BURN SEPTEMBER 20 - 25, 2022 Season Sponsor:
Expanding the ballet tradition, COMPLEXIONS Contemporary Ballet celebrates its 28th anniversary with two daring programs, while Les Ballets Trockadero de Monte Carlo continues to entertain audiences with riveting parodies of classic ballets.
LindaSincerely,Shelton,
Welcome to The Joyce’s Fall ‘22/Winter ’23 season!
I am honored to have you join us for the first engagement of our season, Burn, a new Joyce Theater Production from the ever-creative minds of Scottish actor Alan Cumming and Olivier Award-winning choreographer Steven Hoggett. Crossing paths backstage a few years ago, Alan said to me, “I have one more dance piece in me, are you up for it?” To which I replied, “Of course.” And the rest is history.
Melding percussive dance and music, tap artists return to The Joyce in full swing. Dorrance Dance presents a world premiere with original music by Aaron Marcellus, while Ayodele Casel brings the long-awaited live performance of Chasing Magic, with music by Arturo O’Farrill and Crystal Monee Hall.
Commemorating dance from across the country, Los Angeles-based Versa-Style Dance Company brings an energetic fusion of styles in their latest work, Freemind Freestyle. From the Midwest, Hubbard Street Dance Chicago celebrates its 45th year with works by Kyle Abraham, Ohad Naharin, and Aszure Barton. This winter, our seventh annual American Dance Platform features a robust lineup curated by acclaimed choreographer Ronald K. Brown.
Thank you for being here with us, and we hope you join us again for the many exciting offerings this season brings! Executive Director
This season, we continue bringing the world to our Chelsea stage, with several international companies celebrating their Joyce debuts. Choreographer Fouad Boussouf blends contemporary practices with traditional forms of his native Morocco in Näss, a work at the crossroads of frenetic modernity and ancestral rituals. In their debuts, Germany’s tanzmainz performs Sharon Eyal’s electric Soul Chain, while Sweden’s Cullberg brings Horse, the solos, a new work by postmodern pioneer Deborah Hay.
In a historic partnership with The Apollo Theater, we are honored to bring Camille A. Brown’s trio of essential works on Black identity in a cross-town presentation. Also returning, Ronald K. Brown/EVIDENCE offers an enthralling program, featuring a commissioned score by Jason Moran and dialogue by Angela Davis. Soledad Barrio & Noche Flamenca delve further into the rich traditions of flamenco, and Cuba’s Malpaso Dance Company dazzles with works by Robyn Mineko Williams and Mats Ek.
Drawing a line from the past to the present, LaTasha Barnes returns to present The Jazz Continuum, centering the prolific artistry of Jazz music and dance as a cornerstone of Black American culture. Rennie Harris Puremovement honors its 30th anniversary with the remounting of Harris’ classic work, Rome & Jewels. Kicking off their 52nd year, Garth Fagan Dance returns with stirring revivals from the company’s vibrant archive.
Champion support for The Joyce’s annual programming has been provided by Howard Gilman Foundation and The Shubert Foundation.
A SOLO DANCE-THEATRE PIECE CREATED BY ALAN CUMMING AND STEVEN HOGGETT
Additional creation support provided by Johanna Weber.
Champion support for The Joyce’s Creative Residencies Program supporting choreographers and dance companies has been provided by Mellon Foundation.
The Joyce Theater Foundation, National Theatre of Scotland, and Edinburgh International Festival present
ALAN CUMMING BURNin
Presenting Sponsors: Melina Fisher & the R. Britton Fisher and Family Gift for International Dance, and the Executive Director’s Fund at The Joyce Theater Foundation.
Lead Sponsors: Virginia & Timothy Millhiser, and Madelyn & Steven Wils.
FEATURING THE MUSIC OF ANNA MEREDITH
ALAN CUMMING • STEVEN HOGGETT • VICKI MANDERSON
ANNA MEREDITH • ANA INÉS JABARES-PITA • KATRINA LINDSAY
TIM LUTKIN • ANDRZEJ GOULDING • MATT PADDEN
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Leadership support for The Joyce Theater Foundation has been received from the LuEsther T. Mertz Charitable Trust.
KEVIN QUANTUM • ROBERTO ESQUENAZI ALKABES • SHILPA T-HYLAND HEATHER SCOTT • MOIRA HANSEN • KIRSTEEN MCCUE
NIALL BLACK • FIONA FINDLATER • EMMA SKAER • JUDY STEWART DAVID HILL • PAUL FROY • AMIR SHERHAN • ELLIE THOMPSON AILEEN SHERRY • NAOMI IRELAND-JONES • CALLUM SMITH PRODUCTION TEAM
Burn was commissioned, in part, with the support of The Joyce Theater Foundation’s Stephen and Cathy Weinroth Fund for New Work.
Major support for The Joyce has been provided by Ford Foundation, The Harkness Foundation for Dance, The Fan Fox and Leslie R. Samuels Foundation, and The SHS Foundation.
ABOUT THE PROGRAM Alan KirsteenMoiraHeatherShilpaRobertoKevinMattAndrzejTimKatrinaAnaAnnaVickiStevenCummingHoggettMandersonMeredithInésJabares-PitaLindsayLutkinGouldingPaddenQuantumEsquenaziAlkabesT-HylandScottHansenMcCue Creator / Performer Creator / AcademicAcademicVideoAssociateAssociateIllusionSoundVideoLightingCostumeSetMusicCo-ChoreographerCo-ChoreographerDesignerDesignerDesignerDesignerDesignerConsultantLightingDesignerDirectorDesignTraineeConsultantConsultant CREATIVE TEAM CAST Alan Cumming Featuring voices of Anne Lacey and Benny Young Niall CallumNaomiAileenEllieAmirPaulDavidJudyEmmaFionaBlackFindlaterSkaerStewartHillFroySherhanThompsonSherryIreland-JonesSmith Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager Stage AssistantCostumeVideoSoundLightingSupervisorSupervisorSupervisorSupervisorSupervisorProduction Manager Producer PRODUCTION TEAM BURN CREDITS
Burn is a co-production between The Joyce Theater, National Theatre of Scotland, and Edinburgh International Festival.
FloweringHoneyedBlackfriarsFreeCalionWordsDescentMoonmoonsNautilusChristmasRhododendronReturnLimaRenderedTheBinksScotland
Lima Rendered, The Binks, and Flowering Scotland courtesy of Black Prince Fury Ltd. Solstice In, Calion, Moonmoons, and Rhododendron courtesy of Moshi Moshi Records. Hands Free, National Youth Orchestra of Great Britain (P) BBC/NMC Recordings Ltd. Descent, Christmas, and Return courtesy of The Forge. Blackfriars, Honeyed Words, and Nautilus courtesy of PIAS.
All music by Anna Meredith. Performed by arrangement with Faber Music Ltd, London on behalf of Warp Publishing.
MUSIC
Solstice In Hands
ABOUT THE PROGRAM
The company would like to thank Lewis den Hertog, Anita MacKenzie, Rambert, Pretty Scenic, Guy Bishop, Jonathon Adler, Andrew O’Hagan, Lala, Kyle Callicott, Grant Shaffer, VIP Hair, Graham Burn, and special thanks to Debbie. Manuscripts courtesy of National Library of Scotland. Excise book courtesy of National Records of Scotland (Crown copyright, E562/6/89/1).
ACKNOWLEDGEMENTS
ALAN
So said Burns in To A Mouse, and it also well describes the journey that has brought us to the opening of Burn at The Edinburgh International Festival 2022!
‘The best laid plans o’ mice and men gang aft agley.’
ABOUT THE PROGRAM
In 2015, I ended my third run as the Master of Ceremonies in Cabaret. I had just turned 50 and realised I would never be as fit or asked to dance in a show in the same way again. But I felt I still had one more in me! I meant a play or a musical that was dance heavy. Little did I think I would end up making my solo dance theatre debut at age 57!
I actually didn’t have an idea, nor a choreographer, but didn’t see either lack as a deterrent. This - whatever this was - was obviously meant to be.
I told Ross I wanted to do something about Robert Burns. I am fascinated by the real stories that lie behind well kent faces, perhaps because I have similarly altered my own narrative. And I told him I wanted to do it with Steven Hoggett and that Steven was on board. Only I hadn’t asked him or even mentioned the idea to him yet.
Over the following months we had a couple of conversations which proved tricky in defining what the show might be. We were, however, both clear and united in having a strong sense of what the piece should NOT be. For me, this is often a crucial starting point – knowing that any previous work will be of no use. This enforces new thinking and creative exercise when it comes to devising a show. It’s also how we might truly arrive at originality and this felt essential for the ideas that Alan was talking about.
In 2018, I went to see my friend Arthur Pita’s show The Tenant at The Joyce Theater in New York City, and backstage afterwards, a casual remark to Producer of Joyce Theater Productions Ross LeClair and Executive Director Linda Shelton led them to ask if I had any ideas for dance projects. I said I did. A lunch was arranged to further discuss.
….which, in any version of events, is unorthodox but not without delight. In an age where everything in theatre seems to take years to pull together, it was a pleasant realization that the initial six months of the usual process had been hurdled quite brilliantly. From our previous work together I knew Alan to be tireless in his process and also surprisingly open when it came to movement and choreography – not always the case when dealing with a leading performer. I had never worked on a one man show before but the idea of a Burns piece was electrifying to me. My own background in Literature had never been fully utilized in making a show. Each of these realities pulled together within seconds of Alan asking if I’d be interested in working with him. It was only at the end of the conversation that it became clear that Alan had already signed me up for the project. For me, this was neither presumptuous nor tactical. It was a huge vote of confidence. It was also a moment of trust from an actor about to take a huge leap of faith.
STEVEN
ABOUT THE PROGRAM
Burn in rehearsal. Photos by Tommy Ga-Ken Wan.
An early intention was to explore the idea of Burns as a national icon and a figure who, under modern scrutiny, was becoming something more complex than the beloved face on tourists’ souvenir biscuit tins. We toyed with comparing Alan’s Scottish male identity alongside Rabbie’s, and looking at male desire and our struggles to contain it - something Alan and Rabbie also share. At our first meeting in December 2020 though, that thinking changed entirely.
We had invited Kirsteen McCue to come and talk to us. As Professor of Scottish Literature and Song Culture and Co-Director of the Centre for Robert Burns Studies at the University of Glasgow, we expected a brilliant authority on everything Burns (and we were not disappointed). What we did not expect was to meet someone with such a superb sense of enquiry alongside that wisdom. Our discussions with Kirsteen set everything on a completely new trajectory.
On behalf of our brilliant creative team here in Edinburgh, thank you to everyone who has afforded us the right to think big at a time when the world seems to keep shaking us and the prevailing wisdom is to play safe. Maybe this is the perfect moment to offer up newness, to reconsider, to - like Burns himself - still
Feeling tethered to his work alone, as incredible and indelible as it is, was never going to be as revelatory as delving into his extensive correspondence. This was only made more clear when Kirsteen told us of a yet to be completed thesis by her colleague, Dr. Moira Hansen. Moira had examined Burns’ output and presented a fascinating study that lined up his periods of creativity alongside a very distinct ‘mood map’ of his life. Despite this still being in process, Moira very kindly started a dialogue with us and it was from this point that the piece truly began to form. We ran a second workshop at NTS’ Rockvilla rehearsal space in January of 2022. Amidst a flurry of COVID cases we solidified the show’s shape further and began the actual choreographic process.
She began to show us not just the icon, the myth of Burns, but gave us the context to start to see the man himself. Without us realising it, she had set us free from restraints of our own making. Kirsteen guided us to his letters and there our idea took a very healthy and significant pivot.
ABOUTdare.THE PROGRAM ALAN & STEVEN
We knew we needed time and support to develop this germ of an idea. Edinburgh International Festival had very kindly offered to premiere whatever we came up with, and as we had both worked extensively with the National Theatre of Scotland (and indeed had first collaborated on the NTS show The Bacchae, directed by John Tiffany, which premiered at EIF in 2007), we approached them to ask if they would help us explore further. National Theatre of Scotland said yes and immediately afforded us the capacity to develop a piece that, so far, was without true form or solid content.
At a time when, in some quarters, the theatre industry is on its knees, we have been met with a co-producing team that was ready and eager to provide everything we might need to create something bold, ambitious, and illuminating. And unknown. We feel very privileged to have had our entire thinking turned upside down due to two brilliant and fierce Scottish women, Kirsteen and Moira. They were the catalysts for the creation of a show that we never imagined was the one we wanted to make when we first began this incredible and ridiculous journey.
Long considered to be evidence of Burns drinking excessively, more recent work has begun to consider his melancholy as a condition in its own right. With this reexamination, comes the question of the impact of these disordered moods on his life. And, as Alan and Steven discovered, it is Burns’ letters that offer the best evidence for this, giving us the experiences in his own words.
We start with the same words that Alan and Steven quote but with a very different focus. As is often the case with Burns, there’s a multi-layered reading of these famous lines. Yes, they are a profound reflection on the realities of life with which we can all relate, but they’re also a hint of that darker aspect of Burns’s psyche, of the periods of pervasive pessimism that marked the episodes of melancholy that punctuated his life.
NOTES FROM THE ACADEMICS
What becomes clear is that Burns fears his lows. He confides only in a small number of friends he can trust, most notably Frances Dunlop, but is heart-wrenchingly honest when he does so. Through these confidences, we begin to understand why he dreaded their onset — at their most severe, they will render him bed-ridden, unable to ‘read, write or think’; the mental disorder will manifest itself physically as headaches or stomach upsets; at times, the darkness is so pervasive that he admits he ‘could contentedly & gladly resign’ life. Even milder episodes will leave him ‘in a compleat [sic] Decemberish humour, gloomy, sullen, stupid.’ Consistent across all episodes, regardless of severity, is a dullness of thought, a dampening of activity, and a muffling of the voice of his poetic muse.
Burn in rehearsal. Photo by Tommy Ga-Ken Wan.
The best laid schemes o’ mice and men gang aft agley.
What we also find, however, is that these episodes are directly related to his creativity. In the closing months of 1781, Burns suffers his first major depression; as it resolves,
ABOUT THE PROGRAM
If we know that Burns writes Tam o Shanter in late summer 1790, after one such period of elevated mood, we might then read his lines ‘pleasures are like poppies spread,/You seize the flower, its bloom is shed’ as a summary of his condition. Tam must brave the threatening darkness but, by pushing on, he can find refuge in the light of Alloway Kirk. Only there does he find that the light carries its own threat — the rising energy of witches’ dance mirrors Burns’ climbing mood state until neither he nor Tam can contain themselves and ‘Weel done cutty sark!’ brings problems of a different kind.
© Dr Moira Hansen and Professor Kirsteen McCue
Dr Moira Hansen is a Project Assistant and Postdoctoral Researcher at the University of Glasgow, having completed her thesis on the physical and mental health in the life and work of Robert Burns in 2020.
ABOUT THE PROGRAM
he produces works with titles such as To Ruin’ and ‘A Prayer, Under the Pressure of Violent Anguish, and opening lines like ‘O raging Fortune’s withering blast.’ In light of his recent recovery, they now read as poetic therapy helping him to understand what he later calls his ‘constitutional hypochondriac taint.’ It’s an approach that works and we see him use again. A Winter’s Night, written in November 1786, describes ‘… burns, wi’ snawy wreeths up-choked.’ The play on ‘Burns’ talks to an approaching melancholy, to his creativity being stifled. This first section gives way to Burns evoking the muffled voice of his muse, but the poem has a triumphant closing (in his native Scots) as he emerges from the gloom. Burns uses his creativity to map out an episode, comforting himself with the reminder that, however bad it gets, it will come to an end. While the threat of a depression is constant, it is not all darkness. Less explicitly discussed, but still evident in Burns’ correspondence, are periods of elevated moods — times where he is full of energy and full of himself, grandiose in his language, and more optimistic than circumstances suggest he should be. Thus, in early 1788, he leases Ellisland Farm despite his own better judgement of the prospects it offers; he swears close friends to secrecy but then can’t contain himself and spreads the news anyway. Despite his professions of love for Agnes McLehose, her maid Jenny Clow is now pregnant by Burns and, within weeks, he will have married Jean Armour. Other episodes see his restless energy turn out dozens of songs, original and edited, for Edinburgh publisher George Thomson, each work providing just enough distraction for his shortened attention span.
Professor Kirsteen McCue is Professor of Scottish Literature and Song Culture and CoDirector of the Centre for Robert Burns Studies at the University of Glasgow. Both have worked as Academic Consultants on the production.
For Burns, the ‘fairy pleasures of the Muse’ are a fair trade for ‘the catalogue of evils’ that his poetic temperament brings. He understands they are an integral part of who he is. Through his letters, we too can come to understand this; we open up new ways of seeing a man we think we know and new ways of reading works that seem so familiar.
We are privileged in our work to be able to spend significant time with Burns’ life and works and to be able to open these new vistas from which to see Burns. Our thanks to all our team at the University of Glasgow’s Centre for Robert Burns Studies and to Alan and Steven for their keen and stimulating creative engagement.
ALAN CUMMING (Creator/Performer) first performed at the Edinburgh Festival Fringe 38 years ago with Forbes Masson as the latter half of cabaret double act, Victor and Barry. The duo were regular Edinburgh fixtures until the early 90s, but it would be 16 years before Alan would appear again on a Scottish stage until he returned in triumph as Dionysus in The Bacchae at the 2007 Edinburgh International Festival. Other International Festival appearances include his solo cabaret shows Alan Cumming Sings Sappy Songs and Alan Cumming Is Not Acting His Age, as well as hosting several Club Cumming dance/performance parties. He has worked extensively internationally in film, television, and theatre and is an author of six books, including the #1 New York Times bestseller Not My Father’s Son. He will next be seen in Neil Jordan’s Marlowe, and opposite Katie Holmes in Rare Objects, and on television in Schmicago (the follow up to Apple TV+’s Schmigadoon), and in The Good Fight where he will revive the character of Eli Gold. His many awards for his work include the Tony, Olivier, Emmy, BAFTA, British Comedy, and Independent Spirit, and he is a multiple Golden Globe and Grammy nominee. He has received over 40 humanitarian awards for his activism, including an OBE for his work in the field of LGBT rights.
STEVEN HOGGETT (Creator/Co-Choreographer) was born in Huddersfield, studied literature at Swansea University and cofounded Frantic Assembly, of which he was co-Artistic Director. His recent work as Movement Director and Choreographer includes Harry Potter and the Cursed Child in the West End, on Broadway, and internationally; A Beautiful Noise, Angels in America, The Crucible, The Last Ship, Rocky, American Idiot, and Peter and the Starcatcher on Broadway; The Curious Incident of the Dog in the Night-Time (also in the West End and on Broadway), The Ocean at the End of the Lane, Pinocchio and The Light Princess for the Royal National Theatre; Let the Right One In for the National Theatre of Scotland, in the West End, and at St. Ann’s Warehouse, Brooklyn; The Glass Menagerie on Broadway and at the 2016 Edinburgh International Festival; Once on Broadway and in the West End; and Saint Joan at The Public Theater, New York. As Associate Director and Movement Director, his credits include Black Watch for the National Theatre of Scotland, also presented at St. Ann’s Warehouse. His recent work as director includes Social! The Social Distance Dance Club at Park Avenue Armory, New York; and Close to You: Bacharach Reimagined at New York Theatre Workshop and in the West End. With Scott Graham he co-wrote The Frantic Assembly Book of Devising Theatre, published by Routledge.
VICKI MANDERSON (Co-Choreographer) trained at the Scottish School of Contemporary Dance, Dundee, and London Contemporary Dance School. She is co-founder of the Scottish theatre company groupwork, for which her credits include The Hope River Girls and The Afflicted. Her other credits as Movement Director include; Orphans, The Enemy, and The 306: Day for the National Theatre of Scotland; Light Falls, Queen Margaret, The Almighty Sometimes, and Happy Days at the Royal Exchange Theatre, Manchester; Wings Around Dundee at Dundee Rep; Last Orders at the Dockside, The Country Girls, and Jimmy’s Hall (nominated for Best Movement Direction at The Irish Times
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Theatre Awards) at the Abbey Theatre, Dublin; Ear for Eye, Instructions for Correct Assembly, A Profoundly Affectionate, Passionate Devotion to Someone (Noun), and The Children at the Royal Court Theatre, London; Cockpit at the Lyceum Theatre, Edinburgh; See Me Now at the Young Vic, London; Square Go at Roundabout Francesca Moody Productions; Crooked Dances for the Royal Shakespeare Company; Br’er Cotton for Theatre 503; We’re Still Here for the National Theatre of Wales. Her credits as Associate Movement Director include The Ocean at the End of the Lane and The Curious Incident of the Dog in the Night-Time for the Royal National Theatre and in the West End; Let the Right One In, In Time O’ Strife, and Black Watch for the National Theatre of Scotland; and The Twits at the Royal Court.
ANNA MEREDITH (Music) is a composer and producer whose work spans contemporary classical, art pop, electronica, and experimental rock. After establishing a career in classical music, in 2016 she released her debut album, Varmints, which won the Scottish Album of the Year (SAY) Award and followed up with 2019’s FIBS, which was shortlisted for the Mercury Prize. She collaborates and tours internationally with her band made up of cello, tuba, drums, and electric guitar with Anna on clarinet and electronics. Her recent works include the large-scale orchestral piece Five Telegrams, marking the centenary of the Armistice and performed at the Royal Albert Hall, London, for the First Night of BBC Proms and outside the Usher Hall on the opening night of the 2018 Edinburgh International Festival; and Bumps Per Minute, a large-scale installation piece for dodgems where driver’s collisions trigger 18 of Anna’s compositions, which ran throughout the summer of 2021 at Somerset House, London. In 2018 she composed her first film score — for Bo Burnham’s Eighth Grade, which won the Audience Award at the Sundance Film Festival — and in 2019 she scored Living With Yourself for Netflix. She has been Composer in Residence with the BBC Scottish Symphony Orchestra, and her music has been used in fashion campaigns for PRADA, Fendi, Chloe, and Christopher Kane. She was appointed MBE in 2019.
ANA INÉS JABARES-PITA (Set Designer) won the Linbury Prize in 2013, and in 2014 she was a Jerwood Young Designer at the Gate Theatre, London, where her design for Idomeneus was selected for the V&A archive. In 2015, she won the Hechos De Talento (Spain) and last year she designed the Christmas installation for Santiago de Compostela Cidadeda Cultura. Her credits include Pride and Prejudice (*sort of) in the West End; The Lovely Bones at the Birmingham Repertory Theatre (selected to represent the UK at World Stage Design 2022); Faustus and That Damned Woman for Headlong Theatre; What Girls Are Made Of at the Traverse Theatre, Edinburgh; Twelfth Night, Cockpit, and Charlie Sonata at the Lyceum, Edinburgh; George and the Marvellous Medicine at the Dundee Rep; Daphne Oram and the Wonderful World of Sound at the Tron Theatre, Glasgow; The Driver’s Seat for the National Theatre of Scotland; Wish List at the Royal Exchange Theatre, Manchester, and the Royal Court Theatre, London; The Echo Chamber at the Young Vic, London; Breaking the Waves in St Gallen, Switzerland; L’elisir d’amore at the Waterperry Opera Festival, Oxfordshire; the world premiere of Emily Howard’s To See The Invisible at the Aldeburgh Festival; TEAM
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KATRINA LINDSAY (Costume Designer)'s costume design credits include Harry Potter and the Cursed Child in the West End and on Broadway (for which she won Olivier and Tony Awards); Les Liaisons Dangereuses on Broadway (for which she won Tony, Outer Critics Circle and Drama Desk Awards); The Lehman Trilogy, wonder.land, and Earthquakes in London at the National Theatre (NT); Hamlet at the Barbican, London; and Bend it Like Beckham in the West End. Her set and costume designs include Hex, Small Island, Three Sisters, Mosquitoes, My Country: A work in progress, Dara, Behind the Beautiful Forevers, Table, The Magistrate, London Road and Death, and the King’s Horseman at the NT, where she also designed the set for Market Boy; Cabaret in the West End; and numerous shows for the Royal Shakespeare Company. Her opera and dance credits include costumes for Benvenuto Cellini for English National Opera (ENO) and in Paris, Amsterdam, and Rome; Le damnation de Faust for ENO, at the Berlin Staatsoper and in Antwerp and Palermo; Eugene Onegin for the Royal Opera and in Sydney and Turin; Turandot for ENO; Die tote stadt in Helsinki and Tokyo; The days run away like wild horses for Rambert; The King Dances for Birmingham Royal Ballet; and The Most Incredible Thing at Sadler’s Wells, London. She was the production designer for the film London Road and is an Associate of the NT.
TIM LUTKIN (Lighting Designer) trained at the Guildhall School of Music and Drama, London, where he is currently a guest lecturer. In addition to lighting productions in the West End and throughout the UK, he has lit arena tours, large-scale events, musicals, and plays internationally. His credits include Life of Pi (for which he won an Olivier Award), Back to the Future, Chimerica, Four Quartets, Fiddler on the Roof, Noises Off, Elf, Big, Quiz, The Full Monty, Impossible, The Girls, The Go-Between, Close to You, and Strangers on a Train in the West End; Under Milk Wood, Anthony and Cleopatra, Salome, Les Blancs, and Jack Absolute Flies Again at the Royal National Theatre; A Number, Lungs, Present Laughter, and The Crucible at the Old Vic, London; Timon of Athens, The Rover, and Candide for the Royal Shakespeare Company (RSC); All’s Well That Ends Well for the RSC and on tour; and Macbeth and Chimerica at the Almeida Theatre, London. His work for Walt Disney Imagineering includes The Lion King — Rhythm of the Pride Lands, Mickey and The Magician, Marvel Superheroes United, Frozen Celebration, and Disney Junior Dream Factory at Disneyland.
ANDRZEJ GOULDING (Video Designer) studied Theatre Design at Central Saint Martins in London and is excited to return to Edinburgh where he went to Secondary school. Theatre includes: Henry V (Donmar Warehouse, NT Live); Life of Pi (Sheffield/West End); The Da Vinci Code (UK tour); & Juliet (West End, Toronto, Broadway); The Drifters Girl (West End); People, Places and Things (NT/West End); Groundhog Day (Old Vic/Broadway); Room (Stratford East/ Toronto); The Unfriend, The Boy in the Striped Pyjamas, 8 Hotels, Pressure (Chichester); Coriolanus (Donmar Warehouse, NT Live); Message in a Bottle
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and The Art of Violence and Animalis at the Dulwich Picture Gallery. She also codirected the premiere of A&E at the 2020 Tête á Tête Opera Festival.
ROBERTO ESQUENAZI ALKABES (Associate Lighting Designer)' recent credits include The Route (Bush); Penetration (The Cockpit); As You Like It, A Winter’s Tale, Consent, Red Velvet, Margot Monroe’s Nibelungenlied (RADA). As assistant to Tim Lutkin: Mickey & Minnies Magical Voyage (World Expo Dubai). Roberto recently completed the Pet Shop Boys’ ‘Dreamworld’ Tour as video control technician. Roberto is a graduate of The Royal Academy of Dramatic Art, London.
MATT PADDEN (Sound Designer) was the first Head of Sound of the National Theatre of Scotland (2008–17), for which his work includes The Enemy, 68 Months in Waiting, Sore Afraid, The 306: Dusk, How to Act, Last Tango in Partick, Last Dream (On Earth), and A Christmas Carol. His credits elsewhere include Heroine at the Kennedy Center, Washington D.C.; Missing People at the Leeds Playhouse and the Kani Public Arts Centre (Japan); Story Futures for Nexus; Last Orders at the Dockside; The Country Girls and What Put the Blood at the Abbey Theatre, Dublin; A Christmas Carol at the Pitlochry Festival Theatre; KES and Gaslight at the Perth Theatre; the Sound Symphony for Independent Arts Projects; The Three Musketeers at the Duke’s Theatre, Lancaster; Long Day’s Journey Into Night at the Citizens Theatre, Glasgow, and HOME, Manchester; The Hidden for Visible Fictions; Cockpit at the Lyceum Theatre, Edinburgh; and Shrapnel for Theatre Gu Leòr, Glasgow.
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KEVIN QUANTUM (Illusion Consultant), scientist-turned-magician, was trained by the best magicians in the business - Penn and Teller. He has been a magician for fifteen years creating award winning productions at Fringe Festivals around the world, including this year’s Edinburgh Fringe (Dark Matter). A Guinness World Record breaker, he has consulted on numerous documentaries, movies, and theatre shows and also presents to the corporate world on topics including creativity and distraction. His unique magic creations saw him reach the final stages of Britain’s Got Talent, have had tens of millions of views on YouTube & Facebook, and have been broadcast on television shows in almost every country in the world. When home, here in Edinburgh, he is Artistic Director of the UK’s only magic festival; Edinburgh International Magic Festival (founded 2010), and has presented, produced, written, pushed, pulled, laughed, cried, and ultimately brought joy and delight to tens of thousands of people with magic productions created, often with Kevin’s oversight, in Scotland and invited from all around the world.
Burn in production. Photo by Tommy Ga-Ken Wan.
SHILPA T-HYLAND (Associate Director) read Theatre Studies and English Literature at Glasgow University and the University of California, Davis, and in 2017 graduated with an MA in Classical and Contemporary Text at the Royal Conservatoire of Scotland (RCS), Glasgow, where she is currently a PhD candidate. Her previous work with the National Theatre of Scotland includes Listen to Me for the Scenes for Survival digital series (as Director), The 306: Dusk (as Associate Director), The 306: Day (as Assistant Director), and Anything That Gives off Light (as Trainee Director). Her directing credits elsewhere include Revolution Days for Bijli; We’ll Meet in Moscow at the Traverse Theatre, Edinburgh; Roxana at the Paisley Book Festival; How to Disappear Completely and Never be Found and Bubble at the RCS; Miss Julie for Horsecross Arts, Perth, as the inaugural winner of the Horsecross Trust Young Director Award; and The Dragon and the Whales, Atlas and Erin, Errol and the Earth Creatures for Modest Predicament. Her credits as Associate Director include Still at the Traverse Theatre and Pride and Prejudice (*sort of) at the Lyceum Theatre, Edinburgh, and she was the Assistant Director of Crocodile Fever at the Traverse Theatre, of which she is an Associate Artist.
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National Theatre of Scotland is a Theatre Without Walls. We don’t have our own building. Instead, we bring theatre to you. From the biggest stages to the smallest community halls, we showcase Scottish culture at home and around the world. We have performed in airports and tower blocks, submarines and swimming pools, telling stories in ways you have never seen before. We want to bring the joy of theatre to everyone. Since we were founded in 2006, we have produced hundreds of shows and toured all over the world. We strive to amplify the voices that need to be heard, tell the stories that need to be told, and take work to wherever audiences are to be found.
Jackie Wylie, Artistic Director & Chief Executive, Brenna Hobson, Executive Director, Seona Reid DBE, Chair.
For three weeks in August each year, the Edinburgh International Festival offers an unparalleled celebration of the performing arts and an annual meeting point for people of all nations. The International Festival presents a programme featuring the finest performers and ensembles from the worlds of dance, opera, music, and theatre.
Our impact extends beyond an annual programme: our community learning and engagement and professional development programmes run throughout the year, reaching the widest possible audiences and contributing to the cultural and social life of Edinburgh and Scotland. We believe that by creating new experiences and new encounters – whether in a concert hall, a community centre, or online – we can help everyone to discover more about what we share as humans, celebrate the qualities that make us different, and tackle the challenges we all face as a global community together. Find out more about the ways in which you can join and support our work at eif.co.uk/support-us
ABOUT THE CO-PRODUCERS
NATIONAL THEATRE OF SCOTLAND
Joyce Theater Productions (JTP) is the in-house producing entity for The Joyce Theater Foundation, Inc., formed to create original work for The Joyce’s stage and for worldwide touring. This initiative provides dance artists who have little or no formal management or infrastructure the means to create productions of the highest standards of excellence. The program also includes the Associate Company model, offering sustained producing, fiscal, and/or administrative management to companies that may require short or longer term support. To learn more abut JTP, please visit joyce.org/joyce-theater-productions
JOYCE THEATER PRODUCTIONS
For the latest information on all our activities, visit us online at nationaltheatrescotland.com.
EDINBURGH INTERNATIONAL FESTIVAL
“a dazzling transfixingpiece,andstrangely resonant.” — THE GUARDIAN “bold, arrestingvisuallydancedesignedwithcinematicflair.” — THE STAGE US PREMIERE CROWD OCT 13—15 BAM IN ASSOCIATION WITH FIAF’S CROSSING THE LINE FESTIVAL PRESENTS CROWD CONCEPTION, CHOREOGRAPHY AND SCENOGRAPHY BY GISÈLE VIENNE Next Wave 2022 TICKETS START AT $35 BAM.org HananiaEstellePhoto: Season LeadershipSponsor:support for BAM Access Programs provided by the Jerome L. Greene Foundation Leadership support for programming in the Howard Gilman Opera House provided by: Leadership support for dance at BAM provided by: Leadership support for dance at BAM provided by The SHS Foundation Leadership support for CROWD provided by Dance Reflections by Van Cleef & Arpels: Inc.Music,ofAcademyBrooklynoftrademarksareTeknopolis®andWave®NextEverybooty®,Music®,ofAcademyBrooklynBAM®,2022.Inc.Music,ofAcademyBrooklyn©
kitchen + bar valid at 184 8th avenue only dine-in orders only WITH PROOF OF$1TICKET.954 JOYC E T H E ATER SPECIAL served with fries sub sweet fries, onion rings, and side salad +.1.25 standard 2 organic beef patties, colby, caramelized onions, dill pickle, special sauce so co 2 all-natural turkey patties, avocado, organic tomato, baby kale, red onion, spicy green goddess classic chix buttermilk-fried nae* chicken, organic tomato, organic lettuce, dill pickle, garlic aïoli, honey mustard my sunshine sweet potato, kale & wild-rice patty, avocado, baby kale, organic tomato, spicy green goddess chicken caesar salad asiago, crispy chickpea, mixed greens, organic grape tomato, caesar with nae* grilled chicken •purchaseuponticketTheatreJoyceshowmust•ersootheranywithcombinedbecannot showofdaystwowithinvalidbemustticket
TICKETS 219 W 19th Street, New York 10011 newyorklivearts.org
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“Johnson is trying to spark some healing and some change in the world...and she’s good at it.” - The New York Times The culminating dance in an iconic body of work spanning sixty years. EMILY JOHNSON | CATALYST BEING FUTURE BEING NEW YORK CITY PREMIERE OCT YVONNE20-22 RAINER HELLZAPOPPIN’: WHAT ABOUT THE BEES? WORLD PresentedPREMIEREinpartnership with Performa OCT 5-8
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This just in! HAVANA, CUBA
Travel with The Joyce to exotic places throughout the world with companions who share your love of dance. Excursions are led by a Joyce director, and exclusive perks such as private meetings with artistic directors, choreographers, and dancers will make your travel experience truly unique. Past trips include Cuba, Russia, France, China, Colombia, Sri Lanka, and many more! more information, please contact Vernon Scott at: vscott@joyce.org or 646-278-0442 and Deposit due by September 30. 1-6 with the Joyce Travel Program (*final travel dates tbd). this plans!
. Registration
Pack your bags in support of the Cuban people and attend The Havana International Dance Festival November
For
opportunity to make FAST
Don’t miss
TRAVEL WITH THE JOYCE
Champion support for The Joyce's annual programming:
LuEsther T. Mertz Charitable Trust Season
The Fan Fox and Leslie R. Samuels Foundation
An abundance of gratitude to Senate Majority Leader Charles E. Schumer, Senator Kirsten Gillibrand, Representative Jerrold Nadler, and Representative Nydia M. Velázquez for their visionary leadership that established the Shuttered Venue Operators Grant program, which has helped make the reopening of The Joyce Theater and the reemergence of many dance companies possible.
Leadership support for The Joyce's year-round programs and services:
Many Thanks to The Joyce's Institutional Funders for Keeping Us Moving Forward
Major support for The Joyce's operations and special initiatives:
Major support for The Joyce’s American Dance Platform and Harkness First debuts:
FUNDERS
The Joyce Theater Foundation ("The Joyce," Executive Director, Linda Shelton), a nonprofit organization, has proudly served the dance community for over three decades. Under the direction of founders Cora Cahan and Eliot Feld, Ballet Tech Foundation acquired and The Joyce renovated the Elgin Theater in Chelsea. Opening as The Joyce Theater in 1982, it was named in honor of Joyce Mertz, beloved daughter of LuEsther T. Mertz. It was LuEsther’s clear, undaunted vision and abundant generosity that made it imaginable and ultimately possible to build the theater. Ownership was secured by The Joyce in 2015. The theater is one of the only theaters built by dancers for dance and has provided an intimate and elegant home for over 400 U.S.-based and international companies. The Joyce has also expanded its reach beyond its Chelsea home through off-site presentations at venues ranging in scope from Lincoln Center’s David H. Koch Theater, to Brooklyn’s Invisible Dog Art Center, and to outdoor programming in spaces such as Hudson River Park. To further support the creation of new work, The Joyce maintains longstanding commissioning and residency programs. Local students and teachers (K–12th grade) benefit from its school program, and family and adult audiences get closer to dance with access to artists. The Joyce’s annual season of about 48 weeks of dance now includes over 340 performances for audiences in excess of 150,000 patrons. Visit Joyce.org for more information.
Lead corporate support:
ABOUT THE JOYCE THEATER FOUNDATION
ChampionSponsor:support
for The Joyce's Dance Residencies:
We sincerely invite you as an audience member to take a moment to reflect on the history and legacy of displacement, migration, and settlement.Itisourintention to work with local Native American arts councils to better inform our land acknowledgment practices and anticipate that it will evolve over time.
• Create and implement proactive diversity, equity, inclusion, and justice initiatives;
the ongoing violence towards Indigenous people through systemic inequality. We pay our respect to the Indigenous peoples who lived and continue to live upon this land, and whose rich history, artistic practices, and spirituality are tied to this land. It is within our responsibility as a cultural institution and our commitment to diversity and inclusion to embody a commitment to Indigenous rights and cultural equity.
EXECUTIVE DIRECTOR
Assistant..................................................Annie
House Manager
OfficialGeneralArchitects.......................................................HughInsurance..........................................RiskPrinter....................................DirectPublicity.....................................................................BillyDigitalAccounting...................................................................LutzGlick.....................................................KimberlyFrankfurtStroock....................................................................................................................SabrinaAndrewSusan(OfCounsel.............................................................SaraLLP..............................................................E.Solfanelli(SpecialforProBonoInitiatives),HowardB.EpsteinCounsel),GregoryP.Pressman,Esq.(OfCounsel),E.Bernstein,Esq.(SpecialCounsel),B.Lowy,Esq.,AnnK.Young,Esq.,Singh,Esq.,.........................................................................&Stroock&LavanLLP...........RossF.MoskowitzEsq.KurnitKlein&SelzPC.............................................M.Maynard,Esq..andWeintraubPC........HarryH.Weintraub,Counsel&CarrMarketingFirm.........................CapacityInteractiveZavelsonPrintingImpressionsInc.StrategiesCompanyHardy,FAIAContractor.....YorkeConstructionCorporationFlowerSponsor.......TheFlowerSchoolNewYorkCrunchFitnessistheOfficialGymSponsorofTheJoyceTheater.TheJoyceTheaterisamemberofAPAP,Dance/NYC,andDance/USA.
Supervisors...................................Beth Miller, Vanessa Moton Box Office/JoyceCharge Staff..........................Kiersten Foster, Tatiana Gomez, Yulidal Hernandez Kin, Roy Odom, Jasmine Webb
To achieve this, we will:
...................................................................................LaurenDance....................................................................MarianneAssistant..................RoseWeberEducation&FamilyProgramsIntern........................Pagano
....................................................
............................................................OPEN
• Establish and maintain a culture of safe sharing, intentional listening, learning, and growth;
Box Office Manager
• Develop metrics and conduct regular reviews of our programs and policies to hold ourselves accountable and shift as neededs.
The Joyce Theater operates on the Lenape island of Manhahtaan (Mannahatta) and acknowledges that it was founded upon the stolen land and erasure of many Indigenous communities. This acknowledgement demonstrates our institution’s commitment to the process of dismantling the legacies of colonialism and cultural Weimperialism.acknowledge
We strive to counteract the social injustices and racism that exist within our communities, our nation, and our world. Our aim as an organization is to embody the principles of diversity, equity, inclusion, and justice.
VISION STATEMENT
SPECIAL SERVICES FOR THE JOYCE THEATER
Assistant to the Executive Director........Ayo Janeen Jackson
Hollenbeck Finance Associate.......................................Savá M. B. Martin Finance Clerk......................................................Xavier DelValle Database Administrator....................................Jim Seggelink Director of Information Tech Patricia A. Yost PRODUCTION Director of Production Jeff Segal Lighting Supervisor................................................Kelly Atallah Technical Director.............................................Lou Albruzzese Head Audio................................................................Sean Mullins Lighting Board Operator...................................Kyle Hagen Head Carpenter...............................................Web Crittenden Head Electrician..............................................Brittany Spencer Stage Technicians...............................Edward Hill, Kahlil Jahi Donald J. Rose, MD Director, Harkness Center for Dance Injuries at NYU Langone Health is the orthopedic and dance medicine consultant for The Joyce Theater Foundation. First Republic is the preferred private bank of The Joyce Theater Foundation.
FRONT-OF-HOUSE
..................................
General Manager Huong Hoang Associate General Manager.................................Katy Myers Human Resources Manager Sharonica Williams Office Manager................................................Christine Guglia
The Joyce Theater Foundation is committed to fostering and supporting a diverse and inclusive environment, both on and off stage. We embrace and celebrate diversity in all its forms, and value the rich experiences and perspectives that arise from differences in race, ethnicity, socio-economic status, religion, age, sexual orientation, gender identity and expression, and cognitive and physical ability.
ADMINISTRATION
ABOUT THE JOYCE THEATER FOUNDATION
Finance
JOYCE THEATER PRODUCTIONS
Assistant House Managers.............................Joseph Burke, Charis Lord-Haines, Kenneth Harlin, Chikako Iwahori, Di’Shai Oquendo, Utafumi Takemura, Nicholas Thomas
FACILITIES
LINDA SHELTON
Facilities Manager Jimmy Ortiz
Director of Marketing Andy Sheagren Associate Director of Marketing Strategy.....Anjali Amin Digital Marketing Manager........................Julia Thorncroft Marketing Manager..............................................Nadia Halim Marketing Marx Director of Margaret
......................................Danni
Producer Ross LeClair
BOX OFFICE
Lisa Gendell
Samantha Fernandez
• Engage with and support disenfranchised communities by sharing information and resources and ensuring accessibility;
With these goals in place and our Vision Statement in mind, we are dedicated to the continued learning and growth needed to foster an inclusive environment for all. This is an ongoing process and by nature will be an evolving statement.
Associate Producer
Maintenance Staff.........................................Madelin Estrella, Yohanna Hernandez, Pablo Rodriguez
Schulte Roth & Zabel
LAND ACKNOWLEDGEMENT
Director of Development OPEN Director of Institutional Giving..........................Jean M. Ross Assistant Director of Individual Giving............Meg White Assistant Director, Special Events.................Vernon Scott Individual Giving Manager.....................................Jesse Chin Institutional Giving Manager..........................................OPEN Special Events Associate...................................Maeve Brady Development Coordinator.............................Catherine Eng Director of Programming Gee Programming Manager.....................................Christine Tully Artist Services Manager.....................................Barb Domue Director of Dance Education & FamilyHeatherProgramsMcCartney Dance Education & Family Programs
$25,000 and above Jane E. Goldberg Cecilia & Jim Herbert Jane Kendall & David Dietz Elysabeth Kleinhans Arnie & Susan Scharf Richard Shea Jennifer & Jonathan Allan Soros Fiona J. Tilley & Gürhan Orhan Dave Waks & Sandy Teger Chris & Lonna Yegen Carol Yorke & Gerard Conn
Lila Wallace-Reader’s Digest Endowment Fund Stephen and Cathy Weinroth Charitable Trust
Ronald Gumbaz
Richard B. Fisher and Family R. Britton Fisher and Family Rockefeller Brothers Fund
$250,000 and above
Mr. & Mrs. Ira Haupt, II The Lawton W. Fitt & James I. McLaren Foundation James H. Ottaway, Jr. Kathleen A. Scott Linda Shelton
THE JOYCE THEATER FOUNDATION, INC. BOARD OF TRUSTEES
John M. Basnage de Beauval
The Joyce honors the following individuals, corporations, and foundations for their visionary support of our mission of advancing the vibrant and extraordinary art of dance. Funds contributed to the endowment campaign will allow The Joyce to continue its support of the dance community and to commission new work. $1 Million and above
Lynne & Richard Pasculano Michèle & Steve Pesner
The Coca-Cola Foundation
LEADERSHIP SUPPORT FOR A NEW VENUE FOR DANCE
The Cory & Bob Donnalley Charitable Foundation
Founders and Trustees Emeriti: Cora Cahan and Eliot Feld
Kerry Clayton, Chair Emeritus
Doris Duke Charitable Foundation
ROBERT STERLING CLARK FOUNDATION THE SEPTEMBER 11TH FUND ALFRED P. SLOAN FOUNDATION
David D. Holbrook, Chair Emeritus
R. Richard Ablon Charles M. Adelman Rob MonicaAshfordF.Azare
The Fan Fox & Leslie R. Samuels Foundation The Starr Foundation
The Estate of Dorothy Lefkof The William Randolph Hearst Foundations
LuEsther T. Mertz Charitable Trust
Richard A. Lukins & Karen Fry Saul & Mary Sanders Susan Fawcett Sosin
ENDOWMENT CAMPAIGN
$50,000 and above
$500,000 and above
Keane Ehsani
Toni
Ronald Gumbaz & Juliet A. Cozzi JPMorgan Chase Foundation
FORD FOUNDATION
Virginia A. Millhiser, Chair Amit Wadhwaney, Vice Chair Stephanie R. Breslow, Treasurer Jane E. Goldberg, Secretary
SusanRobertHooverMusikerGluckPappajohnStevenM.PesnerMerylRosofsky
Saul SusanLindaSandersSheltonFawcettSosinLaurenE.ShorttMonicaB.VoldstadMadelynWils
Ferne Goldberg Sperling & Allan Sperling
Jim & Linda Ellis
$5,000 and above Anonymous (3) Barbara & Robert Berkley Philanthropic Fund Barbara Berliner & Sol D. Rymer
Support for planning costs associated with establishing a third venue for dance as part of the rede veloped World Trade Center site has been generously provided by a grant from the Lower Manhattan Development Corporation, which is funded through Community Development Block Grants from the U.S. Department of Housing and Urban Development. Leadership support has also been provided by:
MELLON FOUNDATION
Stephen D. Weinroth, Chair Emeritus
In Memoriam: Theodore S. Bartwink (Trustee 1993-2014), R. Britton Fisher (Trustee 1990-2020), Richard Lukins (Trustee 1998-2011), Anh-Tuyet Nguyen (Trustee 2007-2020), Richard Shea (Trustee 2015-2022)
AjayTracyBhandaramBrown
David & Andrea Holbrook
$100,000 and above Anonymous (1) Alphawood Foundation Kerry Clayton & Paige Royer The Horace W. Goldsmith Foundation
R. Richard & Margery Ablon Apollo Management, L.P. Stephanie Breslow & Paul Watterson
Jerome A. and Estelle R. Newman Assistance Fund, Inc. Rudolf Nureyev Dance Foundation
Henry and Lucy Moses Fund Robert Musiker
Kara Medoff Barnett & Dov Barnett
In loving memory of Bill Perlmuth, Patricia Dugan Perlmuth Rajika & Anupam Puri Nina B. Quigley Mr. Stephen Kroll Reidy Nancy LindaJeanAllanChristopherBarbaraSER.O.YAMargaretSandsE.SelbyMadsenSmithSouleSperling&FerneGoldberg&GeneStarkB.Strumpf Director’s($2,500Circleandabove)
Kerry Clayton & Paige Royer Ford Foundation
Deborah & Charles Adelman
Mertz Gilmore Foundation Toni Hoover
The Harold K. Gross Family Charitable Trust Susan Ross Green Sharon B. Gurwitz
Jane E. Goldberg
Sarah BarbroArisonOsher Pro Suecia
DeniseTheTheTheRobertNewNationalVirginiaFoundation&TimothyMillhiserEndowmentfortheArts/AmericanRescuePlanActYorkCityDepartmentCulturalAffairsPollockFanFoxandLeslieR.SamuelsFoundationSHSFoundationShubertFoundationLittlefieldSobel
FUSEDFrench U.S. Exchange in Dance Barbara Goldstein Paul Feuerman & Bruce Grivetti Mr. & Mrs. Edwin Goodman Randall & Mary Hack Elizabeth Anne Hartman Judith M. Hoffman Val Holley & Joseph Plocek Illuminated Foundation Alan & Gail ChristopherKossJones & Deborah McAlister Christine Knuth Elizabeth & Neil Kurtz Robert R. Littman & Sully Bonnelly Karen & Martin McDonald Ronay & Menschel/CharinaRichard Foundation, Inc.
Benefactors($50,000 and above)
Anonymous (2) R. Richard Ablon Adrienne Albert
The Joyce Theater appreciates the generosity of its supporters listed below as well as its many other supporters too numerous to include on these pages. List as of August 5, 2022.
Stephen & Cathy Weinroth Madelyn & Steven Wils
The Jennifer and Jonathan Allan Soros Foundation Monica Voldstad
Platinum($500,000Benefactorsandabove)
Ronald Gumbaz & Juliet Cozzi Leanne Lachman
In MidMotionAtlantic Arts Foundation
SusanFoundationDickler& Sig Van Raan Melina Fisher
TorrenceBloombergBhandaramPhilanthropiesBoone&TedChapin
Joe
Anonymous (3)
Sylvia AlpernAblonFamily Foundation
Rick & Nurit Amdur Joel & Rhela Aragona Sandra Berger Marty & Louise Bickman Judi Rappoport Blitzer & David Blitzer Ralph & Martine Calder Victoria V. Carey Larry & Ronnie Cohen Cathleen Collins Mary Sharp Cronson Miriam & David Donoho Christopher M. Elmore Andrew & Claire-Marine Ferguson Thomas von Foerster Bart Friedman & Wendy Stein Rochel Gelman
Office of Cultural Affairs, Consulate General of Israel in New York
JOYCE THEATER FOUNDATION DONORS
BarbaraNissanBonnaudBoury&Gary Brandt
Silver($75,000Benefactorsandabove)
New York State Council on the Arts
Robert Brenner Con JamshidEdison&Mahshid Ehsani John & Margaret Falk Nancy & Michael Feller Gregg & Jean Frankel Sylvia CharlesGoldenandJoan Gross Family Foundation Elzbieta Grove David & Andrea Holbrook In Honor of Karen Brooks Hopkins The Ivill-Weiner Family The Kingsley Foundation Elysabeth Kleinhans Melanie Coronetz & Bruce G. Miler LeConte Moore Edward J. Petrou Tatiana Piankova Foundation Karen KathleenRothA. Scott Linda Shelton Leslie MichelleJohannaSiegelWeberD.&Claude L. Winfield
The Harkness Foundation for HowardDanceGilman Foundation Mellon
Presenter’s Circle ($5,000 and above) Anonymous (2) Rob AndrewMonicaAshfordAzare&Froma Benerote
Ms. Pamela Crutchfield
Leaders($1,000 and above)
Anonymous (10)
The Gladys Krieble Delmas
Robert Allyn Neme
BankGeraldAlpersteinM.AppelsteinofAmericaMerrill Lynch
Impresario’s Circle ($10,000 and above)
Edward Brill
Amit Wadhwaney
Saul & Mary Sanders
The O’Donnell-Green Music and Dance Foundation
Maya RonaldHamletE.Hellman & Stephen B. Roberts William Houlihan
Betty P. & Michael H. Rauch Theresa Alessandro Russo
WesFoundationSchafer& Carlos Galtier Susan & Arnie Scharf
Chairman’s Circle ($25,000 and above)
Alison KimDorothyPamelaBaumBaxterBlackBleimann& Paola Duran
Jane ElaineKendall&Howard Leventhal Martin & Rosanne Leshner Jayne Lipman & Robert Goodman Mark Littman & Johnny Mendoza In Memory of John MacDonald Maria Mackey Uttara P. Marti Wendy McCain Joyce F. Menschel David & Diana Milich Jane & Michael Murphy Mutual of America Foundation Cherrie Nanninga David
LuEsther T. Mertz Charitable Trust Gold($100,000Benefactorsand above)
National Endowment for the Arts
National Dance Project of the New England Foundation for the Arts
BillyRalphIrvingAlexandraDavidMs.SusanConsulateMariannaLindaMarkAlexRenaRobertSchulmanA.SchulmanShagan&WendyStantonStevens&MaryMurphyStocknoffVaidmanStone&EricStoneGeneralofSwedeninNewYorkUlickPatriciaE.VanceE.VogelWheeler&RockyRukan&ElaineWolbromWomble&AshleyEdwardsF.B.Wong&StephanieGordon
Susan Fawcett Sosin
Donya & Scott Bommer Office of City Council Member Erik Bottcher Donna B. Case
Xiomara & Charles Scheidt Fran
First Republic Bank
The Jerome Robbins Foundation Meryl Rosofsky & Stuart Coleman Lauren E. Shortt
Anonymous (2)
JohnFoundationBasnage de Beauval
Jody & John Arnhold | Arnhold Foundation
Ajay
Jeffrey Davis & Michael T. Miller Dancers Responding to AIDS DeWitt Stern Group, Inc. Keane Ehsani Linda ChristopherEllis Evans & Josh Garner Martin & Linda Fell Jeanne Donovan Fisher
GKV Charitable Foundation
Susan & Greg Pappajohn Michèle & Steve Pesner
WarriePasterskiPrice&JamesDavid Prince
Cornelia T. Bailey Foundation Stephanie R. Breslow & Paul Watterson
The Barbara Bell Cumming Charitable Trust Chubb LTD
David L. Fanger & Martin Wechsler
BonnieChristianEloiseCarolBrannCooperEllyVicenteAmyBillLucyGeorgePamelaVeenaTempleGaryKenSwedishWilliamAbbieChristinaRogerMamieMichaelFranEllenPaulLeonMarilynJosephLynneLisaIreneChristinaMichaelJesseSusanBarbaraMosheAlessandroDeborahPaulaGailKarenMarilynDianaHarveyEllenDonaldAnnMaryPhilipCaseDavidStevenDonnaCaroleJudithDouglasDougPennington&TeresaPeterson&BarbaraPitschPlowsPostal&JamesPressman&DebbiePrinceAlan&SusanBerkmanRahmvanRijW.RiskinCharitableFoundationJoRobertielloSahidRoscheJ.Rose&VictoriaLasdonRoseRosenRosen&MichaelRothenberg&AlanRothsteinRoyceRussellRyanSales&TedStriggles&FeSaracino-FendiSasson&DavidSchimanskySchweitzer&CarolSchwartzSekus&BiancaRussoSelinShen&RandySiegelSmalleySmith&LeslieHendrixSobelSokolSolomonSorrin&DavidYorkSperlingStanleyandJustinStewartStoltz&ShaunaStoltz-LaurieStrackM.StrasslerSussman&JaneSteeleInstituteandtheSwedishEmbassyinCubaTabachnick&YaelMandelstamTannenbaum&HelenJ.MillsStClairLLCUpadhyayvanZandt&GinaGibneyVanderploegVassermanMichael&CarolWeissWhelanWilliamsWolfKarpWongWright&MichaelMarino&EllenWryYorke&GerardConnZellerZimmermannZamosky-Roth
Kenneth S. Kail & Ivy Hwang
Jason
In Honor of the Weinroths Lynn Hopkins Gary Horowitz & Tom Wyse Shannon M. Houston
Margeaux Klein
Derek RichardJohnsonA.Kahn & Thomas Lutazi
Pamela Baxter
Mr. Christian K. Keese
Erin Feeley-Nahem & Isaac Nahem
Maria Vittoria Foglia
Barrie Gillies & William Drummy Susan Egbert Gilroy
Jim & Kristen Albright Donald R. Allen & Mildred Munich LaRue Allen & Ebonya Washington Ellen
Susan Lampard
LDJ
Joyce AaronO’BrienSinger and Bart Oosterveld Trisha Ostergaard David Parsons Peck Foundation, Milwaukee LTD Amy
Clay H. Barr
Judith Z. Friedman
Madeline Brine Matt
Mr. Richard Erstad & Dr. Gladys Fenichel
Judith & Alan Fishman
The Donut Pub Jack & Eleanor Dunn
JoanPaulLucieMariaDebraAlpertR.AnismanCristinaAnzolaS.ArchboldAsman&JillLenobleBrooksBaker&
Brandon Fradd
DukeVictoriaWilliamBetsyMatthewChuangC.CluneyCornwallCosperCowlesDang&Charles
Jonathan M. Nadler Barbara Nagel
Anonymous (12)
Carol Bryce Buchanan
George C. Howell, III Mary & David Iles
Diana JenniferCagleKornreich Cahn & Andrew Cahn Susan Campbell Karen Carozza
John and Janet Foord
I. Michael Kadish
EdwardJanetLaurieDr.MelanieAlexandraDeborahHamiltonHaradaL.HarperC.HarrisElisabethHefti&JackHelfinL.HennerHenry&Susan
Woody & Janice Collins
John & Nada Culver
John Graney, MD
Patric & Patricia Gregory Ava
MichaelMr.MillerLynMarciaLynnRobertElizabethJonnaSharonDavidRobertRachelMichaelReginaldProductionsvanLeeG.LemleS.Levine&DorinaLinkLovett&MegRuleyLuckman&PaulShapiroMackinA.MaherMarlinC.MautnerKramerMayerMcHughKhoshkishFoundationWayne&Mrs.BarbaraMillerMulligan
Lauren Klein Hans Koch Kathy GeorgeKrall&Liz Krupp
Peter C. Friedman
Jeffrey B. Bruce
Ann LarryChao&Ronnie Cohen
Ellen Hirsch
Jordyn A. Buchanan
Ania Fryszkowska & Alex Louizos
Ms. Beth Rudin DeWoody The Cory & Bob Donnalley Charitable Foundation
Jan Albert
James B. Jacobs & Jan Sweeney
Tony & Suzy Davis
Judy & Richard Feldstein
Barbara Dau
Jonathan Davis
Charles T. Davis
E. Rosen
LindaJoannaBrodileBueche&Joseph Camardo
Robert & Carol Braun
Dr. Bernard M. Jaffe
Monk
Dorothy Goodman
Judith Landon
In memory of Richard Shea Jane CarolineComer&Paul Cronson
Sondra Kurtin Robinson
Jennifer Bandier Betsy Barbanell
Joan & Ira Berkowitz
Irene Rosner David, in Memory of Dr. Raphael David Jeffrey Davis & Jamie Alpert David H. De Weese & Anne Heller
The Eilers Family Suzanne B. Engel
Anne JosephJulieJenniferSophieElizabethKarenMichaelPhyllisKennethStephenArthusAudreyBrianEllenValarieRobertJenniferJanH.RobertWalterBettyKennethLauraDavidRalphEricaCheriMr.ElizabethMr.SheilaIraCharlesGinaGlenJaneCharlesBruceGrantLenoreBrianKatherineNitaElaineVirginiaDwightProf.GeraldineEliseKarenTomEileenHerbertBobbyRobertDr.JudithDavidRobertMichaelDeboraNancyDuaneDeBevoiseDevriesDenisonDomassEizenbergElder&JacquelineFoxElder&IngridEllen&WalterFlamenbaumSarahFox&Mr.StevenLochieFraiman&VickiFreeman&JudyFreedman&ConoFusco&NinaGellerGershowitzLarrabureGirasoleGlassmanJamesA.GlazierGloverGoldGoldman&ChuckGoodgalGoodmanK.Gould&EdwardGrabowskiFamilyCharitableFundGreenwald&CarolGrossmanFamilyFundGroveman&PaulaGunsalusHarman&ElaineHarrisHaupt,IIHeimbinderMichaelD.HerskovitzLevittHirschGregoryHo&Ms.LindaSanchezHoffHartman-Horvitz&LynnHuberH.Hughes,Jr.J.Illich&JillIscolIuJaffe&PaulKing&MarcyKatzDavidKaplanS.KeithlyAleyKenney&ElaineKleinKochKoshland&RosemaryKowalchukLam&JaneLaneB.LaneM.LeClair&CaryLemkowitzLemleLewis&DurwoodLittlefieldMain&GideonMalherbeMandelMarcusM.Marger
Mason & Kim Granger
Margaret Kaplen
Investors($500 and above)
Lynn N. Schusterman
GregoryTomGeorgeStephenSaraKateCarolChrisSedgwickGregoryLouiseCharlesThomasMernaVickroyVillarejoAllenWalkerWalkerWasher&MaryClayFieldsWard&PamelaWardWatsonA.WeilWeilWeinheimerD.WeinsteinS.Werner&LiWernerWhelanYoudan
Victoria Morris
Edward Siegel
JimLeslieBrohanBucklandBumgardner & Lou Tharp
In Memory of Tracy Scherman Marva & Florian Schodel
Nilda Bayron-Resnick Joan & Ira Berkowitz Kate Bicknell
Robert
Bird
Roz Black & Bob Eimicke Stan & Abby Bloch Lindsley Borsodi Paul
Oosterveld
ElaineTheodossios& Athanassiades
Rachel Ostry, MD
Weiss
Deborah Burand Michael & Jennifer Campagna Kelli Carrol Neil & Kathleen Chrisman Margaret Coady Eileen & Michael Cohen Galois RichardCohen&Mary Ann Cohen Laurie
Ann Mulally Deb
Mary Jo Robertilleo
JimWilliamJessicaMichaelSpiroStanleyE.StackL.SternStiles&Randy
Elsa JenniferAnyaRoss-GreifingerPetersonRoyceGoodale&Mark Russell
Deborah A. Quirk
Helen Sullivan
TanyaKatiLorraineDouglasMavrelisMcCorkleJ.MeekerMeisterMelich&Noel
TPU Local One IATSE Frank Troutman
Dr. Carol Ann Satler
Ellen Rosen
Ellie ThomasTweedyVan Winkle
Deborah Ronnen
Jean M. Ross
Sponsors($300and above)
TaraGeorgeElizabethDeborahScoreSelchShapiroSheanshangSherman&Tony
Dr. Pavur R. Sundaresan
Robin Stout
Silverman
Margaret Mastrianni
William
Peter AaronKatherinePeterStuartAmandaGenevieveNelsonNestorLeeNevilleNordheimer&BarbaraMillerJ.OccolowitzOggSinger&Bart
John Owen
Charles Ragland
Patricia Adell
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Dr. Jorge Sigal Rabbi Charles Simon Andrew & Jennifer Smith Joan & Laurence Sorkin
Brian JamesPolovoy&Deborah Purdon
Prince & Petar Sanders
Ernie
Jason
Pamela Tatge William Tomai & John Eric Sebesta
The L.E. Phillips Family Foundation, Inc.
John Angiolillo, MD
Sherry & Sanford Axelband Vivian Awner Elena Baum
Bob Ouimette
Anonymous (4)
Paula Moss
Donald W. Roeske, Jr.
Lindy Shuttleworth & Arthur Reichstetter
The Marshall Franklin Foundation
Stephanie M. Goldson & Stephen Rappaport
Drs.BarryMurninNalebuffBenjaminNatelson & Gudrun Lange
SukeyLawrenceMichaelAngelaIreneSusanBondBarbaraKennethDrewWillieRonaldSherrilynSusanHuongPeterMrs.HermanGeorgeEricLaurieSandraLawrenceSusanMr.JenniferJohnDenyseRonaldRichardLorenBarbaraMr.BarbaraStephanieRoyEllaCharlesEllenJenniferTrudyMarthaEllenJoMs.RodneyJulieDr.Mr.JacquelineDianaJudyMr.JohnDr.Dr.RobertColahanConkeyArturo&Ms.CarenConstantiner&Mrs.FrederiickCorioCoulterJohnA.CrawfordIIICunninghamDaviesZ.DavisAnthonyDePersiaSusanDickerAnaDoboDursoHopeEliasofAnnEngelhardt&FrankEstesEvenson&DanielHoffmanFestingerFitzpatrickFleysherA.FormaM.Foshay&MichaelB.RothfeldFowlerFrenchFutterMauraGaenzleGallayGesinsky&JudyRudinGildenGilliamGinzbergD.GoldmanGoodale&MarkRussell&Mrs.RichardD.GrantE.GreenW.GreeneGubinHartHemel&BarbaraMorgen&LindaHiltzik&JacquelynHeinemannRuthW.HeumanHolleranHoangIsraelIfillJacquartJohnsonReidKerrSilverman&CarinKhatchikianKnoxKoga&PeterKoppleH.LangdeLaraG.LemleLevineLilienthal
Jane & Stephen Alpert
Rob
RichardMadelineWattersonBrine&Martha
Gerald M. Appelstein
Ajay
Joyce programs are made possible by the National Endowment for the Arts; the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council with special thanks to Council Member Erik Bottcher.
Kyle DavaloisRobertGiancarloMichelleDeboraDayanaMaryBrandonDr.PhilAlejandroVictorCamilleIsabellaLisaRachelAlisonErinChellisPatriciaAnnieAbraham^AlfstadArellanoBairdBarnesBaum&DyllanBeckBonifacicBoylston^A.Brown^M.CastilloCerrudo^ChanJasonChuangT.CournayCraigDeLaTorreDomassDorrance^FacchiFairchild^Fearon^
Byrne
Elisa
Arlene
AbbyKarylVirginiaDavidJoyceAlecJimRonaldRonaldAllenKimToniDavidCeciliaRexJohnDavidRonaldJaneJ.KimBrittonAugieJamshidTrishaPamelaCooperCrutchfield&PatrickDuval&MahshidEhsaniK.FabelaII&MelinaFisherFriedmanEricGambrellE.GoldbergGumbaz&JulietCozziHaines&JudithHannanS.Heinke&JimHerbert&AndreaHolbrookHooverKoopersmithKovac/TenthStreetEntertainment&StephanieKramerS.LauderLeary&SarahMachielsF.Menschel&DianaMilich&TimothyMillhiserNairnMcCormickO'Neil&CarrollJoynes
Michèle & Steven Pesner
Evan Behrens & Dara Stern
The Rudolf Nureyev Prize for New Dance and Ballet Festival Commissions
The Joyce Theater Foundation thanks the Rudolf Nureyev Dance Foundation for its invaluable partnership in commissioning new works from both established and emerging ballet companies, and enabling these companies to perform on the Joyce stage. The Joyce gratefully recognizes the donors listed below for their generous matching support that has made this effort possible.
Kerry Clayton & Paige Royer
FIRE NOTICE: The exit indicated by a red light and sign nearest to the seat you occupy is the shortest route to the street. In the event of fire or other emergency, please walk —do not run— to that exit.
EMERGENCY RESUSCITATION EQUIPMENT
R. Richard Ablon Deborah & Charles Adelman
JOYCE PROGRAMS ARE MADE POSSIBLE WITH PUBLIC FUNDS FROM:
Resuscitation masks and latex gloves are located in the closet next to the drinking fountain in the Upper Lobby. AED is located downstairs in the reception area. LEARN CPR. For more information, contact the American Red Cross, the American Heart Association.
Mick Beekhuizen
Rudolf Nureyev Dance Foundation
StephanieTorrenceBhandaramBooneR.Breslow & Paul
BetteClaire-MarineSetpheapAmirVanessaBrechtDoraRubyTilerJustinSaraKatherineJoseMichelleMitchLydiaStephanieAudreyJean-FrançoisSireeshaAmandaKristenHsuIrbyKrischeKalapalaKowalskiLamLichtingerLinLowenthalK.MarckMartinezMaxwell^Mearns^Peck^Peck^RosettaPittmanPulidoPutmanRojasRouzrokhSan^SarnerAnnSchlossberg, Co-Chair
Anh-Tuyet Nguyen & Robert Pollock
^ArtistLilaEmmaJamesMissAlexanderLucyLauraSaraMarkEvanSamaraSmilovitzSternStrain&OniStrawnStropeVangVassermanWangIngaWellsWhiteside^WinderZieglerCommitteemembers
Erica AlexandraMingtongJessicaTingCariAmitaJordanForrenceFreislebenGoyalGriggsGuoHalperHanHarper, Co-Chair Ariana Hellerman Lauren Hlubny
Victoria Shadle Daniil Simkin^
to join The Joyce’s Young Leaders Circle, please contact the Development office at 347-856-5828.
FACILITIES & SERVICES
Anthony Seaboyer
Kile AlixandraHotchkiss^Hornyan, Co-Chair Audrey Hourse Laura
TheTheodoreStephenAshfordM.BaldiniS.BartwinkHarknessFoundation
RichardStevenStephenDanielAmitMonicaRaymondJustinWendyAllanSusanHenryIreneLindaHowardRichardFredericKathleenSchulmanA.Scott&RobinSeegalSheaL.ShecterSheltonShenR.SilvermanFawcettSosinSperling&FerneGoldberg&AlexStantonA.Stevens&MargaretVandenbergB.VoldstadWadhwaneyWalsh&CathyWeinrothM.ZagarKielar&ChristianZimmermann
Caroline Shadle
The Jerome Robbins Foundation Ann Sahid Rosche Meryl Rosofsky & Stuart H. Coleman Rowan Family Foundation Inc. Saul & Mary Sanders Fran
Tatiana Piankova Foundation Betty P. & Michael H. Rauch Gregg Rechler/ Lisa & Gregg Rechler Charitable Trust
WARNING: The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited within the auditorium. Violators will be punished with confiscation of recording device or ejection from the theater, and may be held liable for money damages.
for Dance
Rodney S. Cohen
Alan & Chi Colberg
Box Office (212-242-0800): Open Monday thru Sunday, 12pm - 6pm. On days when there is a performance, the box office is open through curtain time; advance sales stop ½ hour prior to curtain time (including matinees). Closed on major holidays. For Hearing Impaired call (TDD) 212-245-2904. To report Lost & Found items, please see an usher or call 212-691-9740.
The Young Leaders Circle
Andrew D. Ferguson
Susan & Gregory Pappajohn
The Joyce is supported in part by an American Rescue Plan Act grant from the National Endowment for the Arts to support general operating expenses in response to the COVID-19 pandemic.
in woman with water.
Photo of Malpaso Company Photo by Ivo Roberto Baelli.
COM I NG U P AT THE JOYCE Soledad Barrio & Noche Flamenca SEP 27-OCT 2 Malpaso CompanyDance OCT 4-9 LaTasha Presents:Barnes The Jazz Continuum OCT 11-16 Fouad Boussouf: Näss OCT 18-23 Camille A. Brown & Dancers: The Trilogy OCT 25-30 Ayodele Casel: Chasing Magic NOV 2-13 Garth Fagan Dance NOV 15-20 ContemporaryCOMPLEXIONSBallet NOV 22-DEC 4 Get your VisitTODAY!ticketsJoyce.org
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