Fables on Global Warming

LIED CENTER PRESENTS

SAT

7:30 p.m.

Fables on Global Warming

SEP 28

Armitage Gone! Dance

Created by Lawrence native Karole Armitage

This event is made possible through the generous support of A. Scott and Carol L. Ritchie.

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

Please be mindful of the following in the auditorium and the Pavilion: • Please silence cellular phones and electronic devices • No food or drink • No cameras or recording devices • No smoking

FABLES ON GLOBAL WARMING

FABLES ON GLOBAL WARMING Director/Choreographer: Karole Armitage Composer/Lyricist: Corey Dargel Visual Director: Doug Fitch Lighting Designer: Clifton Taylor Dramaturge: Katharina Otto-Bernstein Scientific Consultant: Dr. John Harte, UC Berkeley Armitage Gone! Dancers: Ahmaud Culver, Cristian Laverde Koenig, Daniel LaMont Moore, Abbey Roesner, Lourdes Rodriguez, Emily Wagner and Masayo Yamaguchi

There Thereisisno nointermission intermissionduring duringthis thisperformance. performance.

Fables on Global Warming was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding provided by Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign, through its Advancing the Incubation and Development of New Work in Dance initiative funded by The Andrew W. Mellon Foundation and by the Doris Duke Charitable Foundation. Additional funding provided by the MetLife Foundation, the National Endowment for the Arts and the musical score commission by the Charles and Joan Gross Family Foundation.

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Fables on Global Warming THE MARRIAGE OF THE SUN The sun decides that he is lonely Making everyone’s day but his own He decides to take himself a wife Perhaps another star Someone to brighten his own life The birds and the bees Are filled with delight They know how these things go Now every day Will be twice as bright We must let everyone know So naturally they made a beeline As they sang “Let it be known Now two suns will shine Where once only one sun had shone”

First to jump is the mouse Poor mouse, don’t grouse Then came the rat But she was too fat Now the raccoon Shoots for the moon Well the wild boar, big and strong Gets it all wrong Finally the massive grizzly bear Takes to the air The meager measure worm Climbs inch by inch Slow as ever Squirm by squirm Achieves the elusive endeavor Emotions overflow As it rains down below

No more rains, no more fogs All rejoiced except the frogs Who thought, “One sun is bad enough We’ve had enough So we shall take a harsh stand Two suns will dry up our marshland Our world will come undone Under more than one sun Our world will come undone Under more than one sun”

THE SKUNK’S SONG

THE TORTOISE AND THE HARE

Or to put it more succinctly We’re performing for you extinctly And after the curtain closes Each of us decomposes So while we’re still here Why don’t we have another beer We can drink to the icebergs shrinking We can clink to the distinction Between my extinction And your extinction

No lyrics THE MEASURE WORM ROCK The air is so dry No rain in years We can’t even cry We’ve run out of tears The sun can be so unkind Does it think we don’t really mind Some say it does care The sun is aware Frankly I find that droubtful There has gathered a crowd To jump for the cloud

I am a big thicket hog-nosed skunk And if I get sick it’s because I am drunk It’s the best way to cope With the absence of hope Here is Carolina Parakeet But alas she could not compete Listen to the Passenger Pigeon squeal Because none of us is really real

THE STAG AND THE LION A thirsty stag drinks from a pool And stares at his reflection in the water At first he brags about the length of his antlers And thinks no other stag could be hotter

FABLES ON GLOBAL WARMING But short-lived was the stag’s splendor For as he adjusted his position He saw his legs, weak and slender His confidence shifted to inhibition “Woe is me” He cries with his last breath “Woe is me” As he contemplates his own death “Why did I feel so ashamed My legs could’ve kept me alive But instead I shall be maimed Well, at least my antlers At least my antlers shall survive” THE ANT AND THE CHRYSALIS Look at this poor Chrysalis Imprisoned in his shell He isn’t feeling well, is he Well we are very busy, very busy, very busy And we will not abide the infraction Of this stupid pupa’s lack of action THE ANTS AND THE DOVE No lyrics THE GNAT AND THE BULL GNAT: You are moving so slow now Do you mind if I go now BULL: Well, I didn’t even notice you were here And I don’t give a damn if you disappear But if you insist that I should greet you Be forewarned: I might just eat you THE BELLY AND ITS MEMBERS Stupid stomach Dopey drowsy belly Getting in our way We work all day Sweaty and smelly While you Eat all the grass And pass all your gas Why don’t you just leave us alone We will survive on our own

WE HAVE LOST OUR TASTE FOR ACORNS We have lost our taste for acorns We’ve disgraced this place with car horns In our race to seize the unseized We have chased away the wild beast In our haste to please the displeased We have chased away the wild beast Animal skins have gone out of fashion So begins the dawn of dispassion Of fluorescent costumes and glitter Of excessive exhaust fumes and Twitter We subsist on our lack of contentment So we exist in a realm of resentment We have lost our taste for acorns THE CICADA AND THE ANTS CICADA: When spring comes around I emerge from underground To make my mating sound My song of sexual urge But with the temperature rising every year The season of spring will soon disappear When I really wanna copulate When I really wanna procreate Maybe it’ll help if I strike a pose even more and more proudly Maybe if I sing the notes Even more and more loudly ANTS: We ants cannot concentrate Your cicada song is too loud and too late Why don’t you quiet down, do a little dance And give up on romance Your species really has no chance We bid you farewell, adieu, so long And we trust that you will be quitting Quitting your ear-splitting song Then at last we won’t be distracted by you There is always so much we must do TORTOISE WINS THE RACE No lyrics

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THE FOREST AND THE WOODCUTTER

BUTTERFLY DREAMS

WOODCUTTER: This axe I wield is broken Good news for you A woodcutter disarmed Means you won’t be harmed

In your nightly human dream You are a butterfly Who never wonders why She is a butterfly

But may I ask for a token from you A broken branch or two Then I’ll go elsewhere I swear, I swear

Then this beam Of sunlight hits your face And you awake back in place Back in the human race

[Ha!] Well that would be nice But here’s some advice Never turn your backs On a man with an axe

But the butterfly, as she slept Also dreamed, she dreamed that she was you She knew exactly who She was passing through

SKUNK: An axe-man actually sees The forest for the trees Until the forest isn’t there Until there’s no more breathable air No more shade from the sun Oh, if only trees could run

You hugged your pillow and wept On behalf of the butterfly ‘Cause butterflies cannot cry They barely live, then they die

Forgive me my disgust At this deceit and abuse of trust Forgive me my fervent passion But why must everything unjust Seem to always be in fashion INTERLUDE

Before you come completely undone Remember nature and you are one And when you dream about anything that lives and dies It dreams of you likewise When you dream about anything that lives and dies It dreams of you likewise

No lyrics

Order is subject to change.

All words and music by Corey Dargel © 2012–13 Automatic Heartbreak (ASCAP)

FABLES ON GLOBAL WARMING

BIOGRAPHIES Armitage Gone! Dance Over the past 30 years, Karole Armitage and her dancers have shaped the evolution of contemporary dance through the creation and performance of new works. The most recent incarnation of the company, Armitage Gone! Dance (AG!D), was launched in 2004 when Karole Armitage returned to the U.S. after 15 years of working abroad. Dedicated to redefining the boundaries and perception of contemporary dance, the company extends the mandate of innovation that characterizes both her earlier Armitage Ballet, founded in 1985, and her first full-time company, Armitage Gone!, founded in 1979. AG!D is well known for its collaborations with innovators in music, science and the visual arts.

The company regularly performs to live music and has commissioned numerous scores since its 2004 debut. Known for their free spirited panache, Armitage Gone! dancers bring unique flavors and strong personality to the stage.

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 joined Merce Cunningham’s company 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 dance. Known as the “punk ballerina,” Armitage created her first piece in 1978, followed by the iconic Drastic Classicism in 1981 at DTW. Armitage is renowned for pushing the boundaries to create contemporary works that blend dance, music and art. She is 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 classic vocabulary is given a needed shock to its system, with speed, 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, Vijay Iyer, Lukas Ligeti and John Luther Adams. The sets and costumes for her works are often designed by leading artists in the contemporary art world, including Jeff Koons, David Salle, Phillip Taaffe and Brice Marden. She collaborates with scientists as well, recently working with Dr. Brian Greene of Columbia University and Dr. John Harte of UC Berkeley. She directed the Ballet of Florence Italy (1995–1998), the Biennale of Contemporary Dance in Venice (2004), served as resident choreographer for the Ballet de Lorraine in France (1999-2004) and created works for many companies including The Bolshoi Ballet, Ballet Nacional de Cuba, Les Ballets de Monte Carlo, The Rambert Dane Company, the Paris Opera Ballet, The Kansas City Ballet, and Alvin Ailey Dance Theater. She choreographed two Broadway productions (Passing Strange and Hair, which awarded her a Tony nomination), videos for Madonna and Michael Jackson and several films for Merchant Ivory productions. Known for directing opera from the classical repertoire for important European Opera houses, she choreographed The Cunning Little Vixen for the New York Philharmonic (2011) and the Cirque du Soleil production Amaluna (2012). Armitage was awarded France’s most prestigious award in 2009, Commandeur de l’Ordre des Arts et des Lettres and is the recipient of a Guggenheim Fellowship. She is a 2012 artist-in-residence at the Chinati Foundation, founded by artist Donald Judd in Marfa, Texas and is recipient of a Doctorate of the Arts Degree from the University of Kansas.

LIED CENTER PRESENTS lied.ku.edu Corey Dargel (Composer/Lyricist) is a Texas-born composer and singer-songwriter whom The New York Times calls “one of the more original and consistently provocative artists pushing at the margins of modern classical music and adventurous pop,” and whom Minnesota Public Radio describes as “a wonderfully difficult artist to define.” Dargel has shared the stage with artists ranging from Owen Pallett and Joanna Newsom to the Brooklyn Philharmonic, the string quartet ETHEL, and the electric guitar quartet Dither. His latest commercial album is Someone Will Take Care of Me (2010, New Amsterdam Records).

Doug Fitch (Visual Director) is Visual Artist, Director, Designer and Artistic Director of the company Giants Are Small.

He first collaborated with Karole Armitage on a production of The Cunning Little Vixen for the New York Philharmonic, which he designed and directed. His much acclaimed production of Le Grand Macabre which featured a live-filmed, projected miniature theater, was also produced for the New York Philharmonic by Giants Are Small. Other works include A Soldier’s Tale with Pinchus Zuckerman and F. Murray Abraham; Peter and the Wolf at the Los Angeles Philharmonic. Other projects include Elliot Carter’s opera, What Next? conducted by James Levine; Hansel and Gretel for Los Angeles Opera and Das Rheingold for the Royal Stockholm Philharmonic.

Clifton Taylor (Lighting Design) has created lighting, projection and scenic designs for theater, dance and opera companies around the world. He is a longtime collaborator with Karole Armitage. Broadway credits include: Jay Johnson: The Two and Only (Ovation Award & LA Drama Critics Circle Nomination) and Frozen (Lortel Nomination). His designs for dance have been commissioned for Alvin Ailey,

American Ballet Theatre, San Francisco Ballet, Scottish National Ballet, Les Grands Ballets Canadiens, Ballet de Lorraine (Nancy, France), Ballet Jazz de Montreal, Maggia Danza (Florence, Italy), Sardono Dance Theatre (Indonesia), and the Ballet Company of Rio de Janeiro among many others. In addition he is the resident designer for Philadanco and Elisa Monte Dance and has designed extensively for Lar Lubovitch, Ron K. Brown and Larry Keigwin. Other recent collaborators include: Camille Brown, Benoit Swan Pouffer for Cedar Lake, Jarek Cemerek, Pascal Rioult and Septime Webre among many others. Extensive work in opera includes several projects with the Tanglewood Music Center, the Gotham Opera, as well as the Juilliard School, the New York Philharmonic, Chile’s Teatro del Lago, and the Opera de Lorraine (Chatelet Theater, Paris). Taylor was educated at the Tisch School within New York University and resides in New York City with his family.

Katharina Otto-Bernstein (Dramaturge) is an award-winning writer, film director and producer, who received both her Bachelor of Arts and Master of Fine Arts in Film from Columbia University. Her work has been shown at film festivals around the world and is known for its dynamic storytelling, with a focus on the individual in society. International releases include the acclaimed Absolute Wilson, chronicling the life and times of leading avant-garde theatre artist, Robert Wilson; Beautopia, The Need for Speed; and The Second Greatest Story Ever Told starring Mira Sorvino and Malcolm McDowell. In addition, Otto-Bernstein is the author of the Robert Wilson memoir Absolute Wilson—The Biography and The International Fable Collection (working title), featuring fables for children through the ages from around the globe. In 2009, she was the recipient of the prestigious Columbia University Alumni Medal.

FABLES ON GLOBAL WARMING Dr. John Harte (Science Advisor) is at the forefront of scientific studies on the biological impacts of climate change and humanity’s role in the disruption of ecosystems. Based at UC-Berkeley’s Department of Environmental Science, his research encompasses biochemical and climate-ecosystem processes of global warming and ecology.

Ahmaud Culver (Dancer) received his Bachelor of Fine Arts in dance at the California institute of the arts (CalArts).

Since leaving CalArts, Culver has worked with Pasadena Dance Theater, Helios Dance Theater, Rock School of Ballet and Eglevsky Ballet, to name a few. Culver was the principal dancer for The Glory of Christmas at the Crystal Cathedral. Culver is currently living in New York where he has just finished his third year with the international touring company NY2Dance.

This is Ahmaud’s first season with Armitage Gone! Dance.

Cristian Laverde König (Dancer) was born in Cali, Colombia and received his professional training at The Instituto Colombiano de Ballet (Incolballet) and The Escuela del Ballet Nacional de Cuba under a full scholarship. He has been a soloist for The Ballet Nacional de Cuba, Ballet de Cali, Hartford Ballet and Ballet Internationale, and has served as Principal Dancer for the Maximum Dance Company, the Milwaukee Ballet and the Slovak National Ballet. He has performed works by world-renowned choreographers such as George Balanchine, Twyla Tharp, and Martha Graham. He originated principal roles on works by choreographers such as Maurice Causey, Lila York, Petr Zahradnicek, Ivo van Zwieten, Paolo Mohovich, Jean Christophe Blavier, among others. König has been the recipient of various prestigious national and international awards and currently resides in New York City.

Daniel LaMont Moore (Dancer) was born in Washington, D.C., where he began his dance training with The Northeast Performing Arts Outreach Youth Center. He attended Suitland High School for the Visual and Performing Arts, where he studied under Linda Darr, Barbara Marks, and also had the opportunity to work with renowned actress Debbie Allen. Moore majored in Ballet Performance at The University of the Arts and studied under Douglas Becker, formally of the Frankfurt Ballet. He has been awarded scholarships from The Debbie Allen Dance Academy, Dance Theatre of Harlem, The John F. Kennedy Center for the Performing Arts, The Dance Institute of Washington, and the Earl Mosley Institute of the Arts. He has been a guest dancer for The Pennsylvania Ballet and has worked with Debbie Allen, Zane Booker, Fabian Barnes, Arthur Mitchell and Earl Mosley. Moore’s most recent television credits include The Ovation Network series produced by Nigel and Simon Lythgoe. This is his first season with Armitage Gone! Dance.

Abbey Roesner (Dancer), born in Baltimore Maryland, began her dance training the Baltimore School for the Arts (BSA). She attended the school’s TW.I.G.S (to work in gaining skills) program then attended BSA as a full time high school student. After graduating second in her class, Roesner continued her studies at the Juilliard School where she received her Bachelor of Fine Arts in 2006. Roesner started her professional career freelancing in New York City, dancing for companies and choreographers including the Metropolitan Opera Ballet and the Chamber Dance Project, Wally Cardona and Davis Robertson. In 2007, she left the United States to join Les Grands Ballets Canadiens de Montreal. There, she danced works by Ohad Naharin, Stijn Celis, George Balanchine, and Fernand Nault while touring throughout Canada

LIED CENTER PRESENTS lied.ku.edu and Europe. She joined Armitage Gone!

Dance in June of 2008 and continues to be inspired by her fellow company members and their work. In addition to her work with AG!D, Roesner has had the pleasure of working at Dance Theater of Harlem with Francesca Harper and Harlem Dance Works 2.0. She has also danced with Julia Gleich & Norte Maar, and in collaboration with director Robert Woodruff and choreographer Brook Notary. Roesner assists with teaching and recruitment for Elliot Feld’s Ballet Tech School, and she has a passion for knitting and photography. This is Roesner’s fifth season with Armitage Gone! Dance.

Lourdes Rodriguez (Dancer), a native of Havana, Cuba, began her training in the U.S. at the Miami Conservatory.

Rodriguez attended New World School of the Arts College where she trained in Ballet, Horton, Graham, and Limon techniques. She furthered her training at North Carolina Dance Theatre under the direction of Jean- Pierre Bonnefoux and Patricia McBride, where she performed in George Balanchine’s Raymonda Variations and Serenade. Rodriguez has danced with Staten Island Ballet and Dance Theatre of Harlem Ensemble.

Rodriguez previously performed with Armitage Gone! Dance in 2011; this is her first season as a company member.

Emily Wagner (Dancer) trained under scholarships at the Flint Youth Ballet, Virginia School of the Arts, and the American Ballet Theatre School. Her most influential training came from Sabrina Pillars, a friend and mentor from the New York City Ballet. Wagner has performed nationally and internationally with

companies including: Ballet Austin, Eglevsky Ballet, Ballet Noir, Terra Firma Dance Theater, International Ballet Theater, and BalletX in Philadelphia. In 2005, she performed Peter Breuer’s Bolero in Salzburg, Austria, with the Salzburg Ballett and from 2005 to 2007, she danced as a soloist with the Movement Network of Amsterdam, the Netherlands. While in Europe, she also received an International Pilates Certification with Body Arts and Sciences international. In addition to regularly freelancing in New York City, Wagner dances as a tango artist with the New Generation Dance Company and is a guest artist with The Pennsylvania Ballet.

Wagner has also modeled for Sansha and KD Dance and is very happy to be dancing with the company. This is Emily’s fourth season with Armitage Gone! Dance.

Masayo Yamaguchi (Dancer) was born in Nagano, Japan. She started ballet training with Ms. Tamae Tsukada. She performed in Austria, Hungary, Slovakia and Japan. In 1998, she performed the pas de trios in Swan Lake as a part of Leningrad Ballet’s tour in Nagano, Japan.

She studied and graduated with a Bachelor of Fine Arts in dance education from the University of Central Oklahoma (UCO). She was a member of Kaleidoscope Dancer Company and received the Kaleidoscope Dance Award at UCO in 2003. She moved to New York City in 2003, as a member of the Faune Dance Troupe. She 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 most recently at Lincoln Center Out of Doors in August 2008. This is Masayo’s fifth season with Armitage Gone! Dance.

ORGANIZATION Artistic Director: Karole Armitage General Manager: Phil Chan Company Manager: Jessica Cabrera Stage Manager: Dathan Manning Press: Blake Zidell & Associates

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