Armitage Gone! Dance program

THREE THEORIES ARMITAGE GONE! DANCE

Choreography by Karole Armitage FRIday, NOV. 5 — 7:30 p.m.

Funded, in part, by the National dance Project of the New England Foundation for the arts.

NdP is supported by lead funding from the doris duke Charitable Foundation, with additional funding from the andrew W. Mellon Foundation, the Ford Foundation, the Community Connections Fund of the MetLife Foundation, and the Boeing Company Charitable Trust.

This event is sponsored, in part, by the Lied Performance Fund.

This performance was made possible through the generous support of the Frances Wright Strickland Programming Fund. audio description services and recorded program notes are provided through a partnership between the Lied Center and audio-Reader Network.

Please turn off or silence cellular phones and other electronic devices during performances. Food and drink are not allowed inside the hall.

Performing Arts Cameras and recordinglied.ku.edu devices are strictly prohibited in the auditorium.

ARTISTIC DIRECTOR Karole Armitage EXECUTIVE DIRECTOR Lynn Moffat COMPANY MEMBERS Leonides D. Arpon, Sara Beery, Kristina Bethel-Blunt, Sean Hilton, Jarvis McKinley, Abbey Roesner, Bennyroyce Royon, Marlon Taylor-Wiles, Emily Wagner, Mei-Hua Wang, Masayo Yamaguchi LIGHTING DESIGN Clifton Taylor COSTUME DESIGN Deanna Berg MacLean TECHNICAL DIRECTOR/LIGHTING SUPERVISOR Joe Doran This 60-minute performance is presented without an intermission.

PROGRAM Three Theories (2010) Choreography: Karole Armitage Music:

Bang Excerpt from Two Gongs by Rhys Chatham, used by arrangement with

the composer.

Relativity Raga Jog: Vilambit Ektaal (12 beats) from the recording, Asha, performed by

Sangeeta Shankar, violin and Ramkumar Misra tabla. Sense World Music,

courtesy of Sense World.

Quantum Original score by Rhys Chatham

String Dark Waves by John Luther Adams, Tiaga Press (BMI), used by arrangement

with the composer. Recording available from Cold Blue Music.

(coldbluemusic.com)

Costume Design: Deanna Berg MacLean Lighting Design: Clifton Taylor Three Theories was created with commissioning support from the Krannert Center for the Performing Arts at the University of Illinois at Urbana-Champaign and the Hopkins Center, Dartmouth College. It premiered April 6, 2010, at the Krannert Center.

Original music by Rhys Chatham was commissioned by the Charles and Joan Gross Family Foundation.

The creation of Three Theories was funded, in part, by the National Dance Project of the New England Foundation for the Arts, with lead funding from the Doris Duke Charitable Foundation and additional funding provided by the Ford Foundation, the Andrew W. Mellon Foundation and the Community Connections Fund of the MetLife Foundation. Support for the creation of Three Theories was also provided by the Richard J. Massey Foundation for Arts and Sciences, the National Endowment for the Arts and the New York City Department of Cultural Affairs.

three theories armitage gone! dance Choreography by karole armitage

three theories

Three Theories is inspired by Brian Greene’s best selling book on theoretical physics, The Elegant Universe. The book describes the inherent conflict between the two pillars of 20th century theoretical physics: Einstein’s

general theory of relativity and quantum mechanics, and introduces the upstart newcomer known as string theory—a theory that ventures into the remarkable ideas emerging from attempts to resolve the conflict.

armitage gone! dance Armitage Gone! Dance was launched in 2005 when Karole Armitage returned to the U.S. after 15 years of working in Europe. She formed her first company, Armitage Gone! in New York City in 1979 to critical acclaim. The company toured to festivals and venues worldwide, performing in collaboration with visual artists David Salle and Jeff Koons. Throughout the 1990s, Armitage chose to maintain her company on a project basis while accepting commissions from European ballet and opera companies. In November 2005, Armitage Gone! Dance launched in New York City, with an unprecedented three-week season at The Duke on 42nd Street Theater, followed by a commissioned dance for Works & Process at The Guggenheim Museum. The excitement generated by these engagements led to performances in Italy, France, Mexico and tours throughout the United States.

Highlights of the company’s recent activities include two 2009 world premieres in Italy, performances at the Brooklyn Academy of Music’s 2009 Next Wave Festival, tours to Belgium, Germany and Italy, and engagements in San Francisco, Chicago, St. Louis, Milwaukee and Mass MOCA. Since the company’s launch, it has maintained an active presence in its home community in New York City. In the last two seasons, the company premiered Connoisseurs of Chaos at The Joyce Theater (January 2008), participated in New York City Center’s popular Fall for Dance Festival, collaborated with Gotham Chamber Opera on a production of Ariadne Unhinged, performed in the Guggenheim Museum’s Works & Process series (2008 and 2010) and performed at Lincoln Center Out of Doors. Last winter, the company presented, Think Punk!, a two-week New York City season at The Kitchen, which featured a revival of Armitage’s landmark dances DrasticClassicism and The Watteau Duets to live

music. In May 2009, the company premiered Summer of Love at Teatro Vincenzo di Bellini in Catania, and in June, it premiered Armitage’s Made in Naples at the Napoli Teatro Festival Italia. A work in 15 scenes inspired by Pulcinella and the city of his origins, Made in Naples featured sets by artist Karen Kilimnik and costumes by Alba Clemente. Most recently, the company returned to Italy for performances in Venice, Turin and Asti. It also premiered Itutu at BAM and toured it to the Salle Garnier at the Opera de Monte Carlo, the Festival Pays de Danses in Belgium and the Schrit_tmacher Festival in Germany.

Armitage Gone! Dance has received a number of prestigious awards and commissions including two National Dance Project Awards, support from the Doris Duke Charitable Foundation and a Multi-Arts Production Fund Award. Its commissions include the Guggenheim’s Works and Process program, The Joyce Theater’s Cathy and Stephen Weinroth Fund for New Works, the Teatro Massimo Vincenzo Bellini di Catania, Lincoln Center for Lincoln Center Out of Doors, Napoli Teatro Festival Italia, BAM’s 2009 Next Wave Festival, the Krannert Center for the Performing Arts at the University of Illinois at Urbana-Champaign and the Hopkins Center, Dartmouth College.

lied.ku.edu

Performing Arts

about the artists Karole Armitage (artistic director) was rigorously trained in classical ballet and began her professional career in 1973 as a member of the Ballet du Grand Théâtre de Genève, Switzerland, a company devoted exclusively to the repertory of George Balanchine. In 1976, she was invited to join Merce Cunningham’s company where she remained for five years, performing leading roles in Cunningham’s landmark works.

Through her unique and acute knowledge of the aesthetic values of Balanchine and Cunningham, Armitage has created her own “voice” in the dichotomy of classical and modern, and is seen is by some critics as the true choreographic heir to the two masters of 20th century American dance.

Known as the “punk ballerina,” Armitage created her first piece in 1978, followed by the iconic Drastic-Classicism in 1981. Throughout the 1980s she led her own New York-based dance company, Armitage Ballet. Following the premiere of The Watteau Duets at Dance Theater Workshop, Mikhail Baryshnikov invited her to create a work for American Ballet Theatre, and Rudolph Nureyev commissioned a work for the Paris Opera Ballet. Subsequently, she continued to work, both in Europe and the U.S., until 1996 when she was appointed director of MaggioDanza in Florence, Italy. From 1999 to 2004 Armitage was the resident choreographer of the Ballet de Lorraine in France and in 2005, served as the director of the Venice Biennale Festival of Contemporary Dance; her work continues to tour throughout the continent, performed by several European companies. In 2004, Armitage’s company made its debut at the Joyce Theatre. Jennifer Dunning of The New York Times wrote, “Karole Armitage’s Time is the echo of an axe within a wood… is one of the most beautiful dances to be seen in New York in a very long time.” After this successful season at the Joyce, Armitage’s focus shifted more to her New York-based company.

Armitage is renowned for pushing the boundaries to create contemporary works that blend dance, music and art. Inspired by disparate, non-narrative sources, from 20th-century physics, to 16th-century Florentine fashion, to pop culture and new media, in her hands, the classical dance vocabulary is given a needed shock to its system with speed and fractured lines, abstractions, and symmetry countermanded by asymmetry. Music is her script

and she has collaborated with contemporary and experimentalist composers such as Rhys Chatham, Lukas Ligeti and John Luther Adams.

The scores can be marked by extreme lyricism as well as dissonance, noise and polyrhythms.

Sets and costumes for her works are often designed by leading artists in the contemporary art world, including Jeff Koons, David Salle, Philip Taaffe and Brice Marden.

As a true post-modernist, Armitage resides in both the esoteric and the popular, having choreographed two Broadway productions, Passing Strange and Hair (which garnered her a Tony Award nomination), as well as works for Madonna and Michael Jackson, and several Merchant-Ivory films. She received a Guggenheim Fellowship, the Grand Prix Roscigno Danza (Italy), and in the spring of 2009, was awarded France’s most prestigious award, Commandeur dans L’ordre des Arts et des Lettres.

Among the companies she has set new works on are: American Ballet Theatre, the Paris Opera Ballet; White Oak Dance Project; the Deutsche Oper Berlin; the Bayerische Staatsoper in Munich; Les Ballets de Monte Carlo; Lyon Opera Ballet; Ballet Nacional de Cuba; the Washington Ballet; Alvin Ailey American Dance Theater; The Kansas City Ballet; the Bern Ballet and the Rambert Dance Company.

She has directed operas from the baroque and contemporary repertoire for many of the prestigious houses of Europe including Teatro di San Carlo in Naples, Théâtre du Châtelet in Paris, the Lyric Opera in Athens and Het Muzik Theater in Amsterdam.

Her work has been the subject of two documentaries made for television: The South Bank Show (1985), directed by David Hinton and Wild Ballerina (1998), directed

by Mark Kidel.

Leonides D. Arpon (dancer), a Filipino born in Israel, studied at the Bat-Dor Dance School under the direction of Rosaline Subel Kassel.

Before joining the Bat-Dor under the direction of Jeannette Ordman, he worked with choreographers such as Luciano Canitto, Randy Duncan and Igal Perry. Since moving to New York in 1999, he has worked with Arthur Aviles, Hernando Cortez, Sean Curran, Heidi Latsky, Fredrick Earl Mosley, Marta Renzi, Nathan Trice, Edisa Weeks, Johannes Wieland and

three theories armitage gone! dance Choreography by karole armitage

Kevin Wynn. He is a recipient of the American Israeli Cultural Foundation Scholarship and the Princess Grace Award for 2006. Arpon has taught workshops throughout Israel, Japan and the U.S., and has presented his choreography in various venues in New York City including the Queens Museum of Art Dance Residency, the Joan Weil Dance Theater at the Alvin Ailey American Dance School, the Uptown/Downtown Dance Series at Aaron Davis Hall, the Harry De Jur Playhouse and Dance New Amsterdam (sponsored by PMT Productions). He co-produced Variations in a Foreign Land IX performance series with the Yangtze Repertory Theatre of America and is the founder of Akin, Amin, Atin (for me, for us, for everyone) which is dedicated to the cultivation, education and presentation of Filipino contemporary artists.

He is a founding member of the Queens Academy of Arts & Dance =[QuA²D]. This is Arpon’s sixth season with Armitage Gone! Dance.

Sara Beery (dancer) was born in Seattle, Wash., and began her dance training at Spectrum Dance Theatre and then the Cornish College of the Arts Preparatory Dance Program. After she graduated early from high school, Beery moved to Atlanta, Ga., where she received a full scholarship to the Atlanta Ballet Centre for Dance Education. She danced with the school for a year and was then offered a fellowship with the Atlanta Ballet under the direction of John McFall. In her two years with the company, she performed works by Lauri Stallings, Victor Quihada, James Kudelke, George Balanchine, Mark Godden and Michael Pink, among others. She has spent summers studying at the Alonzo King LINES Ballet and the Jacobs Pillow Summer Dance Program, where she performed a world premier by Karole Armitage. This is Beery’s first season with Armitage Gone! Dance.

Kristina Bethel-Blunt (dancer) is a native of St. Thomas, Virgin Islands, but grew up in Houston, Texas. Her dance career began on the living room coffee table where she staged performances for her stuffed animals shortly before her mom enrolled her in dance class.

Bethel-Blunt’s training includes The High School for the Performing and Visual Arts in Houston, The Alvin Ailey School and the American Dance Festival. She holds a bachelor’s degree in dance from the University of Oklahoma.

Bethel-Blunt’s credits include Alvin Ailey 2, The Lion King (first national tour), Complexions Contemporary Ballet Company, The Lion King on Broadway, The 62nd Annual Tony Awards and she can be seen on VH1 in Too Legit: The MC Hammer Story. This is Bethel-Blunt’s second season with Armitage Gone! Dance.

Sean Hilton (dancer) recently left River North Chicago Dance Company after three seasons.

While with that company he performed works

by Lauri Stallings, Kevin Iaega Jeff, Harrison MacEldowney and Lynne Taylor-Corbett, among others. Prior to River North he danced with The Bay Area Houston Ballet under the direction of George De La Pena, and the Columbia Classical Ballet under the direction of Radenko Pavlovich. In addition to his company work, Hilton teaches and choreographs extensively throughout the U.S. including faculty positions at the University of South Carolina, the Northwest Florida Ballet, Ballet Tennessee, Thodos Dance Chicago, River North Chicago Dance Company and the Lou Conte Dance School. This is Hilton’s first season with Armitage Gone! Dance.

Jarvis McKinley (dancer), from Hattiesburg, Miss., began his dance training at The Dance Place and Pine Belt Youth Ballet at age 6. He trained at Virginia School of the Arts during high school and the National Dance Institute under Jaquec D’ambois. He attended college at New World School of the Arts in Miami, Fla. where he received a full scholarship. He has danced with Complexions Contemporary Ballet under the direction of Dwight Rhoden and Desmond Richardson as well with Ailey II. McKinley has performed works by Alvin Ailey, William Forsythe, Robert Battle, Judith Jamison, and has also danced with music artists such as Usher Raymond, Jojo, K-Ci & Jojo, and David Banner. This is his first season with Armitage Gone! Dance.

Abbey Roesner (dancer) was born in Maryland and began her dance training at The Baltimore School for the Arts. After graduating second in her class, Roesner continued her studies at The Juilliard School where she received her bachelor’s degree in 2006.

Roesner freelanced with several companies in New York City including the Metropolitan Opera Ballet and the Chamber Dance Project.

lied.ku.edu

Performing Arts

In 2007, she joined Les Grands Ballets Canadiens de Montreal and danced works by Ohad Naharin, Stijn Celis, George Balanchine and Fernand Nault, while touring throughout Canada and Europe. Roesner joined Armitage Gone! Dance in June 2008 as a guest artist for the Lincoln Center Out of Doors performance of Summer of Love and joined the company for Think Punk! at the Kitchen. This is her second season with the company.

Bennyroyce Royon (dancer) was born in the Philippines and started professional dance training at age 16, under the tutelage of Wade Walthall at the Evergreen City Ballet Academy in Auburn, Wash. In 2006, Royon received his bachelor’s degree from The Juilliard School where he danced notable works

by Jose Limon, Paul Taylor, Mark Morris and world premieres by Jessica Lang, Jacqulyn Buglisi, Ron Brown, Eliot Feld, Alan Hineline and Jill Johnson. He has freelanced with companies in New York City such as the Carolyn Dorfman Dance Company, The Metropolitan Opera Ballet, Nilas Martins Dance Company, Chamber Dance Project, Sidra Bell Dance NY and Rasta Thomas’ Bad Boys of Dance.

Royon also danced and toured in Canada and Europe with Cas Public, a Montreal-based contemporary dance company. He has taught ballet and contemporary classes, and his choreographic works have been presented in Montreal, Maryland, Seattle, New York City and at Jacob’s Pillow. This is Royon’s second season with Armitage Gone! Dance.

Marlon Taylor-Wiles (dancer) was born in Houston, Texas where he trained with the Margo Marshall School of Ballet under the direction of Marshall and Mary Elizabeth Arrington. He graduated from Houston’s High School for the Performing and Visual Arts and in 2007, received his bachelor’s degree from the Boston Conservatory (full scholarship), where he performed works by Jose Limon, Paul Taylor and Luis Fuente. For the last five years Taylor-Wiles has performed in Tony Williams’ Urban Nutcracker, a show that promotes diversity and dance in an inner-city community, while mixing Duke Ellington’s Nutcracker Suite with Tchaikovsky’s. In 2009, Taylor-Wiles had the pleasure of performing at the Africa and International Friends Inaugural Ball in National Harbor, Md., honoring the inauguration of Presi-

dent Barack Obama. This is his first season with the company.

Emily Wagner (dancer) trained under scholarships at the Flint Youth Ballet, Virginia School of the Arts and the American Ballet Theater School. Her most influential training came from Sabrina Pillars, friend and mentor from the NYCB. Wagner has performed nationally with Ballet Austin, Eglevsky Ballet, Ballet Noir, Aseid Contemporary Dance Company, International Ballet Theater and BalletX in Philadelphia. In 2005, she performed Peter Breuer’s Bolero with the Salzburg Ballet and from 2005 to 2007 she danced as a soloist with the Movement Network of Amsterdam. While in Europe, Wagner received an international Pilates certification with Body Arts and Sciences International. She dances as a tango artist with The New Generation Dance Company and is a guest artist with the Pennsylvania Ballet.

Wagner is very happy to be in her first season with Armitage Gone! Dance.

Mei-Hua Wang (dancer) is originally from Taiwan where she trained at the National Taiwan Academy of Arts. In her home city, she performed as a principal dancer with Capital Ballet Taipei and Taipei Ballet Company. She was also a guest artist with the Korea Universal Ballet Company, Peking Central Opera Ballet and Ballet Moderno y Folklorico de Guatemala.

Wang moved to New York City in 1999 and has performed and worked with Igal Perry/ Peridance Ensemble, Rebecca Kelly Ballet, Stephen Petronio, Earl Mosely, Sue Bernhard Danceworks, Silver-Brown Dance and WilliamsWorks, among others. Her first choreographic commission premiered in May 2006 for the Capital Ballet Taipei. Wang joined Armitage Gone! Dance in 2006—this is her fourth season with the company.

Masayo Yamaguchi (dancer) was born in Nagano, Japan and trained in ballet under the direction of Tamae Tsukada. She has performed in Austria, Hungary, Slovakia and Japan. In 1998, Yamaguchi performed a Pas de Trios in Swan Lake as a part of Leningrad Ballet’s tour in Nagano. She graduated with a bachelor’s degree in dance education from the University of Central Oklahoma. She was a member of Kaleidoscope Dance Company and received the Kaleidoscope Dance Award

three theories armitage gone! dance Choreography by karole armitage

at UCO in 2003. In the same year, she moved to New York City as a member of the Faune Dance Troupe. Yamaguchi performed with Armitage Gone! Dance as a guest dancer at The Duke on 42nd Street Theater in 2005, at the Joyce Theater in 2007 and joined the company in 2008. This is her second season with the company.

to 1980. There, he programmed more than 250 concerts of living composers including the NEW MUSIC / NEW YORK Festival, which was the prototype for the NEW MUSIC AMERICA Festival. Chatham remains active in avant-garde and post-minimalist music, and has lived in France since 1987. He first worked with Karole Armitage in 1981.

Rhys Chatham (composer) is a guitarist and trumpet player from Manhattan. Musically influenced by his harpsichordist father, Price, Chatham was exposed to a wide variety of music from a young age, including early music composers, baroque, Boehm flute and contemporary music. He began studying counterpoint and harmony at age 13. Later, while studying at the NYU Studio for Electronic Music, Chatham worked with Morton Subotnick, Maryanne Amacher, Charlemagne Palestine, Serge Tcherepnin, Ingram Marshall, Eliane Radigue and La Monte Young, which led to performing with Tony Conrad’s group, The Dream Syndicate.

Chatham studied tuning with Hugh Gough and William Dowd, and supported himself by tuning instruments for Gustav Leonhard and Glenn Gould. He developed an ability to tune and hear harmonics, and began composing, incorporating the overtone series, and wrote his first composition in just intonation in 1971.

In the same vein as composer-performers Terry Riley, Tony Conrad, Cornelius Cardew and Frederic Rzewski, Chatham composed Guitar Trio in 1977, becoming the first composer to make use of multiple electric guitars in just intonation, merging the extended-time music of the 1960s and 1970s, with serious hard rock.

He also wrote Die Donnergötter (1984-86) for electric guitar ensemble and later creating An Angel Moves Too Fast to See (1989) for a symphony of 100 electric guitars, electric bass and drums. In the early 1990s Chatham focused his energy on the trumpet, developing a personal “voice” in the context of techno and trip-hop music. He composed A Crimson Gail, commissioned by the city of Paris in 2005, for 200 electric guitars, which premiered at the basilica of Sacré-Coeur for La Nuit Blanche, an all night arts festival. Chatham reworked a new version for Lincoln Center Out of Doors, with 16 additional electric basses. He is the founder of the music program at the Kitchen Center in downtown Manhattan, and was its music director from 1971 to 1973, and 1977

Deanna Berg MacLean (costume design) has recently worked on projects which include Luca Veggetti’s The Oresteia at Columbia University’s Miller Theatre, John Jasperse’s Truth, Revised Histories, Wishful Thinking, and Flat Out Lies (Eleanor and Erin final section) and Alexei Ratmansky’s solo for Mikhail Baryshnikov, Valse Fantasie. She created the costumes for Sarah Michelson’s evening-length Dogs at BAM and the New York section of Michelson’s Dover Beach at the Kitchen. Her collaborations with Aszure Barton include Lascilo Perdere (Aszure & Artists), and Lamentation Variations (Martha Graham Co). MacLean’s work in ballet and modern dance has appeared on the stages of Brooklyn Academy of Music, Jacob’s Pillow, Sadler’s Wells, Walker Arts Center, Edinburgh Festival, Festspielhaus Hellerau, Romaeuropa Festival and The Venice Biennale.

Clifton Taylor (lighting designer) has worked with Karole Armitage in Italy, France and with her company in New York on numerous projects. Broadway credits: Jay Johnson: The Two and Only (Ovation & LA Drama Critics Circle Nominations); Frozen (Lortel Nomination); and Hot Feet (Henry Hewes Nomination).

Off-Broadway credits: The Big Voice: God or Merman?; Scattergood; Endgame; The Streets of New York; and Last Easter. Other credits: Houston’s Alley Theater; Tanglewood Music Center; Opera de Lorraine et Nancy (Théâtre du Châtelet, Paris); New York City Opera/ National Company; the American Conservatory Theater (San Francisco); the Dallas Theater Center; the Cleveland Playhouse (resident lighting designer); the Irish Repertory Theater (N.Y.); and New York’s MCC Theater. His work can be seen in the repertories of the Rambert Dance Company (London); American Ballet Theatre (N.Y.); the San Francisco Ballet; the Scottish National Ballet; Les Grands Ballets Canadiens; Ballet de Lorraine (Nancy, France); Ballet Jazz de Montreal; the San Francisco

lied.ku.edu

Performing Arts

Ballet; the Alvin Ailey American Dance Theatre (N.Y.); MaggioDanza (Florence, Italy); Sardono Dance Theatre (Indonesia); and the Ballet Company of Rio de Janeiro, among many others. Other work includes numerous projects at New York’s Asia Society; the landmark U.S. tour of the Royal Cambodian Ballet: Dance: The Spirit of Cambodia; and new works for Lar Lubovitch, Elisa Monte, Helgi Tomasson and Larry Keigwin, among many others.

Joe Doran (technical director & stage manager) enjoys working with AG!D. He also works with Sean Curran Company, HT Chen and Dancers, Gabrielle Lansner and Co. and Martha Graham Dance Company, among others. He is the producing artistic director and resident designer of Equilateral Theatre Company, a nonprofit organization he founded in 2004. As lighting designer he designed and created Illuminate, a magical modern dance of light. Regionally, Doran recently designed an

adaptation of The Tempest starring Olympia Dukakis for the Alpine Theatre Project. He also works with Historic Swift Creek Mill Theatre and Richmond Va.’s Festival of the Arts at Dogwood Dell. He is the 2008 recipient of the Richmond Theatre Critics Circle Award for outstanding achievement in lighting design. He is an artistic member of Resonance Ensemble in New York City and a graduate of North Carolina School of the Arts. Doran is a member of United Scenic Artists, Local 829.

Lynn Moffat (executive director) is returning to the performing arts after a two year hiatus to earn a master’s degree from the New School’s graduate program in international affairs. Moffat’s career began at the Brooklyn Academy of Music (BAM) in the early days of the NEXT Wave Festival. She has served as managing director for Performance Space 122 and New York Theatre Workshop.

BOARD OF DIRECTORS David Salle, Chairman Karole Armitage Jan Abrams Lorinda Ash Dominique Lévy Richard Massey Donald Rosenfeld Peter Speliopoulos Giovanni Spinelli Robert L. Turner

ARMITAGE GONE! DANCE STAFF Karole Armitage, artistic director Lynn Moffat, executive director Patty Bryan, special projects Julie Blackwell, administrative assistant Sarah Christy, administrative assistant George Cochran, fiscal manager

NORTH AMERICAN REPRESENTION H-Art Management 481 Eighth Avenue, Suite 834 New York, NY 1001 Office: 212-868-2134 Fax: 212-504-3229 E-mail: info@h-artmanagement.com

EUROPEAN REPRESENTATION Aldo Grompone 195 Via Guilia 00186 Rome, Italy Office: +39-06-687-6495 Cell: +39-335-81-35-885 Fax: +39-06-686-4605 Website: h-artmanagement.com

For all other booking: info@armitagegonedance.org 212-431-4314 Armitage Gone! Dance is a 501(c)(3) nonprofit organization. Donations are welcome & may be mailed to: ARMITAGE GONE! DANCE 139 Fulton Street, Suite 317 New York, NY 10038 armitagegonedance.org 212-431-4314 three theories armitage gone! dance Choreography by karole armitage

PERFORMING ARTS 2010-11 SeaSon HigHligHtS The Real Dr. Strangelove L.A. TheATre works

FrIdAy, NoV. 12 – 7:30 p.m.

Interpreti Veneziani ChAMBer MUsIC wITh ALL-ITALIAN BrIo sATUrdAy, NoV. 13 – 7:30 p.m.

Legally Blonde The Musical BeING TrUe To yoUrseLF NeVer Goes oUT oF sTyLe TUesdAy, deC. 7 — 7:30 p.m.

Jim Brickman 15th-ANNIVersAry hoLIdAy CoNCerT

sATUrdAy, deC. 11 – 7:30 p.m.

Gift certificates available at the Ticket Office lied.ku.edu Performing Arts 785-864-2787 lied.ku.edu

A place to connect For all the latest Lied Center updates, visit lied.ku.edu and follow us on

LIVE @ the Lied A social media group who share thoughts and experiences of Lied Center performances.

785-864-2787 three theories armitage gone! dance Choreography by karole armitage

lied.ku.edu

2010-11

BUSINESS FRIENDS

Friends of the Lied Update

Benefactor ($1,000+) Bigg’s Barbecue

This list includes individuals and businesses that have initiated or renewed their Friends of the Lied membership since the original list was published.

Patron ($500+) Capital City Bank The Chiropractic Experience Sponsor ($250+) Dr. Jim & Vickie Otten

INDIVIDUAL FRIENDS Benefactor ($1,000+) Keith & Karen Ely Becky & Harry Gibson Patron ($500+) Karen & Dennis Christilles Francois Henriquez & Laura Stephenson Charlotte A. Mueller Sponsor ($250+) Steve & Bobbie Gish Charlotte A. Mueller Lucy Price G.E. & Ruth Rutledge Judy & Jack Wright Contributor ($100+) Doug & Becky Eason Alice Clayton & Bob Honea Sharon Graham & Anthea Scouffas Kristin & Blake Hedges Russ & Jackie Hilton C. Shaffia Laue Jesse & Kitty Pacheco Mary Miller Ross Mary Ann & Norman Saul Barbara & Richard Schowen Fred & Lilian Six Steve & Jung Spooner Steve & Pat Sublett Friends ($50+) Frank & Betty Baron Elaine & Virgil Brady Rex Buchanan Cheri Esmond Ellen Loomith Charles & Laurie McLane-Higginson Terry & Mary Beth Miller Carol Thompson Sarah Trulove & James Woelfel lied.ku.edu

Performing Arts

sponsors