docents at no charge to all public and private schools in the county. In 2017, the Orange County Youth Symphony merged with the Philharmonic Society of Orange County, representing a natural evolution for the two organizations after more than 30 years of partnership. The musicians of the Youth Symphony will have exciting opportunities to engage with some of classical music’s most celebrated artists while inspiring and showcasing the very best pre-professional musicians of Orange County. For more information, visit PhilharmonicSociety.org
BOARD OF DIRECTORS OFFICERS Noel Hamilton
Immediate Past Chairman
Kimberly Dwan Bernatz Chairman, CEO
John W. Benecke
EXECUTIVE COMMITTEE Jane K. Grier
Nominating
Member-at-Large
Development
Sabra Bordas Hung Fan
Laguna Beach Music Festival
Stephen Amendt
Secretary/Treasurer
Rande Shaffer
Member-at-Large
Orange County Youth Symphony
Donna L. Kendall
Douglas H. Smith
President, The Committees
Member-at-Large
Marlene Nielsen Elaine P. Neuss
Foundation
Dr. Daniel Stein
Concerts
Douglas T. Burch, Jr. Gary Capata Mary Chelius
Joanne Fernbach John Flemming Margaret M. Gates
INTERIM PRESIDENT Chantel Chen Uchida
Judy Michel Barbara Roberts David Troob
ADMINISTRATIVE STAFF INTERIM PRESIDENT Chantel Chen Uchida
ARTISTIC OPERATIONS Alex Nelson
EDUCATION Nancy Warzer-Brady
Vice President of Education and Community Engagement
Eli Peterson
Production Coordinator/ OCYS Gen. Manager
Director of Volunteer Services
Piano Technician
Kathy Smith
Huntington Harbour Office Manager
DEVELOPMENT Ronald G. Dufault
Vice President of Development
FINANCE Roan Alombro
Director of Finance
Talayeh Hamidi
Accounting Associate
Director of Events and Corporate Engagement
Madeline Fields
Douglas Wat
MARKETING AND PUBLIC RELATIONS Amy Landon Director of Marketing
Marie Songco-Torres
Senior Marketing and Public Relations Associate
PATRON SERVICES Jonathan Mariott
Director of Patron Services
Randy Polevoi
Musical Concierge
Halim Kim
Director of Annual Campaign
Shawna Wolf
Development and Patron Services Associate IRVINE BARCLAY THEATRE | 25
FRIENDS The Philharmonic Society of Orange County gratefully acknowledges the following donors for their generous support of the Fund for Music during the past twelve months. These contributions make up the difference between the income generated from ticket sales and the actual cost of bringing the world’s finest orchestras, soloists and chamber ensembles to Orange County and inspiring 160,000 K–12 students each year with quality music programs. Gifts range from $60 to more than $100,000, and each member of the Philharmonic Society plays a valuable role in furthering the mission of this organization.
HONORARY SERIES AND CONCERT SPONSORS ($50,000+) Drs. Hana and Francisco J. Ayala Colburn Foundation Sam and Lyndie Ersan Donna L. Kendall Foundation Dr. and Mrs. Howard Jelinek Barbara Roberts Mrs. Michelle Rohé Gail and Robert Sebring Elizabeth Segerstrom The Segerstrom Foundation The Committees of the Philharmonic Society Anonymous
CHAIRMAN’S CIRCLE ($25,000+) The Crean Foundation Disneyland Resort Ann and Gordon Getty Foundation Mr. and Mrs. Milton S. Grier, Jr. The Isidore & Penny Myers Foundation Phillip N. and Mary A. Lyons Mr. and Mrs. Douglas H. Smith
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PRESIDENT’S CLUB ($10,000+) Bette and Wylie Aitken Eleanor and Jim Anderson Pete and Sabra Bordas Mr. Warren G. Coy The Dirk Family Mr. and Mrs. James A. Driscoll Karen and Don Evarts Mrs. Joanne C. Fernbach First American Trust Kimberly Dwan Bernatz Mr. John D. Flemming and Mr. Mark Powell Margaret M. Gates — In memory of family Joan Halvajian Maralou and Jerry M. Harrington Jewish Community Foundation of Orange County Joann Leatherby and Dr. Greg Bates Macy’s Charitable Contributions Mrs. Michael McNalley National Endowment for the Arts Elaine and Carl Neuss Pacific Life Foundation Lauren and Richard Packard Philharmonic Foundation
Howard and Judith Jelinek
Mr. and Mrs. William F. Podlich Richard and Deborah Polonsky Ralph Lauren Corporation Dr. and Mrs. Chase Roh Mr. and Mrs. David Rosenberg Schumann|Rosenberg LLP Segerstrom Center for the Arts Shanbrom Family Foundation South Coast Plaza Ms. Dea Stanuszek Dr. Daniel and Jeule Stein Mr. and Mrs. David Troob U.S. Bank Mr. Stephen Amendt Wells Fargo – The Private Bank Mr. and Mrs. Noel Hamilton Anonymous PLATINUM BATON ($6,000+)
Mr. Douglas T. Burch, Jr. Dr. and Mrs. Richard D. Campbell Richard Cullen and Robert Finnerty Helen and Fritz Lin Drs. Armine and Vahe Meghrouni Mr. and Mrs. James G. Reynolds Elizabeth and Justus Schlichting Dr. Steven Sorenson
GOLDEN BATON ($3,000+)
SILVER BATON ($1,200+)
American Business Bank Mr. and Mrs. James Alexiou Diane and John Chimo Arnold Mr. Gary Capata Dr. and Mrs. Shigeru Chino Suzanne and David Chonette Marjorie and Roger Davisson Hung Fan and Michael Feldman Frome Family Foundation David and Trudi Gartley The William Gillespie Foundation Anita and Denis Halton The Hanauer Family Foundation Elizabeth F. Hayward and Robert M. Carmichael Mrs. Sigrid Hecht Milli and Jim Hill Gary and Betsy Jenkins The Jane Deming Fund Ms. Elizabeth Jones Carolyn and Bill Klein Mr. David H. Koontz and Mr. James J. Brophy Regina and John Mangum Mr. and Mrs. Anthony Mastrangelo Mr. and Mrs. Michael Morris Mr. and Mrs. Michael D. Nadler Mr. Thomas Nielsen Marcia Kay and Ron Radelet Mr. Michael D. Ray Elizabeth Gordon Reinhold Mr. and Mrs. Philip E. Ridout Ms. Howard Roop Ellen and Vasily I. Semeniuta Dr. Emmanuel Sharef Mr. and Mrs. John Stahr Diane and Michael Stephens Robert A. and Sandra E. Teitsworth Lynda Thomas (move to golden baton) Dr. and Mrs. Fritz C. Westerhout Gayle Widyolar and David Scott Anonymous (2)
Dr. and Mrs. Daniel L. Abbott David Anderson Barbara and Jerry Andes Dr. and Mrs. Ruben Baghdassarian John W. Benecke The Boeing Company Gilbert and Ildiko Butler Foundation Dr. and Mrs. David Casey Mrs. Linda Lipman Cassuto Elizabeth and Ming Chang Mr. and Mrs. Stewart A. Clark Mrs. William L. Cook Dr. Frank A. D’Accone Ms. Carol Dalton Mr. and Mrs. Neil B. Donavan Mr. Roger Duplessis Ron and Marti Erickson Mr. and Mrs. Donald French JoAnn and Peter Fuerbringer Gluck Bradley Foundation Mr. and Mrs. Philip Gold Mr. and Mrs. Michael S. Gordon Mr. and Mrs. Carl Greenwood Wanda Gwozdziowski Bonnie and William S. Hall Mr. and Mrs. Don Harrell Ellen Pickler Harris and Ron Harris Carole and Joseph Innes Dr. and Mrs. Tae S. Kim Mr. and Mrs. Louis J. Knobbe Cathy and David Krinsky Mr. and Mrs. William F. Kroener III Vincent “Tim” and Sharon Le Pore Vicki Lee Peggy and Alex Maradudin Mr. and Mrs. Orville L. Marlett Millstream Fund City of Mission Viejo Mr. and Mrs. Mark Moore Pat and Ken Morgan Mr. and Mrs. Michael Morris Ms. Teresa Nichols Marlene and Chris Nielsen Mr. Patrick Paddon The PIMCO Foundation Mr. and Mrs. Michael Pinto Dr. and Mrs. Paul Qaqundah
Mr. Christopher Quilter Mr. and Mrs. Walter Rados Walter Rios Eva and Fred Schneider Mr. and Mrs. Lawrence S. Spitz Morgan Stanley Elizabeth and Richard Steele Fund Mrs. Judy Tschetter Chantel and Andrew Uchida Dr. Nancy E. Van Deusen The Vlahakis-Hanks Family Chava and Ted Wortrich Anonymous (3) List current as of 1/26/18. Full listing of donors appears in all Segerstrom Center for the Arts program books. The Philharmonic Society deeply appreciates the support of its sponsors and donors, and makes every effort to ensure accurate and appropriate recognition. Please contact the Development Department at (949) 553-2422, ext. 233, to make us aware of any error or omission in the foregoing list.
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THE DEL McCOURY BAND April 12, 2018 | Cheng Hall This performance will include a 15-minute intermission.
Del McCoury Guitar
Ronnie McCoury Mandolin
Rob McCoury Banjo
Alan Bartram Bass
Jason Carter Fiddle
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THE DEL McCOURY BAND For more than fifty years, Del McCoury’s music has defined authenticity for hard core bluegrass fans as well as a growing number of fans among those only vaguely familiar with the genre. McCoury is something special, a living link to the days when bluegrass was made only in hillbilly honkytonks, schoolhouse shows and on the stage of the Grand Ole Opry, yet also a commandingly vital presence today, from prime time and late-night talk show TV to music festivals, where audiences number in the hundreds of thousands.
Born in York County, Pennsylvania, seventy-nine years ago, Del McCoury would once have seemed an unlikely candidate for legendary status. Bitten hard by the bluegrass bug when he heard Earl Scruggs’ banjo in the early ’50s, McCoury became a banjo picker himself, working in the rough but lively Baltimore and D.C. bar scene into the early 1960s. He got his first taste of the limelight when he joined Bill Monroe’s Blue Grass Boys in early 1963; the Father of Bluegrass moved McCoury from the banjo to guitar, made him his lead singer, and gave him a lifetime’s worth of bluegrass tutelage direct from the source. Flash-forward to 1990s and the Del McCoury Band is on top of the bluegrass world, along the way giving birth to a more startling phenomenon: the emergence of the group onto the larger musical scene as a unique torchbearer for the entire sweep of bluegrass and its history. For it turned out that the unmistakable authenticity of McCoury’s music — along with his good-natured willingness to keep alert for new sounds and new opportunities — had bred fans in some unlikely places. That bluegrass-bred stars like Gill and Alison Krauss (who first met Del at a bluegrass festival when she filled in for a missing fiddler of his) would sing his praises wasn’t surprising, but who would have expected country-rock icons like Steve Earle or jam bands like the supremely popular Phish to have joined in the chorus? By the second half of the ‘90s, the acclaim — and Del’s open-mindedness — put McCoury in onstage jams with Phish and on the road and in
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the studio with Earle, bringing the Del McCoury Band’s fierce musicianship and its leader’s instantaneous, easygoing connection with listeners to new arenas. The group appeared on prime-time TV and began an ongoing series of visits to popular late-night TV talk shows, toured rock clubs and college campuses, and found itself welcome at country and even jazz-oriented music festivals and venues.
Yet while reaching out to almost unimaginable audiences, Del’s music retains its signature characteristics. The fifth decade of that half-century of music making has been filled with new and ongoing triumphs. The Del McCoury Band has shown unprecedented stability, with but a single change in membership in twenty years; nine IBMA Entertainer of the Year trophies, their namesake earned membership in the cast of the legendary Grand Ole Opry in 2003, and the Band earned its first Best Bluegrass Album Grammy Award two years later followed by a second Grammy win in 2014 (to go along with double digit nominations); they traveled with the groundbreaking post-O Brother, Where Art Thou? Down From The Mountain tour, performed and recorded (on his Grammy-winning These Days) with Gill and with country star Dierks Bentley. The Del McCoury Band is a regular at the spectacular Bonnaroo Music Festival; and Del’s namesake festival, DelFest, has quickly become one of the premier string band events in the country, showcasing acts ranging from bluegrass legend Bobby Osborne to Phish’s frontman Trey Anastasio. Del might be 79, but he’s singing better than ever and showing no signs of slowing down.
Artist Representation: Crossover Touring One West Court Square, Suite 750, Atlanta, GA 30030 404-793-7023 info@crossovertouring.com | www.crossovertouring.com
Enjoy Great Music with Pacific Symphony Classical, Pops & Organ Concerts
Pink Martini March 23-24 • 8 p.m.
Cirque de la Symphonie April 6-7 • 8 p.m.
Cirque for Kids! April 7 • 10 & 11:30 a.m.
Glass & Shankar April 12-14 • 8 p.m.
Nosferatu — A Symphony of Horror April 29 • 3 p.m. (1922 silent film)
PacificSymphony.org (714) 755-5799
IRVINE BARCLAY THEATRE | 31
April 19 – 21, 2018
May 3 – 5, 2018
Kelli Sharp, Artistic Director
Lisa Naugle, Artistic Director
Dance Escape Join us for a unique program of original choreography by graduate students. Claire Trevor Theatre, UCI Evenings: Apr. 19, 20, 21 8:00 p.m. Matinee: Apr. 21 2:00 p.m.
Physical Graffiti Some of the most promising undergraduate choreographers present original new works in this annual concert brimming with young talent. Claire Trevor Theatre, UCI Evenings: May 3, 4, 5 8:00 p.m. Matinee: May 5 2:00 p.m. Tickets: $18 / $15 / $11
Arts Box Office (949) 824-2787 www.arts.uci.edu/tickets Photos by Skye Schmidt
IBTl_2017_7.5x4.5_Book9.indd 1
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The City of Irvine plays an invaluable role in the successful operation of Irvine Barclay Theatre. We thank the City for its generous support.
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For Your Information Ticket Services Order online 24/7 at www.thebarclay.org or www.facebook.com/IrvineBarclay/events
Call the Box Office at 949.854.4646 Monday through Friday from 10am until 6pm; Saturday and Sunday from noon until 4pm. On days of a performance, the Box Office remains open through intermission. MasterCard, VISA, American Express, and Discover accepted. Late Seating To prevent disruption of a performance in progress, patrons who have not entered the theatre when the performance begins may be asked to wait in the lobby until there is a suitable interval.
Ushers Ushers are located at each auditorium entrance and at designated stations in the lobby. Please consult an usher if you need assistance. If you are interested in joining the usher staff, please contact the Patron Services Manager at: 949.854.4193; darling@thebarclay.org. Public Parking Parking is provided for a fee in the structure located at the corner of West Peltason and Campus Drive.
Restrooms Restrooms are located on the main lobby level near the box office. Drinking fountains are located on either side of the main lobby staircase and on the second level. Listening Devices Listening devices for amplifying stage sound are available at the concessions bar free of charge.
Cellular Phones, Beepers, Watch Alarms As a courtesy to all patrons, please turn these units to off or non-audible before the performance begins. Cameras and Recording Equipment The taking of photographs and use of any mechanical or digital recording devices are strictly prohibited.
Children Children are welcome. However, not all events are appropriate for small children. A paid ticket is required for everyone entering the theatre, including infants and children. The box office can provide advice regarding an event’s suitability.
Theatre Tours Backstage tours of the Barclay are offered through the theatre’s ArtsReach program. For information, or to reserve tours for schools or community groups please call 949.854.4193.
Irvine Barclay Theatre Online Get the latest information on what’s happening at Irvine Barclay Theatre by joining the Barclay’s E-list to receive email updates and special offers. Go to the Barclay’s website at www.thebarclay.org or email us at info@thebarclay.org.
Theatre Safety & Security To ensure the safety of our patrons and clients, IBT continually evaluates security measures for those entering our venue. All patrons attending an event at IBT are subject to screening by IBT staff. This may include, but is not limited to, a visual inspection, a bag inspection, metal detection and/or an interview. At this time, no large bags are permitted in the venue.
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Staff /IrvineBarclay
Jerry Mandel, Ph.D. President
Gary Payne
Karen Wood
Karen Drews Hanlon
Lori Grayson
Ginny W. Hayward
Production & Facility Manager
Communications Assistant Program Book Editor
Development Associate
Chief Operating and Finance Officer Manager of Programming, Artists & Contracts
Lu Bauer
Box Office Manager
Josh Roberts
Assistant Box Office Manager
General Manager
Jeff Stamper Tim Owens
Associate Production & Facility Manager
Robin Darling
Director of Communications
Helena Danovich
Director of Development
Fatima Rizvi
Tracy Porco
Social Media & Outreach Marketing
Patron Services Manager
Ingrid Strayer
Finance Assistant IRVINE BARCLAY THEATRE | 33
Annual Fund for
THANK
EXCELLENCE
YOU
Irvine Barclay Theatre gratefully acknowledges the generous contributions of our donors who help support the “big talent” in our “small hall.” Gifts to the Annual Fund for Excellence assist the Barclay in presenting an international roster of performers while keeping tickets reasonably priced. They also support our ArtsReach programs provided to the schools at little or no cost and “family-friendly” programming on stage. The Barclay’s mission also embraces making its beautiful facilities available to diverse community organizations, UCI, and other educational institutions. Thank you to all of our generous donors listed here for their contributions during the previous 12 months! If you would like to join the ranks of those who make it all possible at the Barclay, you may make a donation online at www.thebarclay.org or call 949.854.4607. PUBLIC PARTNERS
City of Irvine University of California, Irvine BRAVO BARCLAY PRESENTING SPONSOR $10,000+
An Anonymous Fund of the Orange County Community Foundation Drs. Francisco and Hana Ayala Bruce and Karen Cahill City National Bank Haskell & White LLP HumanKind Philanthropic Fund Jennifer Klein Toni and Terry McDonald National Endowment for the Arts William and Janice Parker Family Fund Penelope Parmes ROHL LLC – Kenneth and Helene Rohl
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Sonnet Technologies, Inc. Richard and Elizabeth Steele Fund Trisha Steele Frank Wagner and Lynn O’Hearn Wagner BRAVO BARCLAY PARTNER $5,000 – $9,999
The Allergan Foundation Roland and Jacquelynn Beverly Gartley Charitable Foundation Fund Hyatt Regency Maui Resort and Spa Hyatt Regency Waikiki Resort and Spa New England Foundation for the Arts Salwa and Sabri Rizkalla Gary and Melanie Singer
BRAVO BARCLAY BENEFACTOR $2,500 – $4,999
Jack and Joy Kayajanian Dr. Paul and Mrs. Ellen Lee Peter and Alexandra Neptune Andrei’s Conscious Cuisine Amy Opfell and Vladimir Lange and Cocktails Susan Rhodes and Anonymous Goran Matijasevic James and Dolores Kase Thomas and Barbara Roddel Liza and Stuart Krassner Chiyo and Stanton Rowe Jerry and Whitney Mandel Nancy Smith Mike Peak St. Matthew’s Montessori School Linda I. Smith Foundation Judy and Wes Whitmore Western States Arts Federation Gayle Widyolar and David Scott Majid and Sohaila Zarrinkelk BRAVO BARCLAY PATRON $1,000 – $2,499
Douglas Bradley Ellen Breitman and Brien Amspoker Carol and Les Elliot Bill and Marjorie Fleming Frederic and Aviva Forster David and Janet Henze Yvonne and Damien Jordan
ENCORE CIRCLE ENTHUSIAST $250 – $999 Michele and Richard Africano Oscar R. Aguirre Richard Alexander Diane and Dennis Baker Robert and Delphi Ballinger Lindy Balmer Richard Bergstrom Scott and Cheryl Berry
Craig Boardman Clifford and Jennifer Cheng Denise Chilcote Karen and Bruce Clark Roger du Plessis Gary Fabian and Deb Solon Melissa and Michael Fox Mark A. Franzen IBM Matching Grants Program Judy and Terry Jones Dave and Peggy Kelleher Tracy Laulhere Kim Smith Lazarus Vicki and Richard Lee Leslie Levine Chunhong Li Lauri and Mike Mendenhall Albert and Tricia Nichols Fund Bruce and Esmeralda Ogilvie PayPal Giving Fund Yvette Pergola Dorcas Preston Stephen M. Rochford Joel B. Rothman Deborah and Frank Rugani Nancy Lee Ruyter Diane Sagey Aloha R. Saxon Louise Schwennesen Hugh Stevenson and Jan Burns Thomas and Marilyn Sutton Target Marilyn and Angelo Vassos Vendini, Inc. Kathy Vickers and Jeremy Freimund John and Judy Vinke Mary Watson-Bruce Charles and Marilyn Wright Kurt Youngs
Jim Aust Stuart Baron George and Linda Bauer Linda Berquist Richard H. Bigelow Stephen Biskar Michael and Margaret Bodeau Suzanne Boras Lupe Borboa Leia Bowers Bobby R. and Edith S. Brannon Scott Brinkerhoff Margaret and James Brumm Douglas T. Burch, Jr. Linda and Roland Bye David Calica Luisa Cano Harold and Eleanor Carpenter Judith Cassedy-MacPherson Gerald Castillo Grace Chen Rita R. Chenoweth Deanna Choi Michael and Kate Clark William Cline Joseph L. & Kathleen Y. Coleman Martin Cooper Anahid Crecelius Madeleine and Alan Crivaro Hilary Davis and Dr. Sandy Ratner Nancy Dewsbury Donna Di Bari Michael and Kathy Dogali Joan M. Donahue Mara Dragos Rad and Toni Dwyer James Evans Peggie Fariss Cathie Fields Ruby Foo Roberta Fox Keri Fujii Ellen Fujikawa Peter and Anne Garrell Margaret Gates Gerald Gibbs S. Glass Family Ben and Sandie Goelman
Janice Groh Paul and Nancy Groner Sanjiv and Geeta Grover Carole S. Harrison Barbara Helton Richard and Sara Hess Dan and Nicole Honigman Anthony Houghton Robert Ingold Karen Kewell Jacoby Korey Jorgensen Judy Kaufman and George Farkas Kerry Krisher Arthur S. Kroll Rosa Kwong Dr. and Mrs. John LaGourgue Martin G. Langer Hilary Lemansky Benjamin and Sunny Leos Neal Littlejohn Anne Llewellyn Joe Lowden Christian and Sharon Maas Robert D. and Pat MacDonald Christian Markey Pablo Martinez Natalia Martinez-Ware Christine A. Marx Colette Matsui Duane and Kathleen Mauzey Jaklyn Rae McClendon Michael and Susan McGuire Cindy and John McOwen Jodi Meade Don and Terri Milder Defoe Miller William Miller David Moehring Hiroko and Yoshiharu Moriwaki John and Marjorie Murray Roy and Gwen Nakabayashi Reiko and Mitsuhiko Nakano Julie Nakata Susan Naples Steven Nelson Catherine Ngo Mike and Pat Noggle Huey Yann Ooi Lauren and Richard Packard
Jeri Pauloski Danielle Peterson Peter and Ursula Piotrowski Christopher Pollick Judith Posnikoff Edward and Betty Quilligan Sarah Quinn Elaine Ramsay Wallace Realini Claudia Redfern Dennis Repp Cynthia Reynolds Theodore and Virginia Robins Francie Rope Irene A. Sakioka Jack and Katharine Schoellerman William and Jean Schultz Frances Segal Todd Seidner Tully Seymour Joyce Shadburn Lori Shapiro Gilbert Singh John L. Smith and Mary Anne Anthony-Smith Edward Spilsbury Rick Spleen William Spurgeon Diane Stovall Ingrid Strayer Richard and Jane Sungaila Celia and Julio Taleisnik Keith Tate Christopher and Lynne Ramsey Ms. Cindy Thomas Johanna Tilley Gary and Peranza Topjon George and Abril Turner Tony and Nancy Vasek John Walker Anne Walthall Kim Waterson William Weiberg Diane Wick Richard and Barbara Wilkes Shara and David Witkin George and Flo-Ree Woodruff
NATIONAL CHOREOGRAPHERS INITIATIVE
Bobbi Cox Sophia and Larry Cripe Bronwynn Daniels Diane Diefenderfer and David Hanlon Roger du Plessis Gale Edelberg and Bob Butnik Henry and Janet Eggers David Emmes and Paula Tomei Cliff Faulkner and Shigeru Yaji Roberta Fox Mary and Andrew Franklin Sandy and Don French Judith A. Gorski Gale A Granger and Barbara S Granger Dr. and Mrs. Denis Gray Dana Huff Chuck Johnston Dr. Burton L. Karson Joanne and Dennis Keith
Michael Kerr Robert Labaree and Gillian Finley Don and Grace Laffoon Dr. Martin G. Langer Kathryn Lynch and Robert McDonnell Molly Lynch and Alan Andrews Sharon McNalley Nancy Meyer Ed Moen and Janek Schergen John and Marjorie Murray Mr. and Mrs. Mitsuhiko Nakano Carl Neisser Tom and Marilyn Nielsen Anne B. Nutt Marshall Parker John and Charlene Pasko James Penrod Jody Pike Janice and Richard Plastino Dolly A. Platt, Ph.D.
Edward and Diana Putz Salwa Rizkalla Barbara Roberts Robinson Foundation Michelle Rohe Andrew Rose Geoffrey and Debbie Sampson Jack and Katy Schellerman Betty Schweickert Sally Anne and Don Sheridan Igal and Diane Silber Ann Sim Jackie Smiley Richard and Elizabeth Steele Fund Jennifer Szabo Karen and Gary Thorne Barbara and Jack Tingley Max and Peggy Weismair Mary Vensel White and T. Jason White William Gillespie Foundation
ENCORE CIRCLE SUPPORTER $100 – $249 Mahvash Ahangi Steven and Alexandria Allan Robert Allgeier AmazonSmile Foundation Debbie Aslanian
As a partner in the annual National Choreographers Initiative, Irvine Barclay Theatre is also pleased to acknowledge all those who support this important contribution to American dance.
Betty B. and Roy Anderson David Anderson Betsy Andrews and Alex Moad Mrs. Alan V. Andrews Diane and Dennis Baker William H. Bardens Dr. Michael Bear Beau Corps Studio Helene Belisle Paul Blank Stacie Brandt Laurie and Bart Brown David and Beverly Carmichael
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