Mondavi Center 14-15 Program Book 1

Program

September–October 2014

Akram Khan Company OCT 24

Timeless music all the time .

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WELCOME

A MESSAGE FROM THE CHANCELLOR

It is always a thrill to anticipate the upcoming season at the Robert and Margrit Mondavi Center for the Performing Arts, and I know everyone will find something to savor on the 2014-15 calendar.

Thanks to the tremendous generosity of the legendary winemaker and his wife, as well as our beloved Barbara Jackson and the vision of former UC Davis Chancellor Larry Vanderhoef, we have all come to love the Mondavi Center as the artistic heart and soul of our campus and a venue that enriches the entire region.

LINDA P.B. KATEHI

UC DAVIS CHANCELLOR

In my five years as Chancellor, among the most moving experiences I’ve had were when I was able to sit with an enraptured Mondavi Center audience and take in some of the extraordinary artists and speakers we have been able to bring to its stage.

We have all come to love the Mondavi

Every Mondavi Center season seems to top the one just before, and this year has the added bonus of more innovative and non-traditional classical music performances, thanks to year one of a three-year grant

Center as the artistic

from the Andrew W. Mellon Foundation.

heart and soul of our

We are blessed on our campus to have such a world-class venue that

campus and a venue

not only attracts brilliant and enjoyable performers from around the

that enriches the entire region.

world, but also serves as a showcase for so many talented UC Davis students, artists and faculty.

I’m glad you took the time to be part of this exciting season and hope you enjoy the experience.

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SPONSORS CORPORATE PARTNERS

PLATINUM

MONDAVI CENTER STAFF Don Roth, Ph.D.

EXECUTIVE DIRECTOR

BUSINESS SERVICES

Jeremy Ganter

Debbie Armstrong

ASSOCIATE EXECUTIVE DIRECTOR

Margaret Goldbar EXECUTIVE ASSISTANT

PROGRAMMING Jeremy Ganter

GOLD

DIRECTOR OF PROGRAMMING

Erin Palmer

ASSISTANT DIRECTOR OF PROGRAMMING

Ruth Rosenberg

ARTIST ENGAGEMENT COORDINATOR

SILVER

Lara Downes OFFICE of CAMPUS COMMUNITY RELATIONS

CURATOR: YOUNG ARTISTS PROGRAM

ARTS EDUCATION Joyce Donaldson

ASSOCIATE TO THE EXECUTIVE DIRECTOR FOR ARTS EDUCATION AND STRATEGIC PROJECTS

BRONZE

Jennifer Mast ARTS EDUCATION COORDINATOR

AUDIENCE SERVICES

COPPER

Marlene Freid

AUDIENCE SERVICES MANAGER

Yuri Rodriguez

PUBLIC EVENTS MANAGER

Nancy Temple

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

SPECIAL THANKS API Global Transportation

Osteria Fasulo

Boeger Winery

Seasons

Ciocolat

Watermelon Music

El Macero County Club 4 MONDAVIARTS .ORG

ASSISTANT PUBLIC EVENTS MANAGER

SENIOR DIRECTOR OF SUPPORT SERVICES

Mandy Jarvis

FINANCIAL ANALYST

Russ Postlethwaite

BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR

DEVELOPMENT Debbie Armstrong SENIOR DIRECTOR OF DEVELOPMENT

FACILITIES Herb Garman

TICKET OFFICE Sarah Herrera

TICKET OFFICE MANAGER

Steve David

TICKET OFFICE SUPERVISOR

Susie Evon

TICKET AGENT

Russell St. Clair TICKET AGENT

PRODUCTION Donna J. Flor

PRODUCTION MANAGER

Christi-Anne Sokolewicz SENIOR STAGE MANAGER, JACKSON HALL

Christopher C. Oca

DIRECTOR OF OPERATIONS

SENIOR STAGE MANAGER, VANDERHOEF STUDIO THEATRE

Greg Bailey

Phil van Hest

BUILDING ENGINEER

MASTER CARPENTER

INFORMATION TECHNOLOGY

Dale Proctor

Mark J. Johnston

Rodney Boon

LEAD APPLICATION DEVELOPER

MARKETING Rob Tocalino

DIRECTOR OF MARKETING

Erin Kelley

ART DIRECTOR & SENIOR GRAPHIC ARTIST

MASTER ELECTRICIAN HEAD AUDIO ENGINEER

Jenna Bell

ARTIST SERVICES MANAGER

Adrian Galindo

AUDIO ENGINEER, VANDERHOEF STUDIO THEATRE/STAGE TECHNICIAN

HEAD USHERS Huguette Albrecht Ralph Clouse Eric Davis John Dixon George Edwards Donna Horgan Paul Kastner Jan Perez Mike Tracy Janellyn Whittier Terry Whittier

An exciting new season featuring the best in music, dance and speakers

• • • • • •

Lang Lang Dan Savage Ira Glass Dr. John & the Nite Trippers David Sedaris Gregory Porter

and much more!

Nick Offerman

sat, OCt 4

Full Bush

ADDED! Single TickSaelets On Now!

Harvest

suN, OCt 12

a GatHeriNG fOr fOOd, wiNe, beer aNd tHe arts featuring ray LaMontagne (Presented in association with Another Planet Entertainment.)

experience Hendrix

tHu, OCt 16

a tribute tO JiMi

Featuring: billy Cox, buddy Guy, Zakk wylde, Jonny Lang, Kenny wayne shepherd, eric Johnson and more!

Mike birbiglia

wed, deC 10

Thank God For jokes

robot Planet rising

wed, Mar 4

an InTerGalacTIc nemesIs lIve-acTIon GraPhIc novel

Pick

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buddy Guy

bLues LeGeNd

A full list of the 2014–15 season is available at mondaviarts.org

wed, apr 8

IN THIS ISSU

A MESSAGE FROM THE EXECUTIVE DIRECTOR

DON ROTH, Ph.D. EXECUTIVE DIRECTOR

It is my pleasure to welcome you to the 2014–15 Mondavi Center season.

In the coming nine months, we will share with you a crosssection of the finest musicians, dancers, thinkers, actors and comedians at work today. Our opening shows are a glimpse of the richness you will find in this season. Brazilian legend Caetano Veloso makes his first Mondavi Center performance on September 18. It is a rare opportunity to see in the intimate confines of an 1800 seat hall a music legend whose stature in his native country is somewhere between a Bob Dylan or Bruce Springsteen. The following evening two generations of jazz masters will take the stage, with patriarch Ellis Marsalis, Jr. joining his son Delfeayo in an evening of classic jazz paying tribute to the Marsalis’s southern roots.

Quite the one-two punch, but only a hint of what is in store.

A case in point is our October 24 presentation of Akram Khan’s iTMOi. After Associate Executive Director Jeremy Ganter and I saw this signature piece by one of the world’s leading choreographers, we immediately expressed interest in bringing it to the Mondavi Center. An international tour of a large dance piece like iTMOi is fraught with scheduling and logistical challenges, and there were many moments when the tour was in serious jeopardy. Our early and consistent support of the piece and our relationship with the company (we last presented Akram Khan’s Vertical Road in 2012–13) resulted in their willingness to come west for a single performance­—here in Jackson Hall. We are proud to host the U.S. Premiere of this stunning work—a dark and startling meditation in movement on Igor Stravinsky’s Rite of Spring. Paired with the U.S. Premiere of Ballet Preljocaj’s Blanche Neige in 2012–13, these events underscore our growing international reputation, bringing significant attention to the University and the region.

What you will not find in this program book is information on performances in the wonderful Vanderhoef Studio Theatre.

In the last year we have experimented with how we present information in a way that is more appropriate for this smaller space, especially when set up as a cabaret or nightclub.

Through the support of the Andrew W. Mellon foundation, we are moving forward with the next stage in this evolution, as we continue our adventures into the new and unusual “Visions.”

The most striking new Visions feature will be a “digital set,” with the capability of projecting lyrics or translations; information about compositions and composers; visuals and videos. We will use the digital set to replace traditional program materials because we believe that looking at the performers rather than reading notes is a small but crucial step toward increasing the audience-artist connection. You can always let us know about your experience in the VST—or any experience you want to share with us—at mcfeedback@ucdavis.edu.

I hope you enjoy this 13th Mondavi Center season.

6 MONDAVIARTS .ORG

ROBERT AND MARGRIT

MONDAVI CENTER FOR THE PERFORMING ARTS

8

Caetano Veloso

11 Ellis Marsalis, Jr. and Delfeayo Marsalis 15 MUMMENSCHANZ 16 Akram Khan Company 30 San Francisco Symphony 38 The Very Hungry Caterpillar

BEFORE THE SHOW • The artists and your fellow audience members appreciate silence during the performance.

• As a courtesy to others, please turn off all electronic devices.

• If you have any hard candy, please unwrap it before the lights dim.

• Please remember that the taking of photographs or the use of any type of audio or video recording equipment is strictly prohibited.

Violators are subject to removal.

• Please look around and locate the exit nearest you. That exit may be behind, to the side or in front of you. In the unlikely event of a fire alarm or other emergency, please leave the building through that exit.

• As a courtesy to all our patrons and for your safety, anyone leaving his or her seat during the performance may not be readmitted to his/her ticketed seat while the performance is in progress.

• Assistive Listening Devices and opera glasses are available at the Patron Services Desk near the lobby elevators. Both items may be checked out at no charge with a form of ID.

September – October 2014 Volume 2, No. 1

an exClusiVe Wine tasting experienCe of tHese featured Wineries for inner CirCle donors

2012—13 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love Design and Production Artists Mike Hathaway Advertising Sales Director Marty Griswold, Seattle Sales Director Gwendolyn Fairbanks, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Tia Mignonne, Terri Reed San Francisco/Bay Area Account Executives Denise Wong Executive Sales Coordinator Jonathan Shipley Ad Services Coordinator www.encoremediagroup.com

Paul Heppner Publisher Leah Baltus Editor-in-Chief Marty Griswold Sales Director Joey Chapman Account Executive Dan Paulus Art Director Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor Amanda Manitach Visual Arts Editor Amanda Townsend Events Coordinator www.cityartsonline.com

Complimentary wine pours in the Bartholomew Room for Inner Circle Donors: 7–8PM and during intermission if scheduled.

september FRI oCtober FRI

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noVember THU

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Ellis Marsalis, Jr. and Delfeayo Marsalis Cakebread Cellars Akram Khan Company Justin Vineyards & Winery Academy of Ancient Music Hestan Vineyards

deCember FRI

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Three Acts, Two Dancers, One Radio Host sCribe Winery Arlo Guthrie frank family Vineyards Academy of St. Martin in the Fields Chamber Ensemble todd taylor Wines

Paul Heppner President Mike Hathaway Vice President Erin Johnston Communications Manager Genay Genereux Accounting Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 adsales@encoremediagroup.com 800.308.2898 x105 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in Western Washington and the San Francisco Bay Area. All rights reserved. ©2014 Encore Media Group. Reproduction without written permission is prohibited.

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For information about becoming a donor, please call 530.754.5438 or visit us online:

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A World Stage Series Event Thursday, September 18, 2014 • 8PM Jackson Hall SPONSORED BY:

INDIVIDUAL SUPPORT PROVIDED BY

William and Nancy Roe

CAETANO VELOSO

CAETANO VELOSO’s album Abraçaço won a Latin Grammy for Best Singer-Songwriter Album and earned the #1 spot on Rolling Stone Brazil’s Best National Albums of 2012 list. Produced by Pedro Sá and Caetano Veloso’s son Moreno Veloso, Abraçaço is the final installment of a trilogy with the youthful trio he employed on 2007’s Cê and 2009’s zii e zie known as the Banda Cê: Pedro Sá on electric guitar, Ricardo Dias Gomes on bass and Rhodes piano, and Marcelo Callado 8 MONDAVIARTS .ORG

on drums. “We are people of different generations sharing similar musical and human interests,” Veloso says. A fusion of the traditional Tropicália style and the indie pop of contemporary Rio de Janeiro, the record includes 11 original songs written by Veloso.

The title of the record, Abraçaço, meaning “big hug,” is an expression the singer uses to sign off on emails and is employed here to mark the end of the critically acclaimed musical trilogy. David

CAETANO VELOSO Byrne said of Cê in Artforum, “Veloso has found a sparse, post-rock beauty in which strange yet simple rock instrumentation is juxtaposed with softly seething vocals.” Of zii e zie The Times (U.K.) says, “The Brazilian master remains in a league of his own. Forty years after injecting a rock beat into Brazilian pop (and earning the disapproval of the country’s military rulers in the process), Veloso has returned to similar territory ... fans won’t be disappointed.”

Caetano Veloso is among the most influential and beloved artists to emerge

from Brazil, where he began his musical career in the 1960s. He has over 50 recordings to his credit, including 14 on Nonesuch. Absorbing musical and aesthetic ideas from sources as diverse as The Beatles, concrete poetry, the French Dadaists and the Brazilian modernist poets of the 1920s, Veloso—together with Gilberto Gil, Gal Costa, Tom Zé, his sister Maria Bethânia, and a number of other poets and intellectuals— founded the Tropicália movement and permanently altered the course of his country’s popular music.

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FURTHER LISTENING

by Jeff Hudson

CAETANO VELOSO Last summer, did you follow the World Cup games from Brazil? Millions of Americans were glued to their television for days. The concert planners at the Mondavi Center (who think strategically) decided long ago to book Brazilian musical luminary Caetano Veloso as the very first concert of the ‘14–‘15 season in Jackson Hall, hoping to catch the expected wave of interest in all things Brazilian.

The Mondavi Center’s interest in Brazilian music actually extends back many years.

You may recall the concert here by Gilberto Gil in 2007—at the time, Gil was serving as Brazil’s Minister of Culture—a position he held from 2003 to 2008. Gil and Veloso actually met as university students in 1963, and began performing bossa nova and traditional Brazilian songs; they were both prominent in Brazil’s Tropicália movement in the late ‘60s. Veloso’s self-titled 1968 solo album (replete with psychedelic cover art) saw him merging Brazilian sounds with the trippy rock-and-roll style of the era.

Veloso (and Gil) both fell out of favor with the military rulers of Brazil, they were arrested and jailed for a time, then sent into exile. The lived in “swinging London” for a while, encountering many of the British rock stars of the era (Veloso was born in 1942, he’s basically the same age as Paul McCartney and Mick Jagger, five years younger than David Bowie).

Veloso returned to Brazil in 1972, and has continued to write songs and record, occasionally interpreting standards from Rodgers and Hammerstein musicals, or songs by George Gershwin, but always keeping his native land in mind. Veloso and Gil celebrated the 25th anniversary of the Tropicália style with an album in 1993. His reputation in the U.S. has grown. His first all-English album came out in 2004—the same year that Veloso and American musician David Byrne (who has long been fascinated by Brazilian music) performed together at Carnegie Hall. A recording of that Carnegie Hall concert was finally issued as an American album in 2012. Veloso’s most recent release in this country is Abraçaço (released in 2012 in South America and Europe, and in 2014 in the United States).

Veloso, for his part, isn’t likely to follow his old associate Gil into a government role.

Veloso told an interviewer in 2010 that “I wouldn’t want an official position. For (Gil) it’s not only natural but pleasurable. For me it would be unbearable, it wouldn’t hold me.” Veloso would rather perform and make new records.

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Ellis Marsalis, Jr.

ELLIS MARSALIS, JR. AND DELFEAYO MARSALIS

Delfeayo Marsalis

The Last Southern Gentlemen Tour

A Capital Public Radio Jackson Hall Jazz Event Friday, September 19, 2014 • 8PM Jackson Hall SPONSORED BY:

INDIVIDUAL SUPPORT PROVIDED BY

Tony and Joan Stone

Delfeayo Marsalis, trombone Ellis Marsalis, Jr., piano John Clayton, bass Marvin “Smitty” Smith, drums

The Last Southern Gentlemen signals a musical pinnacle for trombonist Delfeayo Marsalis, bringing him together, for the first time on a complete recording with his father, pianist Ellis Marsalis. Yet in a broader sense, the project is also a sweeping reflection of a comprehensive artist.

Incorporating Delfeayo’s writings—including an essay on the sociological/historical themes that define the recording, commentary on the music, and original stories, children’s tales and poetry— The Last Southern Gentlemen offers up a detailed map of his passionate interests and concerns.

Joined by two unimpeachable support players —John Clayton on bass and Marvin “Smitty” Smith on drums—Delfeayo and Ellis ruminate in relaxed, probing and always swinging fashion on eleven standards and two original compositions.

The focus on such durable standards as “Autumn Leaves,” “But Beautiful,” “Speak Low,” and “I Cover the Waterfront” speaks to the central theme of the project. The performances pay tribute, as Delfeayo writes, “to the humanity and humility at the center of the Southern lifestyle that birthed America’s original music.”

Here is jazz that everyone in this deliberately multi-generational quartet felt comfortable with; cherished songs that Ellis Marsalis has been playing and perfecting for decades,

material that the younger Delfeayo and his compatriots have had to master as studied virtuosos. Yet for Delfeayo Marsalis, the manner of performance rather than the repertoire is what counts most. “Southern hospitality and manners were important aspects of the original New Orleans musical aesthetic,” states this proud scion of the Big Easy, who still calls New Orleans his home. “Throughout this recording our aim was to communicate a feeling of graciousness and sincerity, relaxation and gentility. The early jazzmen believed that the social and emotional aspects of the music defined great jazz performance much more than the techniques or academic analysis. Jazz should offer a direct communication between the artist and the audience.”

This quality of unencumbered communication permeates The Last Southern Gentlemen.

Whether offering luxurious ballad statements on “She’s Funny That Way,” “My Romance,”“Nancy” or “I’m Confessin”; romping through spirited takes on “That Old Feeling” and the “Sesame Street” theme (here, bolstered by a funky New Orleans backbeat with tambourine and bass drum work from guest Herlin Riley), or laying into Delfeayo’s easy-grooving “The Secret Love Affair” or younger brother Jason Marsalis’“The Man With Two Left encoremediagroup.com 11

Feet,” the beauty of Delfeayo’s tone and his improvisational surety, as well the insatiable swing of Smith and Clayton at all tempos, remain unmistakable. As for the piano patriarch, Ellis demonstrates his enviable prowess and inimitable elegance throughout, including a well-deserved trio feature on “If I Were A Bell,” and an intimate duet between father and son on “I Cover the Waterfront.”“My father embodies the old school musical values: he gets right to the point of the matter, without any excess,” the admiring trombonist says. “He had a great impact on my approach to interpreting the material. I became more relaxed, more conscious of telling stories on my instrument.”

The superb performances, combined with Delfeayo’s fervent writings, blend to make The Last Southern Gentlemen, a uniquely affecting recording. As personal a project as jazz albums come these days, it provides much to think about while offering a surplus of expressive and enchanting sounds.

BIOS ELLIS MARSALIS, JR. Ellis Marsalis, Jr. is regarded by many as the premier modern jazz pianist in New Orleans.

Born on November 14, 1934, his formal music studies began at age eleven at the Xavier University Junior School of Music. After high school, Marsalis enrolled in Dillard University (New Orleans, LA) as a clarinet major. He graduated in 1955 with a Bachelor of Arts degree in Music Education. Marsalis spent the next year working as an assistant manager in his father’s motel business.

The following year, Marsalis joined the U.S. Marine Corps. While stationed in Southern California he honed his piano skills as a member of the Corps Four, a Marines jazz quartet that performed on television (Dress Blues, named for the formal Marine Corps uniform and broadcast on CBS) and radio shows (Leatherneck Songbook). Both shows were used to boost recruiting efforts. After completing his Marine Corps duty, Marsalis returned to New Orleans and married Dolores Ferdinand, a New Orleanian, who bore him six sons: Branford, Wynton, Ellis III, Delfeayo, Mboya and Jason.

In 1964 Marsalis, his wife Dolores and, at the time, four sons, moved to the small rural town of Breaux Bridge, Louisiana, where he spent two years as a school band and choral director at Carver High School. Returning to New Orleans 12 MONDAVIARTS .ORG

in 1966, he began freelancing on the local music scene. Between 1966 and 1974 Marsalis would perform at the Playboy Club, Al Hirt’s nightclub, Lu and Charlie’s nightclub, Storyville nightclub Crazy Shirley’s as well as again enter the teaching profession, in 1967, as an adjunct professor of African American Music at Xavier University.

As the family continued to grow, Marsalis continued his educational pursuits, attending Loyola University’s Master’s Degree program in the early summer session of 1974. He would also successfully interview for a teaching position at a new Magnet high school for the arts, the New Orleans Center for Creative Arts (NOCCA), and be hired as an instructor for the fall semester (1974). Marsalis would spend the next twelve years at NOCCA as an instrumental music teacher with a Jazz studies emphasis.

In 1986, Marsalis accepted a teaching position out of state. He became a Commonwealth Professor at Virginia Commonwealth University (Richmond, VA), serving as coordinator of Jazz Studies two of his three years there. In 1989, he returned to New Orleans to become the first occupant and Director of the Coca- Cola Endowed Chair of Jazz Studies at the University of New Orleans.

During his tenure at UNO he helped fellow colleague Charles Blancq develop a campus performance center called the Sand Bar. Marsalis would also develop a Jazz Orchestra, which he took, on the eve of his retirement, on a tour of Brazil. On August 10, 2001, Marsalis officially retired from the University of New Orleans after 12 years of dedicated service.

His retirement was celebrated by a very rare performance of Branford, Wynton, Delfeayo and Jason Marsalis at the UNO arena.

Marsalis is the recipient of Honorary Doctorate degrees from his alma mater Dillard University, New Orleans, LA (1989); Ball State University, Muncie, IN (1997); Virginia Commonwealth University, Richmond, VA (2010); Tulane University, New Orleans, LA; and The Juilliard School, New York, NY. In 2011, Marsalis and his family were awarded the highest honor in Jazz, NEA Jazz Masters, the first group award ever distributed by the National Endowment for the Arts.

Marsalis has appeared on NBC’s Today Show with host Bryant Gumbel; The Tonight Show with both Johnny Carson and Jay Leno; The Arsenio Hall Show with pianist Marcus Roberts; The Charlie Rose Show; Mr. Rogers’ Neighborhood; ABC’s Good Morning America with Spencer Christian, as well as several local

and regional television shows. In 1984 Marsalis and New Orleans singer/actress Joanne “Lady BJ” Creighton shared honors at the Ace Awards ceremony for the best single music program on cable television.

Marsalis continues to be active as a performing pianist leading, and occasionally touring, his own quartet. He has several recordings on the CBS-SONY label and currently releases recordings on his own recording label, ELM RECORDS, developed with his wife Dolores and son Jason.

DELFEAYO MARSALIS Delfeayo Marsalis is one of the top trombonists, composers and producers in jazz today. Known for his “technical excellence, inventive mind and frequent touches of humor” (Leonard Feather, Los Angeles Times), he is “one of the best, most imaginative and musical of the trombonists of his generation” (Philip Elwood, San Francisco Examiner). In January 2011, Delfeayo and the Marsalis family (father Ellis and brothers Branford, Wynton and Jason) earned the nation’s highest jazz honor—a National Endowment for the Arts Jazz Masters Award.

Born in New Orleans on July 28, 1965, Marsalis was destined to a life in music. “I remember my dad playing piano at the house, and me laying underneath the piano as a child, listening to him play. After briefly trying bass and drums, in sixth grade I gravitated towards the trombone, which was an extension of my personality. Early on my influences and inspirations included J.J. Johnson, Curtis Fuller, Al Grey, Tyree Glenn and Tommy Dorsey.” Marsalis attended the New Orleans Center for Creative Arts High School, was classically trained at the Eastern Music Festival and Tanglewood Institute, and majored in both performance and audio production at the Berklee College of Music.

About the time that he first started playing trombone, Marsalis was already greatly interested in the recording process. “When I was in fifth or sixth grade, my brother Branford showed me how to create a feedback loop on a reel to reel machine. At that time there was a real need in the family for demo tapes. In fact I was recording Wynton when he was in high school.

When I was in seventh grade, he challenged me to have his demo tape sound on the same level as Maurice Andre’s classical studio recordings. It was all trial and error and I learned a great deal.”

From the age of 17 until the present, Marsalis has produced over 100 recordings for major artists including Harry Connick, Jr., Marcus

ELLIS MARSALIS AND DELFEAYO MARSALIS Roberts, Spike Lee, Terence Blanchard, Marcus Roberts, Adam Makowicz, Nicholas Payton, the Preservation Hall Jazz Band and the projects of Ellis, Branford and Wynton Marsalis.

In addition, Marsalis is an exceptional trombonist who toured internationally with five renowned bandleaders. “Art Blakey taught me a lot about patience and how to construct a solo.

My compositions are influenced by Abdullah Ibrahim’s harmonies. Slide Hampton inspired me with the relaxation that he displays in his trombone playing along with his command of the instrument. With Max Roach, I learned that I had to be on top of my game every moment.

And Elvin Jones, who I worked with for seven or eight years, taught me about humanity, expressing myself through my instrument and how to keep time without relying on other players.” During a tour with the Lincoln Center Jazz Orchestra, he was filmed as part of the Ken Burns documentary, Jazz and he was an integral part of Marsalis Family: A Jazz Celebration, a DVD that assembled all of the musical Marsalis’ for the first time and was featured on PBS. As a bandleader, Marsalis has earned wide acclaim for his first three albums as a leader: Pontius Pilate’s Decision (1992), Musashi (1997) and Minions Dominion (2006). His January 2011 release Sweet Thunder, his most ambitious project yet, is a modern interpretation of the DU.K.e Ellington/Billy Strayhorn suite Such Sweet Thunder. Rather than merely recreating the classic work, which is comprised of musical depictions of characters from William Shakespeare’s plays, Marsalis took the work as a point of departure for his octet, creating fresh and new music inspired by the original suite.

“In some ways Sweet Thunder started for me in the seventh grade when I wrote a paper on my great uncle Wellman Braud, who played with Duke Ellington in the 1920s. While attending the University of Louisville, I wrote a thesis paper on Ellington and Shakespeare. For the project, I went to the Smithsonian and studied the original copies of the music for Such Sweet Thunder. I didn’t want to just play what Duke Ellington and Billy Strayhorn wrote in 1957, but to imagine what they might have written if they were here today, more than 50 years later. To me this is jazz opera without the vocals, telling a story with the dramatic music.”

Marsalis has also been long involved in work as an educator. In 2004, he earned an M.A. in jazz performance at the University of Louisville and was conferred a doctorate by New England College in 2009. He lectured in schools in 1995

on behalf of the Dallas Opera and the Bravo cable network. Marsalis served as director of the Foundation for Artistic and Musical Excellence summer program in Lawrenceville, New Jersey (1998–2002), founded the Uptown Music Theatre in 2000, and implemented its Kidstown After School in three New Orleans grammar schools in 2009. He has composed over 80 songs that help introduce kids to jazz.

JOHN CLAYTON John Clayton is a natural born multi-tasker. The multiple roles in which he excels--composer, arranger, conductor, producer, educator, and yes, extraordinary bassist--garner him a number of challenging assignments and commissions.

With a Grammy on his shelf and eight additional nominations, artists such as Diana Krall, Paul McCartney, Regina Carter, Dee Dee Bridgewater, Gladys Knight, Queen Latifah, and Charles Aznavour vie for a spot on his crowded calendar.

He began his bass career in elementary school playing in strings class, junior orchestra, high school jazz band, orchestra, and soul/R&B groups. In 1969, at the age of 16, he enrolled

in bassist Ray Brown’s jazz class at UCLA, beginning a close relationship that lasted more than three decades. After graduating from Indiana University’s School of Music with a degree in bass performance in 1975, he toured with the Monty Alexander Trio (1975-77), the Count Basie Orchestra (1977-79), and settled in as principal bassist with the Amsterdam Philharmonic Orchestra in Amsterdam, Netherlands (1980-85). He was also a bass instructor at The Royal Conservatory, The Hague, Holland from 1980-83.

In 1985 he returned to California, cofounded the Clayton-Hamilton Jazz Orchestra in 1986, rekindled the The Clayton Brothers quintet, and taught part-time bass at Cal State Long Beach, UCLA and USC. In 1988 he joined the faculty of the University of Southern California Thornton School of Music, where he taught until 2009. Now, in addition to individual clinics, workshops, and private students as schedule permits, John also directs the educational components associated with the Lionel Hampton Jazz Festival, Centrum Festival, and Vail Jazz Party.

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ELLIS MARSALIS AND DELFEAYO MARSALIS Career highlights include arranging the “Star Spangled Banner” for Whitney Houston’s performance at Super Bowl 1990 (the recording went platinum), playing bass on Paul McCartney’s CD Kisses On The Bottom, arranging and playing bass with Yo-Yo Ma and Friends on Songs of Joy and Peace, and arranging playing and conducting the 2009 CD Charles Aznavour With the Clayton-Hamilton Jazz Orchestra, and numerous recordings with

Diana Krall, the Clayton Brothers, the ClaytonHamilton Jazz Orchestra, Milt Jackson, Monty Alexander and many others.

In 2013 John launched a new album series titled The John Clayton Parlor Series - a collection of rare duo collaborations with musical friends, released through ArtistShare.

The series’ first release, Parlor Series Vol. 1 Featuring Gerald Clayton (John’s son, the Grammy-nominated pianist), is available now.

A world-class museum.

So very close to home.

Current and Upcoming Exhibitions African American Art: Harlem Renaissance, Civil Rights Era, and Beyond June 29, 2014 – September 21, 2014 Our America: The Latino Presence in American Art September 21, 2014 – January 11, 2015 The Provoke Era: Japanese Photography from the Collection of SFMOMA October 12, 2014 – February 1, 2015 Arte Mexicano: Legacy of the Masters October 12, 2014 – February 1, 2015 Toulouse-Lautrec and La Vie Moderne: Paris 1880 – 1910 February 1, 2015 – April 26, 2015

@crockerart

14 MONDAVIARTS .ORG

216 O Street • Downtown Sacramento 916.808.7000 • crockerartmuseum.org

MARVIN “SMITTY” SMITH Marvin “Smitty” Smith was born June 24, 1961 in Waukegan, Illinois. “It was a very natural inclination for me to play drums,” says Smith. A glance at his early life validates that truth.

Born the son of a drummer, Marvin, Sr., Smith was always surrounded by music in the house. At six months old, he would climb up on the large lounge chair positioned directly in front of his father’s drum set and would watch him practice, intensely. Whenever his father took a break, he would crawl over and press the foot pedals and attempt to emulate his dad. That experience, and banging on pots and pans, was the extent of his playing until he began formal training at the age of three.

Today, Smith is one of jazz’s most in demand drummers. He has traveled extensively throughout the Asia, Europe, and the continental U.S.; and he has shared the stage with such greats as Sonny Rollins, Hank Jones, Frank Foster and Frank Wess, Art Farmer, Benny Golson, Slide Hampton, and Milt Jackson. He is a former member of the Ron Carter Quartet, The New York Jazz Quartet, and The Art Farmer/Benny Golson Jazztet.

Featured on more than 200 albums, additional performances and recordings augmented with Terence Blanchard and Donald Harrison, Ray Brown and Phineas Newborn, George Shearing, Bobby Watson, Hamiet Bluiett, Branford Marsalis, David Murray, Emily Remler, Peter Leicht, Kevin Eubanks, Donald Byrd, Monty Alexander, Diane Reeves, Michel Camilo, Grover Washington Jr, Steve Coleman’s Five Elements and The Dave Holland Quartet. Smitty conducts seminars and clinics for students in jazz workshops, both in the United States and Europe; and has been a practitioner at the Banff Centre of Fine Arts, Canada, and Drummers Collective, New York City.

Smitty has been Downbeat Critics’ Poll winner for Talent Deserving Wider Recognition, 1985 through 1987, and 1989.

Smitty performed on the Soundtrack of filmaker Spike Lee’s School Daze, appeared in Sonny Rollins’ music video “Saxophone Colossus”, and a member of Sting’s Nothing Like the Sun South American tour, 1987.

Regarded as a well rounded musician with the ability to play all styles, Marvin “Smitty” Smith is a blossoming composer and arranger, and his success has earned him multiple albums as a bandleader. As a versitile drummer, there seems to be nothing be cannot do.

MUMMENSCHANZ

A Marvels Series Event Saturday, October 18, 2014 • 8PM Sunday, October 19, 2014 • 3PM Jackson Hall

SPONSORED BY:

INDIVIDUAL SUPPORT PROVIDED BY

Friends of Mondavi Center

Since its three-year run on Broadway, Swiss mark theater troupe MUMMENSCHANZ has pioneered a new form of visual theater that has since spawned multiple new genres reclaiming their legacy. From its founding in 1972, MUMMENSCHANZ has since inspired generations of show-goers across five continents over four decades. The stories told are unique in that they have no sound or music; the language of MUMMENSCHANZ is universal.

In the wordless universe of MUMMENSCHANZ, the ordinary becomes extraordinary when common materials, everyday objects (like toilet paper) and colorful abstract shapes and forms like the famous “Clay Masks,” “Slinky Man” and “Giant Hands” spring to life.

By creating a playful yet compelling experience through the inventive use of shadow, light, and creative manipulation of objects, MUMMENSCHANZ offers timeless insight on the human condition. The result is a visually stunning spectacle of that transcends cultural barriers and sparks the imagination.

Formed in Paris by founding members Andres Bossard, Floriana Frassetto and Bernie Schürch, MUMMENSCHANZ paved the way for nonverbal theater and multiple new genres.

Since then, the group has established its legacy with tireless touring across five continents over four decades by the original artists (Frassetto is still a main cast member), as well as current featured players, Philipp Egli, Pietro Montandon and Raffaella Mattioli and technical directors Jan Maria LU.K.as / Dino de Maio.

Seen by millions in more than 60 countries, MUMMENSCHANZ humorously communicates timeless truths and insights on the human condition using a purely nonverbal universal “language.” The group creates a playful and uniquely memorable theater experience through an inventive use of shadow and light and creative manipulation of sculptural, expressive masks.

The visually stunning spectacle is a form of family-friendly entertainment that sparks the imagination, transcends cultural barriers and dazzles audiences and generations of fans around the world. encoremediagroup.com 15

AKRAM KHAN COMPANY

iTMOi

(in the mind of igor)

U.S. Premiere

A Dance Series Event Friday, October 24, 2014 • 8PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY

Joe and Betty Tupin There will be no intermission

Question and Answer Session following the performance MODERATED BY:

Ruth Rosenberg, Artist Engagement Coordinator for the Mondavi Center, UC Davis Ruth Rosenberg oversees community and campus engagement with the Mondavi Center’s touring artists. Artistic director of the Sacramento-based Ruth Rosenberg Dance Ensemble from 1990–2001, she also performed with Sacramento Ballet, Capitol City Ballet and Ed Mock & Dancers of San Francisco and was the recipient of numerous awards and honoraria.

16 MONDAVIARTS .ORG

iTMOi World Premiere: MC2: Grenoble, France, 14 May 2013 U.K. Premiere: Sadler’s Wells Theatre, London, 28 May 2013 Paris Premiere: Théâtre des Champs-Élysées, France, 24 June 2013 iTMOi (in the mind of igor) is Akram Khan’s latest full-length ensemble piece since Vertical Road (2010).

Celebrating Igor Stravinsky and the centenary of his legendary Rite of Spring, iTMOi explores the way in which Stravinsky transformed the classical music world by evoking emotions through patterns and their disruption, building an episodic drama around the ritual of sacrifice.

Khan says “I hope to reinvestigate this approach, not just through patterns, as Stravinsky did, but also through exploring the human condition. A rupture in the mind, fierce resistance to convention, a death in the body and a birth in the soul, all remind us that the mind and imagination are wild and self-generating.”

Here he is fascinated by how human beings are capable of turning everything into a paradox—meaning turns into absurdity, justice into injustice, freedom into bondage.

“In addition, to be creating this work with three different composers allows us to discover many different sound worlds, using Stravinsky as the key, the guide, the map.”

With an original score by Nitin Sawhney, Jocelyn Pook and Ben Frost, and an international cast of 11 dancers, iTMOi is another extraordinary artistic collaboration from Khan and his talented team, creating a world where beauty and ugliness are ruptured to reveal how closely they interrelate with each other.

AKRAM KHAN COMPANY Artistic Director, Choreographer: Akram Khan Composers : Nitin Sawhney, Jocelyn Pook and Ben Frost Producer: Farooq Chaudhry Material devised and performed by: Kristina Alleyne Sadé Alleyne Ching-Ying Chien Denis ‘Kooné’ Kuhnert Yen-Ching Lin TJ Lowe Christine Joy Ritter Catherine Schaub Abkaria Nicola Monaco Blenard Azizaj and Cheng-An Wu Costume Designer: Kimie Nakano Lighting Designer: Fabiana Piccioli Scenographer: Matt Deely Dramaturge: Ruth Little Researcher: Joel Jenkins Choreographic Assistants: Andrej Petrovič and Jose Agudo Set Development and Construction: Sander Loonen and Firma Smits Sound Designer: Nicolas Faure Associate Producer: Bia Oliveira Project Manager: Céline Gaubert

TECHNICAL TEAM ON TOUR

CO-PRODUCED BY

Sadler’s Wells London, MC2: Grenoble, HELLERAU – European Center for the Arts Dresden, Les Théâtres de la Ville de Luxembourg Produced during residency at MC2: Grenoble SUPPORTED BY

Arts Council England Akram Khan Company gratefully acknowledges the support of the Centre Dramatique National des Alpes in the making of costumes.

SPECIAL THANKS TO

Alistair Spalding, Michel Orier, Jean-Paul Angot, Hervé Le Bouc, Sylvaine Van den Esch, Géraldine Garin, Sophie Sadeler, Béatrice Abeille-Robin, Mr. & Mrs. Khan, YU.K.o Khan, Élodie Morard, Sung Hoon Kim, Hannes Langolf, Téo Fdida, Thomas Greenfield, Gillian Tan, Jean-Claude Gallotta, Hélène Azzaro, Pierre Escande, Karthika Naïr, PolarBear, Gretchen Schiller, Marie Jacomino, Olivia Ledoux and Louise Yribarren. iTMOi features 30 seconds of The Rite of Spring music by Igor Stravinsky, played three times and used by permission of Boosey & Hawkes.

MESSAGE FROM COLAS In choreographing a piece inspired by The Rite of Spring, Akram Khan has embraced a new formidable challenge. How can Khan keep from repeating the elaborate forms that we have always admired? What kind of personal pathway can he forge, and what fresh vision can he bring to The Rite of Spring, a work idealized for eternity?

Khan explains, “I put everything out of my mind, and then attempted to enter Igor’s own thought process and follow its complex and disruptive path. Igor, in The Rite of Spring, breaks away from established social modes, revisits his youth and forcefully deconstructs it, untangling the memories and breathing life into new thoughts and old traditions. In echo, I set out on the same path and discovered my own turmoil, my own desire to destroy old patterns and create new ones. Each memory is a little death. I had to wipe the slate of my own past clean in order to discover what I am capable of. Unexplored images came to mind, and I found myself faced with my own limits.” iTMOi was born from these successive ruptures.

For Akram and for Colas, creating is clearly a revolutionary cycle of deconstruction and construction, a way of moving forward by paving a path beyond what we know, and beyond our own limits.

At Colas, being Entrepreneurial, Innovative & Pioneering means having the audacity to examine ourselves, to rethink our patterns and to renew our heritage.

Hervé Le Bouc Chairman and CEO

Technical Coordinator and Lighting: Richard Fagan Sound: Álex Castro Costumes and Props: Anne-Marie Bigby Technician: Marek Pomocki Tour Manager: Lies Doms Akram Khan is an Associate Artist of MC2: Grenoble and Sadler’s Wells, London in a special international co-operation.

SPONSORED BY

COLAS encoremediagroup.com 17

AKRAM KHAN COMPANY MIND MAPPING When Akram Khan was invited by Sadler’s Wells to create a dance piece in response to Stravinsky’s The Rite of Spring, our research led us into a sea of commentary on the creation of the Rite, its early condemnation and triumphant rehabilitation as one of the defining works of the 20th century.

We listened to the music, collected images relating to the composer’s life and times and to the dreams and nightmares the piece provokes, probed the history of human sacrifice and its cultural representation, and trawled the biographical and critical literature for clues to Stravinsky’s intention and process.

But the more we learned, the less we knew. Igor Stravinsky remains a complex and frustratingly contradictory character, whose musical genius is as difficult to define as his imagination or motivations. At once dogmatic and inconsistent, conservative, curious and iconoclastic, he himself actively contributed to the mythic quality of the narrative surrounding the Rite’s conception and reception. And the ultimate success of the Rite as an orchestral masterpiece effaced its origins as a ‘musical-choreographic’ work inseparable from the equally iconoclastic, ‘uncouth’ dance created by Nijinsky.

The Rite of Spring is characterised by the vigour, and rigour, of its composition; by its unpredictability, dissonance and emphatic stresses. But it is characterised too by the intensity of its visceral impact on audiences.

The opportunity, and the challenge of iTMOi lay in pushing beyond the immediate response to the famous score and its infamous history towards an experience which is both universal in its implications and emotionally charged in its own right.

The controlled explosion of the original is undeniably powerful. But what lies behind it? What wonder and what fear surrounded Stravinsky’s own response to ‘the mystery and great surge of the creative power of Spring’? What does the experience of the Rite communicate about ourselves and our rituals, the courage and cruelty of our faith, and what is revealed when the mask of convention falls away?

In the end, we have only the Rite, and what it releases. iTMOi takes the basic event structure of The Rite of Spring—the cycle of birth and death, love and ritual violence—and draws on the energy 18 MONDAVIARTS .ORG

and complexity of the score to drive an exploration of the “violence” of the creative process itself—the perpetual and concentrated movement between pattern-making and rupture. Tradition, convention, faith, tests of faith and their rituals give a sense of order and structure to our lives, but the animating principle of the universe is chaos—the deeply ordered but bewilderingly unpredictable movement of complex systems. iTMOi acknowledges the stabilising power of what Oscar Wilde referred to in The Picture of Dorian Gray as “the terror of society … the terror of God.” But the work also points to the human capacity for violence that both make possible, as well as to the sorrow and tenderness such violence produces.

“The mind of man,” claimed Conrad in Heart of Darkness, “is capable of anything, because everything is in it, all the past as well as all the future … Truth—truth, stripped of its cloak of time.” In the mind of Igor, emotions exist beyond time, as the pulse of pure physical connection to the world and its music. Like music, they are a form of movement—the origin of the word ‘emotion’ lies in the Latin emovere, “to move out, remove, agitate.” In the mind of Igor, The Rite of Spring has no history and no future.

Its music, its dance, the feelings it produces are inseparable from one another. Sound, fury, energy, love—these are the artist’s rites against death. In the mind of Igor, there is only movement, and in that movement, all of life.

—Ruth Little, April 2013

BIOS

AKRAM KHAN

Artistic Director/ Choreographer Akram Khan is one of the most celebrated and respected dance artists today. In just over a decade he has created a body of work that has contributed significantly to the arts in the U.K. and abroad. His reputation has been built on the success of imaginative, highly accessible and relevant productions such as DESH, iTMOi, Vertical Road, Gnosis and zero degrees.

An instinctive and natural collaborator, Khan has been a magnet to world-class

artists from other cultures and disciplines. His previous collaborators include the National Ballet of China, actress Juliette Binoche, ballerina Sylvie Guillem, choreographer/ dancer Sidi Larbi Cherkaoui, singer Kylie Minogue, visual artists Anish Kapoor, Antony Gormley and Tim Yip, writer Hanif Kureishi and composers Steve Reich, Nitin Sawhney, Jocelyn Pook and Ben Frost.

Khan’s work is recognised as being profoundly moving, in which his intelligently crafted storytelling is effortlessly intimate and epic. Described by the Financial Times as an artist “who speaks tremendously of tremendous things,” a recent highlight of his career was the creation of a section of the London 2012 Olympic Games Opening Ceremony that was received with unanimous acclaim.

Khan has been the recipient of numerous awards throughout his career including the Laurence Olivier Award, the prestigious ISPA (International Society for the Performing Arts) Distinguished Artist Award, the South Bank Sky Arts Award and the Critics’ Circle National Dance Award. Khan was awarded an MBE for services to dance in 2005. He is also an Honorary Graduate of Roehampton and De Montfort Universities, and an Honorary Fellow of Trinity Laban.

Khan is an Associate Artist of MC2: Grenoble and Sadler’s Wells, London in a special international co-operation.

NITIN SAWHNEY

Composer Nitin is arguably the busiest, most versatile and sought after composer and producer around.

As the holder of five honorary doctorates and three fellowships, he is now signed to Universal Publishing, has worked with a host of celebrated artists including Paul McCartney and Sting and has made nine studio albums, for which he has been nominated for a Mercury Music prize, won a MOBO, two BBC Radio 3 awards and a Southbank Show award, amongst 15 others.

He has scored over 50 films for cinema and television, with an Ivor Novello nomination for best score, leading to his much acclaimed orchestral music to the BAFTA-nominated BBC series, The Human Planet, Mira Nair’s film The Namesake, three film scores for live

AKRAM KHAN COMPANY performance by the London Symphony Orchestra, two acclaimed videogame scores and composition for Olivier winning theatrical and dance productions with Complicite and Akram Khan Company.

Sawhney recently scored for Deepa Mehta’s adaptation of Salman Rushdie’s book Midnight’s Children, Hitchcock’s early silent movie The Lodger, Khyentse Norbu’s Vara: A Blessing and Japan in a Day for Ridley and Tony Scott.

Sawhney has recently recorded OneZero, released in June 2013. This project is a live cut to vinyl and is a retrospective session consisting of tracks taken from Sawhney’s nine album back catalogue, and a preview of tracks from his forthcoming album, Dystopian Dream. Sawhney is also producing Anoushka Shankar’s latest album (featuring Norah Jones) and hosts his own radio series for BBC Radio 2—Nitin Sawhney Spins the Globe.

JOCELYN POOK

Composer Perhaps best known for her score for Stanley Kubrick’s Eyes Wide Shut, Jocelyn Pook is one of U.K.’s most versatile composers, having written extensively for stage, screen, opera house and concert hall. After graduating from the Guildhall School of Music and Drama where she studied the viola, she toured and recorded extensively with various bands and artists such as Peter Gabriel, Laurie Anderson, Mark Knopfler, PJ Harvey and as a member of the Communards. She worked with experimental theater and dance companies both as performer and then as composer, such as Impact Theatre Co-operative, Lumiere & Son, DV8 Physical Theatre, RSC and for the National Theatre’s production of St Joan (directed by Marianne Elliot) for which she won an Olivier Award. Her first opera Ingerland was commissioned and produced by ROH2 for the Royal Opera House’s Linbury Studio in 2010.

Established as a highly original composer of screen music, Jocelyn’s score for Eyes Wide Shut garnered a Chicago Film Award and a Golden Globe nomination. Other film scores include The Merchant of Venice (directed

by Michael Radford) with Al Pacino, which featured the voice of countertenor Andreas 20 MONDAVIARTS .ORG

Scholl and was nominated for a Classical Brit Award, Heidi (directed by Paul Marcus), L’Emploi du Temps (directed by Laurent Cantet), Brick Lane (directed by Sarah Gavron) and a piece for Martin Scorsese’s Gangs of New York.

Jocelyn recently received critical acclaim for her symphonic song cycle Hearing Voices, performed by the BBC Concert Orchestra and singer Melanie Pappenheim and conducted by Charles Hazlewood. Jocelyn was one of the composers commissioned to write music for the Thames Diamond Jubilee Pageant of Elizabeth II. In 2011 Jocelyn created the score for Akram Khan’s DESH, for which she won a British Composer Award. Her soundtrack for iTMOi features singer and long-time collaborator Melanie Pappenheim.

Jocelyn’s album Untold Things was rereleased by RealWorld Records in July 2013.

BEN FROST

Composer Ben Frost was born in 1980 in Melbourne. He lives in Reykjavík.

The music of Ben Frost is about contrast; influenced as much

by Classical Minimalism as by Punk Rock and Metal, Frost’s throbbing guitar-based textures emerge from nothing and slowly coalesce into huge, forbidding forms that often eschew conventional structures in favor of the inevitable unfolding of vast mechanical systems.

Wire Magazine wrote in 2007 that “The emotional power of Frost’s music comes precisely from the stark contrast between extremely basic musical material and the deadly virtual instruments he invents to perform it. This is Arvo Pärt as arranged by Trent Reznor.”

His albums include Steel Wound, released on the Room40 label in 2003 (Pitchfork: “An exemplary ambient experience”), Theory of Machines on Bedroom Community in 2007 (Boomkat: “The Future of electronic music”) and 2009’s BY THE THROAT (NME: “a hollow, unforgiving, brutal yet utterly beautiful record, full of deep intricacies that won’t let you go.”).

Frost’s music is more than a cerebral

exercise and has an undeniable visceral presence, felt as much as heard. His compositions are created with an acute awareness of the listener and their comfort thresholds, exploiting every extreme of pitch and volume. His notorious, buildingshaking performances at international festivals including Montreal’s famed MUTEK combine amplified electronics with the furious thrashing of live guitars. Frost himself has been described as “one of the most interesting and groundbreaking producers in the world today.” (Boomkat) His music’s intense physicality has filled gallery spaces and driven contemporary dance productions by Chunky Move, the Icelandic Dance Company, and the acclaimed choreographers Erna Ómarsdottír and Wayne McGregor.

FAROOQ CHAUDHRY

Producer Born in Pakistan, Farooq Chaudhry graduated from the London Contemporary Dance School and danced professionally in Europe in the eighties and nineties, including for Belgian contemporary dance company Rosas. He was awarded an Asian Achievement Award for his work as a dancer in 1988.

Chaudhry completed an M.A. in Arts Management from City University in London after retiring from dancing. In 1999, he teamed up with Akram Khan and founded Akram Khan Company a year later. As the company producer, Chaudhry puts creativity at the heart of his leadership style, forming innovative business models to support Khan’s artistic ambitions and offering creative support during the development of Khan’s projects.

Chaudhry has been speaking regularly in arts management and cultural entrepreneurship courses around the world, including the Advanced Cultural Leadership Programme at Hong Kong University and the London Business School.

He also provides mentoring and consultancy services, both formally and informally, to performing artists and arts managers in the early development of their careers.

Chaudhry is the Chair of Dance U.K.’s Board, a member of the Strategic Advisory

Committee for Clore Leadership Programme and a witness of the School for Social Entrepreneurs. The French Ministry of Foreign Affairs acknowledged him in a list of the world’s top hundred cultural actors and entrepreneurs in 2008. He became an honorary artistic advisor to Guangzhou Opera House in China in 2011.

In addition to his work for Akram Khan Company, Chaudhry became the Producer for English National Ballet in October 2013.

KRISTINA ALLEYNE

Dancer Kristina, born in London, originally trained as an athlete.

She trained at the BRIT School of Performing Arts and Technology (BRITS) from 2003–05 and at the Northern School of Contemporary Dance (NSCD) based in Leeds from 2005–08. Kristina’s dance experience started through hiphop where she joined such companies as Boy Blue Entertainment and international company Dance2Xcess.

Kristina has worked/toured with postgraduate dance company Verve 09, Tavaziva Dance, African Company Fritti, Arthur Pita, Retina Dance Company, Ijad Dance and Technology Company, Henri Oguike Dance Company, Helen Parlor and ACE Dance and Music.

She performed at the London 2012 Olympic Games Opening Ceremony in the section choreographed by Akram Khan.

SADÉ ALLEYNE

Dancer Sadé Alleyne formally trained as an athlete for Enfield and Haringey. Her first experience of dance was with hip-hop companies Boy Blue Entertainment and Dance 2Xess. Sadé trained at the BRITS School (London 2004) and at the Northern School of Contemporary Dance (Leeds 2008).

Since graduating Sadé has worked with Tavaziva Dance, IJAD Dance and Vocab Dance Company, in both U.K. and international performances. Sadé has worked as a Performer and Rehearsal

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PUT YOUR BUSINESS HERE Repertory Theatre • Seattle Shakespeare Company • Seattle Symphony • Seattle Women’s Chorus • Tacoma City Ballet • Tacoma Philharmonic • Taproot Theatre • UW World Series at Meany Hall • Village Theatre Issaquah & Everett • American Conservatory Theater • Berkeley Repertory Theatre • Broadway San Jose • California Shakespeare Theater • San Francisco Ballet • San Francisco Opera • SFJAZZ • Stanford Live • TheatreWorks • Weill Hall at Sonoma State University www.encoremediagroup.com encoremediagroup.com 21

AKRAM KHAN COMPANY Director for companies Ace Dance and Music (Birmingham) and State of Emergency (London). Sadé has worked with choreographers Vincent Mantsoe, Luyanda Sidya, Andlie Sotyia, Douglas Thorpe, Akiko Kitamura and Gregory Vuyani Maqoma.

She joined Akram Khan Company in 2012 on the Vertical Road tour. She performed with the Company at the London 2012 Olympic Games Opening Ceremony.

CHING-YING CHIEN

Dancer Ching-Ying Chien was born in Taiwan.

She graduated from the National Taiwan University of Art. She has collaborated with choreographers Fang-Yi Sheu, Shu-Yi Chou and Contemporary artist Guo-Qiang Cai in the production Day And Night.

She joined Fang-Yi Sheu & Artists in 2011 and Akram Khan Company in 2012.

DENIS ‘KOONÉ’ KUHNERT

Dancer Denis ‘Kooné’ Kuhnert was born in the East of Germany. In 1989 he discovered the hiphop culture by doing graffiti art and in 1993 he began practicing b-boying (also known as break dance.) He participated in some of the biggest battles around the world (including taking third place in ‘Battle of the Year’, the unofficial World Championships.)

He had his first contact with theater in 1996 and since 2003 has been making a living with theatre shows. Kooné has worked with choreographers such as Malou Airaudo (Pina Bausch Company), Constanza Macras (Dorky Park) and Samir Akika (Unusual Symptoms.) He has also produced two of his own works so far (And What Happens ... in 2008 and 5 Degrees Of Separation in 2011.)

Since he retired from the international break dance scene in 2010, he has fully focused on his theater work, and is creating his very own style based on his urban dance roots mixed with contemporary dance theater.

22 MONDAVIARTS .ORG

YEN-CHING LIN

Dancer Born in Taiwan, YenChing Lin studied at the Taipei National University of the Arts and the London Contemporary Dance School (LCDS) where she completed the Postgraduate Diploma programme in 2003 and obtained an M.A. in Contemporary Dance in 2007. During her studies at LCDS Yen-Ching worked with choreographers such as Maresa von Stockert, Charles Lawrence, Jonathan Lunn and Jan de Schynkel. She was a member of a postgraduate company Edge05, joined the Bern Ballet in 2006 and danced for Hofesh Shechter Company from 2007 to 2010. She joined Akram Khan Company in 2010 for the creation of Vertical Road.

TJ LOWE

Dancer Born and raised in London, TJ trained at the Brit School for Performing Arts and Technology and at the Trinity Laban Conservatoire of Music & Dance, graduating with a B.A. (Hons) in Dance Theatre after which he achieved a Post Graduate Diploma at London Contemporary Dance School.

TJ has trained professionally in hip-hop, commercial and contemporary dance theater, performing internationally in all genres. He has performed with companies such as Dance2xsU.K., Hofesh Shechter, Ace Dance and Music, Jean Abreu Dance, T.R.A.S.H-(Netherlands) and Akram Khan Company for the London 2012 Olympic Games Opening Ceremony and iTMOi. TJ was also featured in the second season of the Channel 4 series Skins, choreographed by Hofesh Shechter, and has co-choreographed alongside Sisco Gomez for So You Think You Can Dance Ukraine.

TJ is the founder of TLDT U.K. dance theatre collective.

CHRISTINE JOY RITTER

Dancer Christine Joy Ritter was born in 1982 in Los Angeles. She moved to Germany when she was four years old and grew up in Freiburg im Breisgau where she took her first ballet classes at the Ballettstudio Krain. During those 10 years she was trained in ballet and jazz and gained more experience through the RAD (Royal Academy of Dance), dance competitions, ballet performances and shows with the Philippine and Polynesian Culture Dance group led by her mother.

At the age of 17 she was accepted at the Palucca Dance School in Dresden. During that 4-year education in contemporary dance, she achieved the Esther-ArnoldSeligman Scholarship and in 2004 she graduated with a diploma. Since then she has been working mostly in Berlin as a freelance dancer with such choreographers as Christoph Winkler, Anja Kozik (Potsdam), Heike Hennig (Leipzig), Milan Gervais (Montreal) and Constanza Macras. In the last 5 years Christine Joy has also been practicing hip-hop and break dance, participating in battles in Germany successfully.

In 2011 she was proud to be invited as a dancer to be part of the Michael Jackson Immortal World Tour, an arena show by Cirque du Soleil which toured through the USA, Canada and Europe.

She joined Akram Khan Company in 2012 for iTMOi.

CATHERINE SCHAUB ABKARIAN

Dancer Catherine studied at Beaux-Arts in Bourges and Paris before studying Kathakali (dance-theater from South India) for five years in France and India. She has worked with Bread and Puppet Theater and later with Théâtre du Soleil (directed by Ariane Mnouchkine) for seven years where she choreographed and performed in the chorus for Les Atrides.

Other theater works include Mnemonic (Theatre de Complicite, directed by Simon

The lives we touch inspire us Ollie and Vernie’s bond has endured through 60 years of marriage and military service in two wars. They still never go to bed angry. So when Ollie was diagnosed with memory problems that can progress to Alzheimer’s disease, they resolved to meet the challenge together.

Doctors recommended physical and mental activity to support brain health – so 81-year-old Ollie now plays on three softball teams. The couple fill their social calendar with friends and charity fundraisers.

They also fight back by helping others at risk of dementia. Participating in a multiyear study at the UC Davis Alzheimer’s Center, the couple is helping leading researchers investigate the aging brain to find improved methods of diagnosis and treatment.

To learn more about Ollie and Vernie’s determination and the region’s only Alzheimer’s research center designated by the National Institute on Aging, visit alzheimer.ucdavis.edu One team. One choice.

One UC Davis.

THE REGION’S

NIA-DESIGNATED ALZHEIMER’S RESEARCH CENTER

AKRAM KHAN COMPANY McBurney), Il Circo Popolare Poquelino, Macbeth, A Midsummer Night’s Dream (directed by Paul Golub), L’Orestie (directed

by Sylviu Purcarete), Angela et Marina, La Chance de ma vie (directed by Valérie Grail), Love’s Labour’s Lost, L’Ultime Chant De Troie, Titus Andronicus, Pénélope ô Pénélope and Projet Mata Hari: Exécution (directed by Simon Abkarian).

Her dance works include Sapho de Mythilene (directed by Agnès Delume) and Juste au Corps (directed by Pascale Houbin).

Catherine has been in various films including Petites Révélations, Suites Parlées (directed by Marie Vermillard), Venise n’est pas Mexico (directed by Rima Samman), Full Firearms (directed by Emily Wardill) and Grace de Monaco (directed by Olivier Dahan).

She also directed Gilgamesh chantier de fouilles, in Syria.

NICOLA MONACO

Dancer Nicola Monaco started his training in dance at the age of 19 in Italy where he studied contemporary and ballet. In 2001 he attended the professional course of Aterballetto under the direction of Mauro Bigonzetti. At the end of his training he immediately joined the dance company Artemis Danza directed by Monica Casadei where he stayed for two seasons. In 2003 had the opportunity to work for awarded Dutch dance company Emio Greco/PC where he stayed until 2008 taking part of the latest creations of the company and being able as well to dance all the repertory touring worldwide. In 2009 he moved to London and had the chance to work and collaborate with choreographer such as Akram Khan, Gregory Maquoma, Tom Dale, The Featherstonehaughs and Shobana Jeyasingh Dance Company. In the meanwhile, Nicola started his own research as choreographer performing for the Arcola Theatre and the Place Theatre. In 2010 he worked as rehearsals director and dancer for the production Petra Rocks choreographed

by Dina Abu Amdan in Amman (Jordan). In 2012, Nicola started collaborations with the University of Malta as guest teacher and as rehearsal director for the Mavin Khoo Dance Company directed by Mavin Khoo.

24 MONDAVIARTS .ORG

BLENARD AZIZAJ

Dancer Blenard Azizaj was born in Albania.

He graduated from the National State School of Athens (Greece) in 2010 as

dancer and teacher.

He worked with the Hellenic Dance Company in Greece (Diavlus / Explosion in 2007–11), Compagnie Linga in Switzerland (Remapping the body in 2011–12, Additional tones in 2012–13), Step Text Dance Project in Germany (The Drift, Homescapes,The Desert in 2012–13).

He also did workshops with David Zambrano, Passing Through and Flying Low Technique, Wim Vandekeybus, Peeping Tom, Josef Frucek and Linda Kapetanea, Partnering Technique.

He toured in various countries such as Italy, Israel, Palestine, Jordan, Ireland, Senegal and Germany.

He joined Akram Khan Company in September 2013.

CHENG-AN WU

Dancer Cheng-An Wu trained at the School of Dance, Taipei National University of the Arts.

He danced for Focus Dance Company, Taiwan in D-Man in the Waters by Bill T. Jones, Milky Way by Hwai-Min Lin, No Lander by Riccardo Buscarini, Landscapers

by Bulareyaung Pagarlava. He was awarded a scholarship by Chin-Lin Foundation for Culture and Arts to attend the American Dance Festival in 2011, where he worked with Bulareyaung Pagarlava. He joined Akram Khan Company in 2013.

KIMIE NAKANO

Costume Designer Kimie Nakano studied literature at Musashino University in Tokyo, theatre costume at Ecole Nationale Supérieure des Arts et Techniques du Théâtre in Paris and holds a theatre design M.A. at Wimbledon College of Art in London.

Kimie has recently designed costumes for Dust, Akram Khan’s piece for English National Ballet’s Lest We Forget, for Vertical Road/The Rashomon Effect (Akram Khan for the National Youth Dance Company) and for TOROBAKA, Khan’s new duet with flamenco star Israel Galván. She has also designed set and costumes for Tristan und Isolde for Longborough Festival Opera (director Carmen Jakobi). Previous designs for Akram Khan Company include set and costumes for Vertical Road and costumes for Gnosis.

Other set and costume designs for dance include Carmen for The Lithuanian National Opera and Ballet Theatre (choreographer Didy Veldman), The Little Prince choreographed by Didy Veldman (Les Grands Ballets Canadiens de Montréal). Kimie has also collaborated with Eda Megumi on 8:15 (Rambert Dance Company) and with Megumi Nakamura on Sand Flower (Maastright Festival Award).

Kimie’s costume designs include Now Is (Edinburgh International Festival) and Timeless for Aditi Mangaldas, The Mustard Seed choreographed by Miguel Altunaga (Rambert Dance Company), Premieres Plus Carlos Acosta and Mural Study for Van Huynh Company.

Set and costume designs for opera and theater include Yabu no Naka (modern noh/ kyogen play, Tokyo Art Festival Award) directed by Mansai Nomura, Ali to Karim (U.S. Tour) directed by Hafiz Karmali, Pas, Pas moi, va et vient (Beckett, Festival Theatre National Populaire—Lyon), The Oslo Experiment (Stratos Oslo), 2 Graves (Arts Theatre and Edinburgh Festival), La Nuit du Train de la Voie Lactée directed by Hirata Oriza (Theatre de Sartrouville – CDN), Dream Hunter directed

by Carmen Jacobi, and Michael Morpugo’s Kensuke’s Kingdom (Polka Theatre Company).

In film, Kimie was assistant costume designer on 8 1/2 Women by Peter Greenaway and she was in charge of

production and costumes for the short film Basho starring Yoshi Oida. Kimie’s directorial credits include Snow (a workshop with three blind singers at the ENO studio). Kimie strives to create intercultural projects for the stage, workshops and films, to promote different world cultures.

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FABIANA PICCIOLI

Lighting Designer Fabiana Piccioli studied Philosophy at Università La Sapienza di Roma. From 1999 to 2002 she worked as a dancer in Rome and Brussels. She then became Technical Coordinator and Production Manager at the Romaeuropa Festival before joining Akram Khan Company as Technical Manager in 2005, and subsequently becoming its Technical Director. She co-designed the sets for bahok and Gnosis. She was Lighting Designer for four of the company’s productions (Variations, bahok, Gnosis and iTMOi, for which she won the Knight Of Illumination Award for Best Lighting Design in Dance). She was also Lighting Designer for Svapnagata Festival curated by Nitin Sawhney and Akram Khan at Sadler’s Wells (London).

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MATT DEELY

Scenographer Matt Deely studied at Motley. He was associate to set designer Stefanos Lazaridis on over 20 operas, including Lohengrin in Bayreuth, Faust in Munich, Macbeth in Zurich, A Midsummer Night’s Dream in Venice, Greek Passion, Wozzeck and Wagner’s Ring Cycle at the Royal Opera House, and The Italian Season at ENO. Matt was set designer for Symphony no.9 and Romeo & Juliet, with costumes designed by Yolanda Sonnabend for K-Ballet in Tokyo.

His recent works include design for the Southwark Splash projects at Royal Festival Hall, Sun & Heir and Voices of the Future at Royal Opera House education, and the opera Full Moon in March at LFO warehouse.

He collaborated with designer Kimie Nakano on 2 Graves by Arts Theatre, Pas, Pas moi, Va et vient by Beckett in Lyon, Petra encoremediagroup.com 25

AKRAM KHAN COMPANY von Kant at Southwark Playhouse, and Ali to Karim (U.S. Tour). His video artist works include La nuit du train de la voie lactée in Paris and The Little Prince by Les Grandes Ballets de Montreal.

Matt was art director of the Tor Hill at the London 2012 Olympic Games Opening Ceremony, and associate set designer on The Master and Margarita by Complicite and Les Troyens at Royal Opera House. Matt has currently worked with Punchdrunk set design team on The Drowned Man.

RUTH LITTLE

Dramaturge Ruth Little is a dramaturge, teacher, writer and former academic. She was literary manager at Griffin Theatre Company (Sydney), Out of Joint, Soho Theatre and the Royal Court Theatre, and artistic associate at the Young Vic. Ruth Little is associate director of Cape Farewell, London.

JOEL JENKINS

Researcher Joel Jenkins has a B.A. in History of Art and Italian from UCL and an M.A. in Film and Television from the University of Bristol.

He worked as a script consultant and story editor for a number of film companies and has written for stage, film and television.

ANDREJ PETROVIČ

Choreographic Assistant Born in Bojnice, Slovak Republic, Andrej Petrovič graduated from the Dance Conservatory in Banska Bystrica before joining Studio Tanca Professional Dance Theatre/Zuzana Hájková. He is one of the co-founders of the professional dance company Dajv/Marta Polákova. He has collaborated with Editta Braun Company in Salzburg, Fatou Traore in Brussels, and Giorgio Barberio Corsetti and Fatore Kappa Physical Theatre in Rome.

More recently he graduated in Dance 26 MONDAVIARTS .ORG

Teaching from the University of Music and Dramatic Arts in Bratislava and worked with Jean Abreu Dance Company in London and Jaroslav Vinarsky in Prague before joining Akram Khan Company in 2007.

JOSE AGUDO

Choreographic Assistant Jose Agudo has performed and toured internationally with Charleroi/Danses, Ballet de Marseille, T.R.A.S.H. and SJDC amongst others.

He became the Artist-in-Residence at Déda (U.K.) in 2008/9 and created 4M2.

The piece was selected by the National Dance Network (NDN) and toured the U.K. and internationally. His latest solo TIME/ DROPPER was created in 2011 and was presented at the Edinburgh Festival.

Jose teaches for companies, school and festivals around the world. He holds a yoga teaching certification from Yoga Alliance. In 2013 Jose will create a new work for Phoenix Dance Theatre and ACE Dance and Music.

Jose has been a rehearsal director for Akram Khan Company since 2011.

SANDER LOONEN

Set Development and Construction Sander Loonen started working in theater as a lamp cleaner in 1991 and has since worked as a technician and lighting designer. In 1997 he was a trainee in the Rotterdamse Schouwburg in the Netherlands where he left six years later as one of the in-house lighting designers.

After two years of working in Brazil he returned to Holland to be one of the founding members of DENZO. He has worked with Meg Stuart/ Damaged Goods, Emio Greco, PC, Waterhuis and Peter Sonnevel. He joined Akram Khan Company in 2007.

NICOLAS FAURE

Sound Designer / Sound and Set on Tour Nicolas Faure studied wave mechanics and sound broadcasting technique at University La Metare Saint Etienne. From 2004 to 2009, he worked as Sound Director at Les Nuits de Fourvière Festival in Lyon. Nicolas joined Akram Khan Company in 2007 as sound engineer and has since toured with zero degrees, Sacred Monsters, In-I, Gnosis and DESH.

BIA OLIVEIRA

Associate Producer Originally from Brazil, Bia Oliveira joined Akram Khan Company on bahok as Associate Producer through a Creative Leadership Award. She was previously a Producer at London-based Artsadmin, where she worked for five years, with a seven-month stint as Theatre Officer at Arts Council England. Bia has been involved with performance for over twenty years as a performer, producer and director, and in the last eight years has focused on producing, touring, management and administration of arts projects, working across the spectrum of theatre, visual arts, dance, live art and performance. She has a an M.A. in Contemporary Performing Arts from Middlesex University and a Post-graduate Diploma in Arts Management and Policy from Birkbeck.

CÉLINE GAUBERT

Project Manager Prior to joining Akram Khan Company in April 2012, Céline was the Press Manager at the Marketing and PR Department of La Comédie, scène nationale de ClermontFerrand, for nine years. In September 2011, she decided to settle in London to focus on international production and administration of arts projects. She has worked with Crying Out Loud and volunteered at Dance Umbrella Festival.

Céline holds an M.A. in French Literature

and French as a Foreign Language as well as a Postgraduate Diploma in mediation between Education and Culture.

RICHARD FAGAN

Technical Coordinator/ Lights Richard Fagan began his career in 1997 as an electrician for Stagecraft Productions, and went on to manage the lighting department at Poole Arts Centre. He toured extensively as Stage Manager and Production Manager for the Garnet Foundation, and later as Lighting Designer for The Nuffield Theatre, Southampton. In 2004, he joined the lighting department of the English National Opera. Richard now works as a freelance lighting designer and technician for both corporate and theater productions. Some of his more recent work includes Art Admin’s How to Live and Akram Khan Company’s bahok and Vertical Road.

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ÁLEX CASTRO

Sound Álex Castro studied at Escuela de Tecnología del Espectáculo, in Madrid, Spain and since 2004 has worked as a sound engineer, often with collaborators at Sadler’s Wells.

ANNE-MARIE BIGBY

Costumes/Props Anne-Marie Bigby is based in London.

Having spent many years working in the music industry Anne-Marie changed careers and now works freelance as a Costume Designer, Wardrobe Mistress, Stage and Production Manager.

Her live stage credits include: Matthew Bourne’s Car Man, Edward Scissorhands, Cinderella, The Pet Shop Boys’ The Most Incredible Thing, Akram Khan Company’s In-I, DESH and Vertical Road, Kylie Minogue’s North American and Aprodite Tours, Here Comes the Girls U.K. tour with Lulu, Anastasia and Heather Small, Tango Fire U.K.

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AKRAM KHAN COMPANY tour, Latitude Festival 2011, Fela! at Sadler’s Wells, The Soweto Gospel Choir European Tour, Hans Klok Houdini (Magician), amongst many others.

TV and film credits include: The First Black Britons, Poirot and Above Suspicion.

MAREK POMOCKI

Technician Originally from Poland, Marek moved to London in 2009.

He holds an MSc in Sociology and an completed an M.A. in Arts Administration & Cultural Policy. In the past, Marek has worked with CIM Horyzonty, Malta International Theatre Festival, Akram Khan Company, and Sidi Larbi Cherkaoui and his company Eastman. He re-joined Akram Khan Company in April 2013 on the iTMOi tour and subsequently became its stage technician.

LIES DOMS

Tour Manager Lies Doms was born in Mechelen, Belgium.

She graduated in 2004 as a conservator of paintings at the Royal Academy of Fine Arts in Antwerp. Being fascinated by working in a cultural environment, she achieved in 2005 a master degree in cultural management at the University of Antwerp.

Her professional career started at the heritage department of the city of Mechelen. But as a vivid dance scene in Belgium kept on inspiring, a career switch to Eastman in January 2011 was the next step. Within in the company of Sidi Larbi Cherkaoui she worked as an education, production and tour manager. She joined Akram Khan Company in 2013.

28 MONDAVIARTS .ORG

AKRAM KHAN COMPANY

COMPANY PRODUCTIONS

Founded in August 2000 by Choreographer Akram Khan and Producer Farooq Chaudhry, Akram Khan Company journeys across boundaries to create uncompromising artistic narratives.

Having established itself as one of the foremost innovative dance companies in the world, the company is renowned for its intercultural, interdisciplinary collaborations and for challenging conventional ideas of traditional dance forms. The dance language in each production is rooted in Akram Khan’s classical kathak and modern dance training and continually evolves to communicate ideas that are intelligent, courageous and new.

Akram Khan Company tours extensively both within the United Kingdom and internationally at leading international festivals and venues, performing a diverse range of programmes including classical kathak solos, ensemble productions and artist-to-artist collaborations. The company has been awarded several prestigious honours including the Olivier Award for Best New Dance Production (2012, DESH), several Critics’ Circle National Dance Awards and the South Bank Sky Arts Award for Dance (2011, Gnosis) in the U.K.; The Age Critics’ Award for Best New Work (2010, Vertical Road) at the Melbourne Arts Festival and the Helpmann Award for Best Choreography and Best Male Dancer (2007, zero degrees) in Sydney.

Contemporary Work TOROBAKA (2014), iTMOi (2013), DESH (2011), Vertical Road (2010), In-I (2008), bahok (2008), Sacred Monsters (2006), zero degrees (2005), Variations for Vibes, Strings & Pianos (2006), ma (2004), Kaash (2002), Related Rocks (2001), Rush (2000), Fix (2000), Loose in Flight (2000) Kathak Gnosis (2009), Third Catalogue (2005), Ronin (2003), Polaroid Feet (2001)

AKRAM KHAN COMPANY Artistic Director: Akram Khan Producer: Farooq Chaudhry Associate Producer: Bia Oliveira Technical Director: Fabiana Piccioli Finance Director: Jan Hart Communications Officer: Arthur Laurent Executive Assistant/Tour Manager: Mashitah Omar Administrator: Céline Gaubert Project Manager/PA to Producer: JiaXuan Hon Tour Manager: Lies Doms

BOARD OF DIRECTORS Gurnek Bains (chair) Ayesha Braganza Nicky Owen Michael Cohen Rick Wentworth Paul de Quincey

HOUGHTON HALL Portrait of an English Country House

Step into the history and grandeur of Houghton Hall, reminiscent of the popular PbS television drama Downton Abbey™. a stunning display reflecting aristocratic life in an english country house from the 18th through 20th centuries, Houghton Hall hosts spectacular interiors, rarely exhibited treasures, and exquisite furniture paired with paintings by masters such as thomas Gainsborough, Joshua reynolds, and John Singer Sargent.

OctOber 18, 2014–January 18, 2015

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this exhibition is organized by the Museum of Fine arts, Houston, in collaboration with Houghton Hall. an indemnity has been granted by the Federal council on the arts and the Humanities. Director’s circle: the buena Vista Fund of Horizons Foundation, the Michael taylor trust, and Diane b. Wilsey. Patron’s circle: Mr. and Mrs. adolphus andrews, Jr., Giselle Parry-Farris and ray K. Farris, and Mr. and Mrs. William Hamilton.

Media Sponsors Images clockwise from top left: John Wootton, Sir Robert Walpole, ca. 1725. Oil on canvas. One of a pair of armchairs, ca. 1730. Designed by William Kent; probably made by James richards. Partially gilded mahogany, beech, oak, and original velvet upholstery. Vase, 1765. Sèvres Porcelain Manufactory, painted by Jean Louis Morin. Soft-paste porcelain. John Singer Sargent, Portrait of Sybil, Countess of Rocksavage, 1913. Oil on canvas. all objects Marquess of cholmondeley, Houghton Hall. Photos: Pete Huggins, by kind permission of Houghton Hall. exterior view of Houghton Hall, norfolk, england. Photo courtesy Houghton Hall

SAN FRANCISCO SYMPHONY

Michael Tilson Thomas, music director

A Western Health Advantage Orchestra Series Event Saturday, October 25, 2014 • 8PM

Christian Zacharias, conductor and piano

PROGRAM Appalachian Spring

Jackson Hall

Piano Concerto No. 20 in D Minor, K.466 Allegro Romance Rondo

SPONSORED BY

Christian Zacharias

Copland Mozart

INTERMISSION Madame Press Died Last Week at Ninety

INDIVIDUAL SUPPORT PROVIDED BY

Anne Gray

Symphony No. 93 in D Major Adagio—Allegro assai Largo cantabile Menuetto: Allegro Presto ma non troppo

Feldman Haydn

ORCHESTRA RESIDENCY ACTIVITIES ARE SUPPORTED BY A GENEROUS GRANT FROM

The Andrew W. Mellon Foundation Pre-Performance Talk: 7PM Speaker: Beth Levy, Associate Professor, UC Davis Department of Music Associate Professor of Musicology and Chancellor’s Fellow 2014-2019, Beth E. Levy specializes in American classical music. Her book, Frontier Figures: American Music and the Mythology of the American West, was honored by the American Musicological Society, the Society for American Music [SAM], and the PEN Center USA. For twelve years, she wrote program notes for the SF Contemporary Music Players, and her contribution to Copland and His World won the 2005 Irving Lowens Award for the best article on American music from the SAM. 30 MONDAVIARTS .ORG

PROGRAM NOTES APPALACHIAN SPRING

AARON COPLAND

(Born in Brooklyn on November 14, 1900 and died in Peekskill, New York on December 2, 1990) Born in Brooklyn, Aaron Copland was trained as a composer in Paris, but much of his work has a distinctive sound that has come to be identified with this country’s wide-open spaces.

He composed for Carnegie Hall and Hollywood, conducted, played the piano, wrote, taught, did television shows, encouraged the young and symbolized the possibility of being a

serious American composer in the 20th century.

Copland wrote Appalachian Spring for Martha Graham and her dance company in 1943–44, and it was first performed at the Library of Congress on October 30, 1944. Appalachian Spring is the loveliest realization of Copland’s gift for simplicity, and is marked by spaciousness, stillness, and serenity.

“I felt,” Copland wrote in 1941, “that it was worth the effort to see if I couldn’t say what I had to say in the simplest possible terms.” While Copland worked

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SAN FRANCISCO SYMPHONY on his score, he thought of it as “Ballet for Martha,” a designation it still carries as subtitle. The name Appalachian Spring was the contribution of Martha Graham, who found the phrase in The Dance from the “Powhatan’s Daughter” section of Hart Crane’s poem The Bridge. Appalachian Spring is full of hummable tunes. The old Shaker melody “Simple Gifts,” which we

hear near the end, is the only one not by Copland.

The action of the ballet is described in the preface to the score: “A pioneer celebration in spring around a newlybuilt farmhouse in the Pennsylvania hills in the early part of the last [19th] century. The bride-to-be and the young farmer-husband enact the emotions,

joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house.”

—Michael Steinberg

CONCERTO NO. 20 IN D MINOR FOR PIANO AND ORCHESTRA, K.466

WOLFGANG AMADÈ MOZART

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(Born in Salzburg, Austria on January 27, 1756 and died in Vienna on December 5, 1791) This work is one of only two Mozart concertos in minor, and of the two it is the stormier. It does not surprise us that the young Beethoven made a powerful impression as an interpreter of this concerto when he moved to Vienna soon after Mozart’s death, and he wrote for it a pair of superbly intelligent and powerfully expressive cadenzas that are still often heard. During the nineteenth century, when Mozart was mostly perceived as a gifted forerunner of Beethoven’s, this was the only one of his piano concertos to hold a firm place in the repertory.

The concerto shows its temper instantly in an opening that is without theme, all atmosphere and gesture.

Violins and violas throb in agitated syncopations, most of their energy concentrated on the rhythm, the pitches changing little at first, while the low strings anticipate the beats with upward scurries of quick notes.

The full orchestra enters with flashes of lightning to illuminate the scene. Most of what follows in the next few minutes is informed more by pathos than by rage, the most affecting moment being reserved for the first entrance of the solo piano, with an almost new melody over an already familiar accompaniment.

Now the witty and serious play of conversation, of exchange of materials, can begin, and the pianist has the opportunity to ravish with simulated song and to dazzle with the mettlesome traversal of brilliant passages. All these storms eventually recede in a pianissimo fascinatingly seasoned with the distant

thud of drums and the low tones of trumpets.

The second movement, after this, is by intention mild. Mozart gives no tempo indication; neither does his designation “Romance” denote a specific form as much as it suggests a certain atmosphere of gently serene song. An interlude brings back the minor mode of the first movement and something of its storms, but this music is far more regular and to that degree less agitating. With all its formality, Mozart’s slow application of the brakes as he approaches the return of his Romance melody is one of his most masterful strokes of rhythmic invention.

The piano launches the finale, a feast of irregularities, ambiguities, surprises, and subtle allusions to the first movement.

—Michael Steinberg

of my youth. What was unconscious was the significance of putting the tempo at quarter note equals ninety. It was also unconscious that I repeated those falling thirds eighty-seven times, very close to that fated number of her death. The recapitulation at the end goes into double time as if to symbolize all the years I didn’t see her which were passing so quickly. . . .

“The feeling I have about this composition is that I went back as if making peace with a steady pulsating beat, making peace with measured time, a chronological time, that is analogous to life passing by or passing us by. One, two, three, four. It takes very little time in music to count up to ninety. . . .”

—Michael Steinberg

MADAME PRESS DIED LAST WEEK AT NINETY

MORTON FELDMAN

(Born in New York City on January 12, 1926 and died in Buffalo, New York, on September 3, 1987) Morton Feldman studied composition with the not-quite-traditional composers Wallingford Riegger and Stefan Wolpe but was most influenced by John Cage. During the 1950s in New York he associated with painters Mark Rothko, Philip Guston, Franz Kline, Jackson Pollock, and Robert Rauschenberg. His experiments in musical notation arose from an obsession to write music as he heard it, and what he created were works of delicate luminosity, slowly moving and defining silence.

In February 1973, in a lecture at the State University of New York at Buffalo, Feldman talked about Madame Press Died Last Week at Ninety, a composition written in memory of his piano teacher.

“The whole work,” he said, “is based on a repeated two-note figure alternating between two flutes.” The work is scored for two flutes, horn, trumpet, trombone, tuba, chimes, celesta, two cellos, and two basses. “The beginning harmonies of Madame Press are vaguely Hollywoodian, then recall Edgard Varèse and slowly metamorphose into something more my own. I was consciously attempting to relive my own musical history while thinking of her. Those were the harmonies

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SYMPHONY NO. 93 IN D MAJOR FRANZ JOSEPH HAYDN

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(Born at Rohrau, Lower Austria, on March 31, 1732 and died on May 31, 1809 in Vienna) This is the third of the twelve symphonies Haydn wrote for London between 1791 and 1795. Like most of Haydn’s novelties, it was rapturously received by the public and lauded by the press for its “very extraordinary merit, ... [using] all the fire of his bold imagination, ... a composition at once grand, scientific, charming, and original.” Readers of The Times learned that “such a combination of excellence was contained in every movement, as inspired all the performers as well as the audience with enthusiastic ardour.”

Haydn begins assertively and simply with a call to attention, fortissimo tutti, which prepares the way for two phrases of innocence and charm. Having thus reassured his audience, Haydn now administers the first shock of the sort to which his blessedly alert Londoners were so delightedly responsive: He quietly lifts the music and sets it down in infinitely remote E-flat Major, suavely gets back to where he belongs, and is now ready for the main part of the movement. And the house must have been full of smiles when the violins first sang out the gracious and spirited second theme. The development is suddenly forceful and full of that “science” of which 18th-century writers speak. It is also extensive and teasing. The recapitulation is taut and it adds to the second subject a witty not-quite imitation by the bassoon.

To start the second movement, Haydn brings another surprise, a solo string quartet. The movement is full of event and adventure, and it is here that Haydn at last redeems the promise of that first, startling visit to E-flat in the Adagio introduction to the first movement. A slight tendency to grow ruminative becomes, in the recapitulation, almost perilously selfindulgent until Haydn points out rudely— very rudely indeed—that there is such a thing as being too dreamy. The Londoners loved it and demanded an encore of the entire movement.

The minuet is vigorous, very physical.

Its most remarkable feature is the trio. The 9/3/13 4:13 PM basic assumption behind its dialogue—

SAN FRANCISCO SYMPHONY trumpet-and-drum tattoos, sweetly unruffled strings—is simple: the details are far beyond our powers to predict.

Then Haydn builds a finale on one of those themes with a double upbeat that allows him to play amusing games of anticipation.

The ending—well studied by Beethoven when he came to write his own D major Symphony, No. 2, eleven years later—was probably the most brilliant and energetic London had ever heard.

—Michael Steinberg

BIOS CHRISTIAN ZACHARIAS Conductor Christian Zacharias first made his name as a pianist, and he maintains an active career as an internationally renowned pianist. During his time as principal conductor of the Orchestre de Chambre de Lausanne he made a number of acclaimed recordings, including a cycle of the complete Mozart piano concertos, which was awarded the Diapason d’Or, Choc du Monde de la

FURTHER LISTENING CHRISTIAN ZACHARIAS

by Jeff Hudson

Christian Zacharias is the most recent performer visiting the Mondavi Center as both conductor and soloist. (You may recall violinist Pinchas Zukerman with the Royal Philharmonic Orchestra last January and violinist Joshua Bell with the Academy of St. Martin in the Fields in March).

Judging from recent videos, Zacharias likes to stand at the piano bench and gesture with both hands to begin, then he sits and works in further hand gestures between passages. This is hardly a unique arrangement and some historians say Mozart performed his piano concertos in this manner back-in-the-day. In our time, pianists such as Mitsuko Uchida and Daniel Barenboim have performed Mozart concertos as conductor/soloist.

Zacharias, who initially rose to fame as a pianist, has said he only gained confidence in his conducting in midlife. “To stand in front of 60 top professionals and tell them what to do is a huge challenge. I admire school teachers for the same reason—I couldn’t face a class of tough 16-year-olds,” he told one interviewer, adding “A young conductor is an unnatural thing.”

Zacharias has a long association with the Mozart piano concertos: he’s recorded them all with the Orchestre de Chambre de Lausanne, an award-winning nine-CD project, completed in 2012.

Pairing a Mozart piano concerto with a Haydn symphony is a natural combination, and something Zacharias has done before (as have others). Haydn (who was older) publicly praised the young Mozart’s music on several occasions; Mozart dedicated several string quartets to Haydn; the two occasionally played chamber music together.

Historians say this was the only of Mozart’s piano concertos to remain popular throughout the 1800s. Beethoven revered the piece and in performance he added his own cadenzas, naturally. As noted pianist/critic Charles Rosen (a Regents Lecturer at UC Davis in 1997) put it, this famed concerto is “as much a myth as a work of art: when listening to it, ... it is difficult at times to say whether we are hearing the work or its reputation.” Zacharias, whose thoughtful interpretations have been dubbed “as much a self-exploration as a performance,” will bring his own ideas to the piece.

And check your phone. During a concert in October 2013, Zacharias paused at the keyboard when a ringing cell phone interrupted a performance of a Haydn piano concerto with the Gothenburg Symphony. The music resumed after the phone was silenced.

JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS & REVIEW.

Musique, and the ECHO Klassik award. With that ensemble he most recently recorded the four Schumann symphonies and symphonies by C.P.E. Bach. Mr. Zacharias also maintains close ties with the Gothenburg Symphony Orchestra, of which he was principal guest conductor for many years.

In 2009 he became an Artistic Partner of the Saint Paul Chamber Orchestra.

In the 2014-15 season Mr. Zacharias will conduct the Boston Symphony and the Orchestre de Paris, in addition to touring with the Stuttgart Philharmonic and the Basel Chamber Orchestra, and visiting Moscow for several concerts and recitals. In November he will be joined by the Leipzig String Quartet for various chamber music recitals.

Since 1990 he has appeared in three films: Domenico Scarlatti in Sevilla, Robert Schumann—der Dichter spricht, and Zwischen Bühne und Künstlerzimmer. Mr. Zacharias was the 2007 MIDEM Classical Awards Artist of the Year and he was also recognized for his contributions to culture in Romania in 2009. He has been named an Officier dans l’Ordre des Arts et des Lettres by the French government. Since 2011 he has been professor for orchestral performance at the Academy of Music and Drama in Gothenburg.

SAN FRANCISCO SYMPHONY The San Francisco Symphony gave its first concerts in 1911 and has grown in acclaim under a succession of distinguished music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt, and Michael Tilson Thomas, who assumed his post in 1995. The SFS has won such recording awards as France’s Grand Prix du Disque, Britain’s Gramophone Award, and the United States’s Grammy. Each year the Symphony offers Adventures in Music, the longest running education program among this country’s orchestras, which brings music to every child in grades 1–5 in San Francisco’s public schools. In 2004, the SFS launched the multimedia Keeping Score on PBS-TV and the web. For more information, go to www. sfsymphony.org. encoremediagroup.com 35

A day-long festival celebrating food, wine, beer and the arts

Sunday, OctOber 12, 2014 > uc daviS Schedule Of eventS 1–3PM

“The Art of Science” > Wyatt Pavillion, UCDavis Arboretum. Performances, hands-on science demonstrations, hands-on art activities, native seed give-away, a plant petting zoo and so much more! FREE Presented by the UCDavis Arboretum in partnership with the Sacramento Science Powerhouse Center.

2–6PM

Family Friendly Zone > the Vanderhoef Quad & Mondavi Center Corin Courtyard.

Pumpkin decorating, a petting zoo and face painting, Rocknasium climbing wall, local music, food trucks, adult beverages for purchase and activity booths. FREE

2–4PM

World Food Center Think Tank > Vanderhoef Studio Theatre, Mondavi Center.

In-depth discussions on global and regional agriculture. FREE

2–7PM

Nelson Gallery Open to the public. FREE

4–7PM

MAKE: A New Museum for UC Davis Nelson Gallery.

Exhibit opening featuring interactive displays, wine (21+ only to drink) and light snacks.

Tahoe Sonification opening. Welcoming Remarks at 5:30 pm. FREE

4–6PM

Robert Mondavi Institute will feature bottomless food, wine, beer, pumpkin decorating and live music in the Good Life Garden, as well as a silent auction. TICKETED* Sponsored by the Julia Child Foundation for Gastronomy and the Culinary Arts.

6–7PM

Mondavi Center for the Performing Arts Corin Courtyard Concert: Local dream-pop powerhouse Arts and Leisure. FREE

7:30PM Ray LaMontagne with the Bell Brigade > Jackson Hall, Mondavi Center. TICKETED Presented by Another Planet Entertainment in association with the Mondavi Center for the Performing Arts, UC Davis and HARVEST. *$20 for patrons 21 years-old and above; $10 for patrons 12–20 years-old; Free for patrons 12 and younger. Patrons under 21 years-old must be accompanied by a patron 21 years-old or older. A limited commemorative HARVEST glass free with paid adult ticket.

Presented by:

mondaviarts.org/harvest

®

World Food Center

Jan shrem and maria manetti shrem museum oF art

SAN FRANCISCO SYMPHONY SAN FRANCISCO SYMPHONY Michael Tilson Thomas

MUSIC DIRECTOR AND CONDUCTOR

Herbert Blomstedt

CONDUCTOR LAUREATE

Donato Cabrera

RESIDENT CONDUCTOR

Ragnar Bohlin

CHORUS DIRECTOR

Vance George

CHORUS DIRECTOR EMERITUS

FIRST VIOLINS Alexander Barantschik CONCERTMASTER NAOUM BLINDER CHAIR

Nadya Tichman

ASSOCIATE CONCERTMASTER SAN FRANCISCO SYMPHONY FOUNDATION CHAIR

Mark Volkert

ASSISTANT CONCERTMASTER 75TH ANNIVERSARY CHAIR

Jeremy Constant

ASSISTANT CONCERTMASTER

Mariko Smiley

PAULA & JOHN GAMBS SECOND CENTURY CHAIR

Melissa Kleinbart

KATHARINE HANRAHAN CHAIR

Yun Chu Sharon Grebanier Naomi Kazama Hull In Sun Jang Yukiko Kurakata

CATHERINE A. MUELLER CHAIR

Suzanne Leon Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen

SECOND VIOLINS

CELLOS

OBOES

Dan Carlson

Michael Grebanier

Jonathan Fischer*

ACTING PRINCIPAL DINNER & SWIG FAMILIES CHAIR

Paul Brancato

ACTING ASSOCIATE PRINCIPAL AUDREY AVIS AASEN-HULL CHAIR

John Chisholm

ACTING ASSISTANT PRINCIPAL

Dan Nobuhiko Smiley

THE EUCALYPTUS FOUNDATION SECOND CENTURY CHAIR

Raushan Akhmedyarova David Chernyavsky Cathryn Down Darlene Gray Amy Hiraga Kum Mo Kim Kelly Leon-Pearce Elina Lev ISAAC STERN CHAIR

Chunming Mo Polina Sedukh Chen Zhao Sarah Knutson†

VIOLAS

PRINCIPAL PHILIP S. BOONE CHAIR

Peter Wyrick

ASSOCIATE PRINCIPAL PETER & JACQUELINE HOEFER CHAIR

Amos Yang

ASSISTANT PRINCIPAL

Margaret Tait

LYMAN & CAROL CASEY SECOND CENTURY CHAIR

Barbara Andres

THE STANLEY S. LANGENDORF FOUNDATION SECOND CENTURY CHAIR

Barbara Bogatin Jill Rachuy Brindel

GARY & KATHLEEN HEIDENREICH SECOND CENTURY CHAIR

Sébastien Gingras David Goldblatt

CHRISTINE & PIERRE LAMOND SECOND CENTURY CHAIR

Carolyn McIntosh Anne Pinsker

BASSES

Jonathan Vinocour

Scott Pingel

Yun Jie Liu

Larry Epstein

Katie Kadarauch

Stephen Tramontozzi

PRINCIPAL

ASSOCIATE PRINCIPAL ASSISTANT PRINCIPAL

John Schoening

JOANNE E. HARRINGTON & LORRY I. LOKEY SECOND CENTURY CHAIR

Nancy Ellis Gina Feinauer David Gaudry David Kim Christina King Wayne Roden Nanci Severance Adam Smyla Matthew Young

PRINCIPAL

ASSOCIATE PRINCIPAL ASSISTANT PRINCIPAL RICHARD & RHODA GOLDMAN CHAIR

S. Mark Wright

LAWRENCE METCALF SECOND CENTURY CHAIR

Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen

FLUTES Tim Day

The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.

Paul Welcomer John Engelkes Bass Trombone

ACTING ASSOCIATE PRINCIPAL

Pamela Smith

DR. WILLIAM D. CLINITE CHAIR

Russ deLuna

ENGLISH HORN JOSEPH & PAULINE SCAFIDI CHAIR

TUBA Jeffrey Anderson

PRINCIPAL JAMES IRVINE CHAIR

CLARINETS Carey Bell

PRINCIPAL WILLIAM R. & GRETCHEN B. KIMBALL CHAIR

HARP Douglas Rioth

Luis Baez

PRINCIPAL

David Neuman Jerome Simas

Alex Orfaly†

ASSOCIATE PRINCIPAL & E-FLAT CLARINET

BASS CLARINET

BASSOONS

TIMPANI ACTING PRINCIPAL MARCIA & JOHN GOLDMAN CHAIR

PERCUSSION

Stephen Paulson

Jacob Nissly

Steven Dibner

Raymond Froehlich Tom Hemphill James Lee Wyatt III

PRINCIPAL

ASSOCIATE PRINCIPAL

Rob Weir Steven Braunstein CONTRABASSOON

HORNS Robert Ward

PRINCIPAL

KEYBOARDS Robin Sutherland

JEAN & BILL LANE CHAIR

PRINCIPAL

Nicole Cash

ASSOCIATE PRINCIPAL

Bruce Roberts

ASSISTANT PRINCIPAL

Jonathan Ring Jessica Valeri Kimberly Wright*

TRUMPETS Mark Inouye

Robin McKee

Mark Grisez†

Margo Kieser

PRINCIPAL LIBRARIAN NANCY & CHARLES GESCHKE CHAIR

John Campbell

ASSISTANT LIBRARIAN

Dan Ferreira†

ASSISTANT LIBRARIAN

*On Leave †Acting member of the San Francisco Symphony

ACTING ASSOCIATE PRINCIPAL PETER PASTREICH CHAIR

Guy Piddington

ALFRED S. & DEDE WILSEY CHAIR

ANN L. & CHARLES B. JOHNSON CHAIR

Catherine Payne

Jeff Biancalana

PICCOLO

ACTING ASSOCIATE PRINCIPAL

Christopher Gaudi†

PRINCIPAL CAROLINE H. HUME CHAIR

Linda Lukas

Timothy Owner

ASSOCIATE PRINCIPAL

PRINCIPAL WILLIAM G. IRWIN CHARITY FOUNDATION CHAIR

ASSOCIATE PRINCIPAL CATHERINE & RUSSELL CLARK CHAIR

PRINCIPAL ROBERT L. SAMTER CHAIR

TROMBONES Timothy Higgins encoremediagroup.com 37

Mermaid Theatre of Nova Scotia’s

THE VERY HUNGRY CATERPILLAR

& OTHER ERIC CARLE FAVORITES

A Hallmark Inn, Davis Children’s Stage Series Event Sunday, October 26, 2014 • 3PM Jackson Hall

SPONSORED BY:

38 MONDAVIARTS .ORG

Author/Illustrator: Eric Carle Director/Production Designer: Jim Morrow Composer: Steven Naylor Narrator: Gordon Pinsent Narrator [French Version]: Jean-Fran ois Casabonne Narraror [Spanish Version]: Marco Ledezma Stage Manager: Christine Oakey Performers: Jackson Fowlow, Graeme Black Robinson

ABOUT THE VERY HUNGRY CATERPILLAR & OTHER ERIC CARLE FAVORITES Mermaid Theatre’s compilations of five Eric Carle stories have generated remarkable statistics and earned considerable praise from audiences on several continents. In 2014, the production celebrated its fifteenth year of continuous touring and welcomed its two millionth spectator. Featuring innovative black-light puppetry and evocative original music, the fifty-minute production includes three beloved stories: The Very Hungry Caterpillar, Little Cloud and The Mixed-Up Chameleon.

To date over 3000 performances have been presented in thirteen countries.

Presentations have been offered in Dutch, English, Spanish, Japanese, Korean and French.

ABOUT MERMAID THEATRE OF NOVA SCOTIA Founded in 1972, Mermaid Theatre’s unique adaptations of children’s literature have delighted more than five million young people in sixteen countries on four continents. Based in Windsor, a small rural town in Nova Scotia’s Avon Region, the company performs for more than 300,000 spectators annually, and currently ranks among North America’s most active touring organizations. Mermaid Theatre offers instruction for all levels at its Institute of Puppetry Arts, which welcomes artists-inresidence. The company also founded a unique outreach program for adolescents, called “Youtheatre,” and offers a vibrant performing arts series.

BIOS ERIC CARLE Author/Illustrator Eric Carle, internationally acclaimed author and designer, has written and illustrated more than seventy books for young children. Born in Syracuse, N.Y., he spent his youth in Germany where he studied fine art in Stuttgart prior to returning to the U.S. in 1952 to work as a graphic designer for The New York Times and later as art director of an international advertising agency. His delightful books, which combine stunning collage artwork with an imaginative approach to learning, have sold more than 110 million copies worldwide. Eric and his wife Barbara divide their time between the Florida Keys and the hills of North Carolina.

In 2002, The Eric Carle Museum of Picture Book Art opened to the public in Amherst, M.A. For more information, visit eric-carle. com and carlemuseum.org.

JIM MORROW Director/Production Designer Jim creates puppets for stage, television and film. He’s directed numerous shows for the Mermaid Theatre, including Stella, Queen of the Snow; Guess How Much I Love You & I Love My Little Storybook; Swimmy, Frederick and Inch by Inch; Goodnight Moon & The Runaway Bunny as well as designed many others. A gifted performer, Jim hasadtoured extensively proofs.indd 1 in Canada, the U.S., the U.K. and Japan. He serves as director of puppetry for Symphony Nova Scotia’s production of The Nutcracker,

indulge

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THE VERY HUNGRY CATERPILLAR and frequently conducts master classes in puppetry in North America and abroad. Jim is Mermaid Theatre’s Artistic Director.

STEVEN NAYLOR Composer Steven has created the music for more than a dozen Mermaid shows, including Stella, Queen of the Snow; Guess How Much I Love You & I Love My Little Storybook; Swimmy, Frederick, and Inch by Inch; Goodnight Moon & The Runaway Bunny. His many other professional activities include original film and television scores; contemporary music composition and performance; university teaching and curriculum development; and a long-term international involvement with electroacoustic concert music. Steven is Mermaid Theatre’s Artistic Advisor for Music and Sound Design.

GORDON PINSENT Narrator Born in Grand Falls, Newfoundland, Gordon is an actor, director, writer and singer of great versatility, and one of Canada’s most beloved artists. His work for more than three decades in theater, film, radio and television has earned him international recognition, as well as honorary doctorates from three universities. In 1999 he was named a Companion of the Order of Canada, the country’s highest award of merit.

JEAN-FRANÇOIS CASABONNE Narrator [French Version] Jean-François is a prominent member of Québec’s vibrant cultural community where he has made his mark as a performer on stage, radio, film and television, as well as earned acclaim as a writer and musician.

He’s appeared in more than 50 productions at major theatres including Théâtre Denise Pelletier, Théâtre du Nouveau Monde, Théâtre Jean-Duceppe, Théâtre du Rideau Vert, Théâtre de l’Opsis, Théâtre de Quat’sous and Espace GO. On the big screen he played the main character in Charles Binamé’s la Beauté de Pandore and has worked under the direction of directors such as Anaïs Barbeau-Lavalette, François Delisle and Michel Brault. As a writer, he published Du cœur au pied (Éditions Fides), Jésus de Chicoutimi, une perséide de Damas (Éditions du Silence) and a play entitled La traversée, oratorio pour voix humaines (Dramaturges Éditeurs). As singer and 40 MONDAVIARTS .ORG

songwriter Jean- François launched his first album, l’Inconnu Zig Zag in 2009 and has performed at Francofolies in Montréal in 2008 and 2010.

MARCO LEDEZMA Narrator [Spanish Version] A graduate of the National Institute of Fine Arts in Mexico City (Theatrical Arts), Marco Ledezma has appeared as a performer in a number of productions staged at internationally renowned festivals such as the Cervantino and the Festival of Mexico City among others. He immigrated to Canada in 1992, where he works as an actor in film, theater and television, and specializes in all facets of dubbing. He is currently the major Spanishlanguage dubbing director in his home city of Montreal. To keep fit mentally and physically, Marco continues to take courses related to his profession and regularly practices both summer and winter sports.

Marco’s narration for Mermaid Theatre’s LA ORUGA MUY HAMBRIENTA has been enjoyed by audiences in both Mexico and the U.S.

ABOUT THE COMPANY CHRISTINE OAKEY Stage Manager Christine is a graduate of the University of King’s College in Halifax and the National Theatre School of Canada. She has served as stage manager with Atlantic Canada’s major theatres, including for Two Planks and a Passion, Theatre New Brunswick, 2b theatre and Eastern Front Theatre. Christine has worked in Edmonton, Blyth and Toronto as well as at the prestigious Shaw Festival in Niagara-on-the-Lake, Ontario. She also works as a venue manager for Sundance Film Festival, Hot Docs, the Toronto International Film Festival and the popular BuskerFest in Toronto. Christine first joined the company in 1997, and has now toured to every state in the continental U.S. JACKSON FOWLOW Performer Jackson was born and raised in Hong Kong, and moved to his family’s native Newfoundland as a teenager. In the summer of his third year in Dalhousie University’s Acting Program, he appeared in Two Planks and a Passion Theatre Company’s productions of The Iliad and

As You Like It. Upon graduation in the spring of 2014, he completed training at the Mermaid Institute of Puppetry Arts and happily began touring with Mermaid Theatre that summer.

GRAEME BLACK ROBINSON Performer Graeme was born and raised in Toronto, Ontario. Since graduating from George Brown College’s Theatre Arts program, he has studied physical theater forms across Canada with many esteemed teachers. Graeme is the Artistic Director of Toronto’s Silent Protagonist theatre company. He starred in their inaugural mask and puppet show, Or Be Eaten, at the 2013 Toronto Fringe Festival. Most recently he wrote and directed Cryptids of the Canadian Shield for the Toronto Puppetry Collectivte‘s Puppet Allsorts Festival.

Graeme joined Mermaid Theatre in 2014.

Mermaid Theatre of Nova Scotia is represented by KIDS’ ENTERTAINMENT 460 College Street, Suite 202 Toronto, Ontario, Canada M6G 1A1 Tel: (416) 971 4836 Fax: (416) 971 4841 email: info@kidsentertainment.net website: www.kidsentertainment.net For general information, please contact Mermaid Theatre of Nova Scotia P.O. Box 2697 Windsor, Nova Scotia, Canada B0N 2T0 Tel: (902) 798 5841 Fax: (902) 798 3311 email: puppets@mermaidtheatre.ca website: www.mermaidtheatre.ca

MERMAID THEATRE OF NOVA SCOTIA STAFF Artistic Director: Jim Morrow Managing Director: Sara Lee Lewis General Manager: Lisa Gleave Artistic Advisor for Music and Sound Design: Steven Naylor Administrator: Cathy White Office & Tour Coordinator: Jason Tucker Production Manager: Deborah MacLean Production Associate: Struan Robertson Technical Director: Michael Jamieson Youtheatre Coordinator: Kaleigh Heide Scenic Painter: Sarah Haydon Roy

Seamstress: Sarah Harvey Hart Production Assistant: Isaac Chaytor Mermaid Theatre of Nova Scotia gratefully acknowledges the support of the Canada Council for the Arts and Arts Nova Scotia.

Mermaid Theatre of Nova Scotia is a member of the Professional Association of Canadian Theatres and engages professional Artists who are members of Canadian Actors’ Equity Association under the terms of the Canadian Theatre Agreement.

The Very Hungry Caterpillar by Eric Carle.

Copyright 1969 and 1987 by Eric Carle. All Rights Reserved. Published by Philomel Books. Little Cloud by Eric Carle. Copyright 1996 by Eric Carle. All Rights Reserved.

Published by Philomel Books. The Mixed-Up Chameleon by Eric Carle. Copyright 1975 by Eric Carle. All Rights Reserved. Published

by HarperCollins Publishers Inc.

Encore Arts Programs is proud to be part of the world-class performances at the Mondavi Center for the Performing Arts.

To advertise in Mondavi Center programs contact 800-308-2898 x105 or email adsales@encoremediagroup.com

EAP 092513 mondavi 1_3s.indd 1

encoremediagroup.com 41 12/18/13 10:34 AM

THE ART OF GIVING The Mondavi Center is deeply grateful for the generous contributions of our dedicated patrons whose gifts are a testament to the value of the performing arts in our lives.

Annual donations to the Mondavi Center directly support our operating budget and

are an essential source of revenue. Please join us in thanking our loyal donors whose philanthropic support ensures our ability to bring great artists and speakers to our region and to provide nationally recognized arts education programs for students and teachers.

For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5438.

COLORATURA CIRCLE $50,000 AND ABOVE

John and Lois Crowe*

Barbara K. Jackson

IMPRESARIO CIRCLE $25,000 – $49,999

Ralph and Clairelee Leiser Bulkley* Ann and Gordon Getty Foundation

Anne Gray† Larry and Rosalie Vanderhoef†*

VIRTUOSO CIRCLE $15,000 – $24,999

Joyce and Ken Adamson Patti Donlon† Mary B. Horton* William and Nancy Roe*

Lawrence and Nancy Shepard Tony and Joan Stone† Joe† and Betty Tupin Dick and Shipley Walters*

MAESTRO CIRCLE $10,000 – $14,999

M.A. Morris* Gerry and Carol Parker Carole Pirruccello, John and Eunice Davidson Fund Randall E. Reynoso† and Martin Camsey Grace and John Rosenquist† Helen and Jerry Suran* Donald and Denise Timmons

Wayne and Jacque Bartholomew Thomas and Phyllis Farver* Wanda Lee Graves Dean and Karen Karnopp†* Nancy Lawrence†, Gordon Klein, and Linda Lawrence Robert and Barbara Leidigh Hansen Kwok

BENEFACTOR CIRCLE $6,500 – $9,999

Camille Chan Michael and Betty Chapman Eric and Michael Conn Cecilia Delury† and Vince Jacobs Samia and Scott Foster Benjamin and Lynette Hart* Lorena J. Herrig* Garry Maisel† † Mondavi Center Advisory Board Member 42 MONDAVIARTS .ORG

* Friends of Mondavi Center

Sean McMahon Verne Mendel* Stephen Meyer† and Mary Lou Flint† Raymond Seamans Carol Wall and Patricia Kearney And 1 donor who prefers to remain anonymous

PRODUCER CIRCLE

$3,250 - $6,499

Neil and Carla Andrews Hans Apel and Pamela Burton Daniel Benson Jeff and Karen Bertleson Charitable Fund Cordelia S. Birrell Neil and Joanne Bodine California Statewide Certified Development Corp.

Brian Tarkington and Katrina Boratynski Cantor & Company, A Law Corporation Robert and Wendy Chason* Chris and Sandy Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Martha Dickman* Nancy DuBois Wayne and Shari Eckert Merrilee and Simon Engel Charles and Catherine Farman Ron Fisher and Pam Gill-Fisher* Andrew and Judith Gabor Henry and Dorothy Gietzen Kay Gist Ed and Bonnie Green* Robert and Kathleen Grey Diane Gunsul-Hicks Charles H. and Ann W. Halsted John and Regi Hamel Judith and William Hardardt* Dee Hartzog Cameron Lewis and Clare Hasler-Lewis The One and Only Watson Charles and Eva Hess In Memory of Christopher Horsley* Teresa Kaneko* Linda P.B. Katehi and Spyros I. Tseregounis Dorothy Landsberg Edward and Sally Larkin* Drs. Richard Latchaw and Sheri Albers Ginger and Jeffrey Leacox Allan and Claudia Leavitt Yvonne LeMaitre Nelson Lewallyn and Marion PaceLewallyn Paul and Diane Makley* In Memory of Allen G. Marr Grant and Grace Noda Alice Oi David Rocke and Janine Mozée Roger and Ann Romani Hal and Carol Sconyers Wilson and Kathryn Smith Sandra R. Smoley Tom and Meg Stallard* Tom and Judy Stevenson* David Studer and Donine Hedrick Rosemary and George Tchobanoglous Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Jeanne Hanna Vogel Claudette Von Rusten John Walker and Marie Lopez Patrice White Robert and Joyce Wisner* Richard and Judy Wydick Yin and Elizabeth Yeh And 4 donors who prefer to remain anonymous

DIRECTOR CIRCLE

$1,500 - $3,249

Beulah and Ezra Amsterdam Elizabeth and Russell Austin Laura and Murry Baria* Lydia Baskin* Drs. Noa and David Bell Jo Anne Boorkman* Clyde and Ruth Bowman Edwin Bradley Linda Brandenburger Rosa Marquez and Richard Breedon Irving and Karen Broido*

Susie and Jim Burton Davis and Jan Campbell Simon Cherry and Laura Marcu Jim and Kathy Coulter* John and Celeste Cron* Jay and Terry Davison Bruce and Marilyn Dewey Dotty Dixon* Richard and Joy Dorf* Domenic and Joan Favero Nancy McRae Fisher Doris Flint Carole Franti* Jolàn Friedhoff and Don Roth Christian Sandrock and Dafna Gatmon Karl Gerdes and Pamela Rohrich Erla and David Goller Fredric Gorin and Pamela Dolkart Gorin John and Patty Goss* Jack and Florence Grosskettler* In Memory of William F. McCoy Tim and Karen Hefler Sharna and Mike Hoffman Sarah and Dan Hrdy Ronald and Lesley Hsu Ruth W. Jackson Clarence and Barbara Kado Barbara Katz Gail W. Kelly* Charlene R. Kunitz Matt Donaldson and Steve Kyriakis Spencer Lockson and Thomas Lange Mary Jane Large and Marc Levinson Frances and Arthur Lawyer* Hyunok Lee and Daniel Sumner Lin and Peter Lindert David E. and Ruth B. Lindgren Mr. and Mrs. Richard Luna Natalie and Malcolm MacKenzie* Debbie and Stephen Wadsworth-Madeiros Debbie Mah and Brent Felker* Douglas Mahone and Lisa Heschong Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Marilyn Mansfield John and Polly Marion Yvonne L. Marsh Robert Ono and Betty Masuoka Shirley Maus* Janet Mayhew* Robert and Helga Medearis Judith and Eldridge Moores Augustus and Mary-Alice Morr John Pascoe and Sue Stover John and Misako Pearson Bonnie A. Plummer* Chuck and Chris Powell Prewoznik Foundation Linda and Lawrence Raber* Lois and Dr. Barry Ramer John and Judith Reitan Kay Resler* Christopher Reynolds and Alessa Johns Tom Roehr Liisa Russell Ed and Karen Schelegle Neil and Carrie Schore Bonnie and Jeff Smith Ronald and Rosie Soohoo* Edward and Sharon Speegle Richard L. Sprague and Stephen C. Ott Maril R. Stratton and Patrick Stratton Edward Telfeyan and Jerilyn Paik-Telfeyan D. Verbeck, R. Mott, J. Persin

Louise Walker and Larry Walker Geoffrey and Gretel Wandesford-Smith Dan and Ellie Wendin* Dale L. and Jane C. Wierman In Honor of Chuck and Ulla And 8 donors who prefer to remain anonymous

ENCORE CIRCLE

$600 - $1,499

Shirley and Mike Auman* Robert and Susan Benedetti Alan and Kristen Bennett Don and Kathy Bers* Muriel Brandt Marion Bray John and Christine Bruhn Manuel Calderon de la Barca Sanchez and Karen Zito Lynne Cannady and David Ford Dolores and Donald Chakerian John and Joan Chambers* Jack and Gale Chapman Robert D. and Nancy Nesbit Crummey Sharon Cuthbertson* John and Cathie Duniway John and Pamela Eisele Jeffery and Marsha Gibeling Paul and E. F. Goldstene David and Mae Gundlach Robin Hansen and Gordon Ulrey Paul and Nancy Helman Lenonard and Marilyn Herrmann John and Katherine Hess B.J. Hoyt Barbara and Robert Jones Paula Kubo Ruth Lawrence John T. Lescroart and Lisa Sawyer Michael and Sheila Lewis* Maria M. Manoliu Gary and Jane L. Matteson Joy Mench and Clive Watson Robert and Susan Munn* Don and Sue Murchison Bob and Kinzie Murphy Linda Orrante and James Nordin The Aboytes Family Frank Pajerski Harriet Prato Lawrence and Celia Rabinowitz J. and K. Redenbaugh C. Rocke Tracy Rodgers and Richard Budenz Heather and Jeep Roemer Tom and Joan Sallee Dwight E. and Donna L. Sanders Michael and Elizabeth Singer William and Jeannie Spangler Elizabeth St. Goar Sherman and Hannah Stein Les and Mary Stephens De Wall Judith and Richard Stern Jan Stevens and Carole Cory Eric and Patricia Stromberg* Tony and Beth Tanke And 3 donors who prefer to remain anonymous

ORCHESTRA CIRCLE

$300 - $599

Mitzi Aguirre Ralph and Teresa Aldredge Thomas and Patricia Allen Elinor Anklin and George Harsch Antonio and Alicia Balatbat Carol Beckham and Robert Hollingsworth Carol L. Benedetti

Bob and Diane Biggs Al Patrick and Pat Bissell Elizabeth Bradford Susan Brownridge Dr. Margaret Burns and Dr. Roy W. Bellhorn Jackie Caplan Michael and Louise Caplan Bruce and Mary Alice Carswell* Amy Chen and Raj Amirtharajah Betty M. Clark Charles and Mary Anne Charles Cooper James Cothern David and Judy Covin Kim Uyen Dao* Larry Dashiell and Peggy Siddons Anne E. Duffey Janet Feil David and Kerstin Feldman Helen Ford Lisa Foster and Tom Graham Jennifer D. Franz Edwin and Sevgi Friedrich* Marvin and Joyce Goldman June and Paul Gulyassy, M.D. Darrow and Gwen Haagensen Sharon and Don Hallberg Marylee Hardie David and Donna Harris Miriam and Roty Hatamiya Mary A. Helmich Jeannette E Higgs Kenneth and Rita Hoots* Steve and Nancy Hopkins Mun Johl Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung David Kalb and Nancy Gelbard Patricia Kelleher* Peter G. Kenner Ruth A Kinsella* Joseph Kiskis and Diana Vodrey Peter Klavins and Susan Kauzlarich Paul Kramer Dolores Dautherty Carol Ledbetter Mr. and Mrs. Levin Barbara Levine Mary Ann and Ernest Lewis* Mel and Rita Libman Robert and Betty Liu The Lufburrow Family Jeffrey and Helen Ma Bunkie Mangum Pam Marrone and Mick Rogers Catherine McGuire Roland and Marilyn Meyer Nancy Michel Alison L. Morr Marcie Mortensson Beverly J. Myers, MD William and Nancy Myers Bruno Nachtergaele and Marijke Devos Bill and Anna Rita Neuman Carol and John Oster Sally Ozonoff and Tom Richey John and Sue Palmer John and Barbara Parker Harry Phillips Gloria Freeman and Jerry L. Plummer John and Deborah Poulos John and Alice Provost Evelyn and Otto Raabe Rhonda Reed and Ken Gebhart Judy and David Reuben* Dr. Ronald and Sara Ringen Sharon and Elliott Rose* Barbara and Dr. Alan Roth Bob and Tamra Ruxin Howard and Eileen Sarasohn

John and Joyce Schaeuble Robert and Ruth Shumway James Smith Judith Smith Al and Sandy Sokolow Tim and Julie Stephens Karen and Edward Street* Pieter Stroeve, Diane Barrett and Jodie Stroeve Captane and Helen Thomson Virginia and Butch Thresh Dennis and Judy Tsuboi Ann-Catrin Van Ph.D. Merna and Don Villarejo Rita Waterman Charles White and Carrie Schucker Jim and Genia Willett Richard and Sally Yamaichi Iris Yang and G. Richard Brown Wesley and Janet Yates Phillip and Iva Yoshimura Ronald M. Yoshiyama Drs. Matthew and Meghan Zavod Hanni and George Zweifel And 6 donors who prefer to remain anonymous

MAINSTAGE CIRCLE

$100 - $299

Leal Abbott Mary Aften Susan Ahlquist David and Penny Anderson Val Anderson Jerry and Barbara August Maria Balakshin George and Irma Baldwin Charlotte Ballard and Robert Zeff Diane and Charlie Bamforth* Elizabeth Banks Carole Barnes Cynthia Bates Connie Batterson Anonymous Paul and Linda Baumann Lynn Baysinger* Malcolm Becker Marion S. Becker Merry Benard William and Marie Benisek Jane D. Bennett Linda and William Bernheim Bevowitz Family Boyd and Lucille Bevington Dr. Robert and Sheila Beyer Joan and Roy Bibbens* Ernst and Hannah Biberstein John and Katy Bill Terry Sandbek* and Sharon Billings* Andrea Bjorklund and Sean Duggan Sam and Caroline Bledsoe Fred and Mary Bliss Bill Bossart Brooke Bourland* Jill and Mary Bowers C and B Brandow Alf and Kristin Brandt Robert and Maxine Braude Dan and Mildred Braunstein* Elizabeth and Alan Brownstein Linda Clevenger and Seth Brunner Mike and Marian Burnham Victor W. Burns William and Karolee Bush Joan and Edward Callaway Lita Campbell* Jean Canary John and Nancy Capitanio William and Pauline Caple

James and Patty Carey Mike and Susan Carl Jan Carmikle Carolyn Chamberlain Dorothy Chikasawa* Richard and Arden Christian Gail Clark L. Edward and Jacqueline Clemens James and Linda Cline Stephan Cohen Stuart and Denise Cohen Sheri and Ron Cole Harold and Marjorie Collins Steve and Janet Collins Patricia Conrad Terry D. Cook Nicholas and Khin Cornes Fred and Ann Costello Cathy and Jon Coupal* Victor Cozzalio and Lisa Heilman-Cozzalio Crandallicious Clan Robert and Elizabeth Bushnell John and Joanne Daniels Nita A. Davidson Relly Davidson Judy and David Day Lynne de Bie* Robert Diamond Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Val and Marge Dolcini* Marjean DuPree James Eastman Eliane Eisner Allen Enders Sidney England and Randy Beaton Carol Erickson and David Phillips Nancy and Don Erman Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Richard D. Farshler Cheryl Felsch Liz and Tim Fenton* Dave Firenze Kiernan and Marty Fitzpatrick David and Donna Fletcher Robert Fowles and Linda Parzych Marion Franck and Bob Lew Anthony and Jorgina Freese Joel Friedman Larry Friedman and Susan Orton Kerim and Josie Friedrich Joan M Futscher Myra Gable Anne Garbeff* Peggy Gerick Gerald Gibbons and Sibilla Hershey Barbara Gladfelter Eleanor Glassburner Louis Fox and Marnelle Gleason* Susan Goldstein Pat and Bob Gonzalez* Drs. Michael Goodman and Bonny Neyhart S Goodrich and M Martin Jeffrey and Sandra Granett Steve and Jacqueline Gray* Paul and Carol Grench Alex and Marilyn Groth Wesley and Ida Hackett* Jane and Jim Hagedorn Frank Hamilton William and Sherry Hamre Pat and Mike Handley Laurie and Jim Hanschu Robert and Susan Hansen Vera Harris Sally Harvey* Roy and Dione Henrickson

encoremediagroup.com 43

THE ART OF GIVING Mary and Rand Herbert Fred Taugher and Paula Higashi Larry and Elizabeth Hill Bette Hinton and Robert Caulk Calvin Hirsch and Deborah Francis Frederick and Tieu-Bich Hodges Michael and Margaret Hoffman Jeff Holcomb Herb and Jan Hoover David and Gail Hulse Pat Hutchinson* Lorraine Hwang Dr. and Mrs. Ralph B. Hwang Marta Induni Marion Jazwinski* Jane and John Johnson* Dr. and Mrs. Ronald C. Jensen Karen Jetter Phil and Carole Johnson Michelle Johnston and Scott Arranto Warren and Donna Johnston Valerie Jones Jonsson Family Andrew and Merry Joslin James Anthony Joye Martin and JoAnn Joye* Fred and Selma Kapatkin Tim and Shari Karpin Jean and Steve Karr Yasuo Kawamura Phyllis and Scott Keilholtz* Charles Kelso and Mary Reed Michael Kent and Karl Jadney Robert and Cathryn Kerr Leonard Keyes Jeannette Kieffer Gary and Susan Kieser Larry Kimble and Louise Bettner Kathryn and Leonard Goldberg Robert Kingsley and Melissa Thorme Dr. and Mrs. Roger Kingston Dorothy Klishevich John and Mary L. Klisiewicz* Alan and Sandra Kreeger Marcia and Kurt Kreith

Sandra Kristensen Lorenzo Kristov and Robin Kozloff Elizabeth and C.R. Kuehner Leslie Kurtz Cecilia Kwan Ray and Marianne Kyono Scarlet and Harvey Edber Kit and Bonnie Lam* Marsha M. Lang Anne Lawrence Leon E. Laymon Peggy Leander* Charlie and Joan Learned Marceline Lee and Philip Smith The Hartwig-Lee Family Nancy and Steve Lege The Lenk-Sloane Family Joel and Jeannette Lerman Evelyn A. Lewis Motoko Lobue Mary Lowry Henry Luckie Michael Luszczak Ariane Lyons Edward and Susan MacDonald Karen Majewski Alice Mak and Wesley Kennedy Vartan Malian and Nova Ghermann Julin Maloof and Stacey Harmer Joseph and Mary Alice Marino David and Martha Marsh Dr. Carol Marshall J. A. Martin Vel Matthews Leslie Maulhardt Katherine Mawdsley* Harry and Karen McCluskey* Douglas McColm and Delores McColm Nora McGuinness* Thomas and Paula McIlraith Donna and Dick McIlvaine Tim and Linda McKenna Martin A. Medina and Laurie Perry DeAna Melilli Barry Melton and Barbara Langer

CORPORATE MATCHING GIFTS

Johnson Controls Foundation

We appreciate the many donors who participate in their employers’ matching gift program. Please contact your Human Resources Department for more information.

ARTISTIC VENTURES FUND

We applaud our Artistic Ventures Fund’s members, whose major gift commitments support artist engagement fees, innovative artist commissions, artist residencies, and programs made available free to the public.

Ralph and Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Richard and Joy Dorf Anne Gray Barbara K. Jackson Larry and Rosalie Vanderhoef

The Merchant Family Fred and Linda Meyers* Beryl Michaels and John Bach Leslie Michaels and Susan Katt Eric and Jean Miller Lisa Miller Sue and Rex Miller Steve and Kathy Miura* Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Ruth and Lloyd Money Irene Montgomery* Elaine and Ken Moody Amy Moore Christopher Motley The Muller Family Terence and Judith Murphy Elaine Myer Guity Myers* Margaret Neu* Cathy Neuhauser and Jack Holmes Robert Nevraumont and Donna Curley Nevraumont* Keri Mistler and Dana Newell Nancy Nolte and James Little Marilyn Olmstead Dana K. Olson Jim and Sharon Oltjen Marvin O’Rear Jessie Ann Owens and Anne Hoffmann Bob and Elizabeth Owens Mike and Carlene Ozonoff* Michael Pach and Mary Wind Thomas Pavlakovich and Kathryn Demakopoulos Mari Perla Ann Peterson and Marc Hoeschele Brenda Davis and Ed Phillips Pat B. Piper Jane Plocher Dr. Robert Poppenga and Amy Kapatkin Jerry and Bernice Pressler Ed and Jane Rabin

LEGACY CIRCLE

Thank you to our supporters who have remembered the Mondavi Center in their estate plans. These gifts make a difference for the future of performing arts and we are most grateful.

Wayne and Jacque Bartholomew Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Anne Gray Mary B. Horton Margaret E. Hoyt Barbara K. Jackson Yvonne Le Maitre Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Verne E. Mendel Kay E. Resler Hal and Carol Sconyers Joe and Betty Tupin Anonymous

If you have already named the Mondavi Center in your own estate plans, we thank you. We would love to hear of your giving plans so that we may express our appreciation.

If you are interested in learning about planned giving opportunities, please contact Debbie Armstrong, Sr. Director of Development (530.754.5415 or djarmstrong@ucdavis. edu ).

Note: We apologize if we listed your name incorrectly.

Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections.

44 MONDAVIARTS .ORG

Jan and Anne-Louise Radimsky Lawrence and Norma Rappaport Olga Raveling Sandi Redenbach* Catherine Ann Reed Dr. and Mrs. James W. Reede Jr. Mrs. John Reese, Jr. Fred and Martha Rehrman* Michael A. Reinhart and Dorothy Yerxa Elizabeth and Eugene Renkin Francis E. Resta Jeannette and David Robertson Ronald and Morgan Rogers Richard and Alice Rollins Richard and Evelyne Rominger Teddy Wilson and Linda Roth Cynthia Jo Ruff* Paul and Ida Ruffin Hugh Safford Raymond Salomon Beverly “Babs” Sandeen and Marty Swingle Elia and Glenn Sanjume Polly and Fred Schack Julie Schmidt* Janis J. Schroeder and Carrie L. Markel Bee Happy Apiaries Jenifer and Bob Segar Dan Shadoan and Ann Lincoln Jill and Jay Shepherd Edward Shields and Valerie Brown Consuelo Sichon Jo Anne Silber Dan and Charlene Simmons Marion E. Small Robert Snider Jean Snyder Roger and Freda Sornsen Marguerite Spencer Janet L. Spliman Miriam Steinberg and Ben Glovinsky Harriet Steiner and Miles Stern Johanna Stek Raymond Stewart

Deb and Jeff Stromberg Yayoi Takamura and Jeff Erhardt Dr. Stewart and Ann Teal Francie F. Teitelbaum Julie A. Theriault, PA-C Brian Toole Robert and Victoria Tousignant Michael and Heidi Trauner Rich and Fay Traynham James E. Turner Nancy Ulrich* Ramon and Karen Urbano Peter and Carolyn Van Hoecke Chris and Betsy Van Kessel Diana Varcados Robert Vassar Bart and Barbara Vaughn* Rosemarie Vonusa* Richard Vorpe and Evelyn Matteucci Carolyn Waggoner and Rolf Fecht Kim and James Waits Maxine Wakefield and William Reichert Carol Walden Vivian and Andrew Walker Walnut Creek Civic Arts League Andy and Judy Warburg Valerie Boutin Ward Marny and Rick Wasserman Jack and Rita Weiss Douglas West Kimberly West Martha S. West Robert and Leslie Westergaard* Edward and Susan Wheeler Jane Williams Janet G. Winterer Timothy and Vicki Yearnshaw Norman and Manda Yeung Heather Young Verena Leu Young Melanie and Medardo Zavala Darrel and Phyllis Zerger* Dr.Mark and Wendy Zlotlow And 41 donors who prefer to remain anonymous

PATRON LOYALTY INITIATIVE

We are grateful to the following donors who have made special gifts to the Mondavi Center’s “Patron Loyalty Initiative”. This project will provide MC leadership and staff with an important set of tools and analyses to assist our efforts to build the loyalty and commitment of our wonderful base of donors and subscribers.

Ralph & Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Anne Gray Stephen Meyer & Mary Lou Flint

Randy Reynoso & Martin Camsey Bill and Nancy Roe Joan and Tony Stone Joe and Betty Tupin

Thank you to the following donors for their special program support.

YOUNG ARTISTS COMPETITION AND PROGRAM

John and Lois Crowe Merrilee and Simon Engel

Mary B. Horton Barbara K. Jackson

ARTS EDUCATION STUDENT TICKET PROGRAM

Donald and Dolores Chakerian *Members of The Friends of Mondavi Center Carole Pirruccello, John and Eunice Davidson Fund Sharon and Elliott Rose

DANCE FOR PARKINSON’S PROGRAM

Hugh Griffin

Leo Warmolts

BOARDS & COMMITTEES

MONDAVI CENTER ADVISORY BOARD

The Mondavi Center Advisory Board is a support group of University Relations whose primary purpose is to provide assistance through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center.

13–14 ADVISORY BOARD MEMBERS Joe Tupin, Chair • Cecilia Delury • Patti Donlon • Mary Lou Flint • Anne Gray • Karen Karnopp • Nancy Lawrence • Garry Maisel • Sean McMahon • Stephen Meyer • Randy Reynoso • Grace Rosenquist • John Rosenquist • Joan Stone • Tony Stone • Larry Vanderhoef • Carol Wall HONORARY MEMBERS Barbara K. Jackson • Margrit Mondavi

THE ARTS & LECTURES ADMINISTRATIVE ADVISORY COMMITTEE is made up of interested students, faculty and staff who attend performances, review programming opportunities and meet monthly with the director of the Mondavi Center. They provide advice and feedback for the Mondavi Center staff throughout the performance season.

14–15 COMMITTEE MEMBERS Sharon Knox, Chair • Marta Altisent • Lauren Brink • Catherine Dao Nguyen • Jim Forkin • Jeremy Ganter • Carol Hess • Charles Hunt • Ian Koebner • Cameron Mazza • Eleanor McAuliffe • Kyle Monhollen • Erin Palmer • Erica Perez • Susan Perez • Don Roth • Rob Tocalino

EX OFFICIO Linda P.B. Katehi, Chancellor, UC Davis • Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis • Francie Lawyer, President, Friends of Mondavi Center • Susan Kaiser, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis • Don Roth, Executive Director, Mondavi Center, UC Davis • Sharon Knox, Chair, Arts & Lectures Administrative Advisory Committee

Friends

of Mondavi Center

is an active donor-based volunteer organization that supports activities of Mondavi Center’s presenting program.

Gift Shop at Mondavi Center THE FRIENDS OF MONDAVI CENTER is an active donor-based volunteer organization that supports activities of the Mondavi Center’s presenting program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center performances.

For information on becoming a Friend of Mondavi Center, email Jennifer Mast at jmmast@ucdavis.edu or call 530.754.5431.

14–15 FRIENDS EXECUTIVE BOARD & STANDING COMMITTEE CHAIRS: Francie Lawyer, President Sandi Redenbach, Vice President Jo Ann Joye, Secretary Lydia Baskin, School Matinee Support Judy Fleenor, Mondavi Center Tours Karen Street, School Outreach Wendy Chason, Friends Events Kathy Bers, Membership Joyce Donaldson, Chancellor’s Designee, Ex-Officio Shirley Auman, Gift Shop, Ex-Officio

The Gift Shop at the Mondavi Center is located in the southeast corner of the Yocha Dehe Grand Lobby.

The Gift Shop is currently stocking new and festive holiday merchandise and is open prior to and during intermission for performances in Jackson Hall.

Managed and staffed by Friends of Mondavi Center, the Gift Shop is a friendly gathering spot and perfect place to shop for a special gift.

We hope to see you there!

All profits from the Gift Shop help to support Mondavi Center’s Arts Education program.

For more information regarding the Friends of Mondavi Center, call the Mondavi Center Arts Education Coordinator at 530.754.5431 encoremediagroup.com 45

POLICIES & INFORMATION TICKET EXCHANGE • Tickets must be exchanged at least one business day prior to the performance.

• Tickets may not be exchanged after the performance date.

• There is a $5 exchange fee per ticket for non-subscribers and Pick 3 purchasers.

• If you exchange for a higher-priced ticket, the difference will be charged. The difference between a higher and a lowerpriced ticket on exchange is non-refundable.

• Subscribers and donors may exchange tickets at face value toward a balance on their account. All balances must be applied toward the same presenter and expire June 30 of the current season. Balances may not be transferred between accounts.

• All exchanges subject to availability.

• All ticket sales are final for events presented by non-UC Davis promoters.

• No refunds.

• Prices subject to change.

PARKING PARKING You may purchase parking passes for individual Mondavi Center events for $9 per event at the parking lot or with your ticket order. Rates are subject to change.

Parking passes that have been lost or stolen will not be replaced.

GROUP DISCOUNTS Entertain friends, family, classmates or business associates and save! Groups of 20 or more qualify for a 10% discount off regular prices. Payment must be made in a single check or credit card transaction.

Please call 530.754.2787 or 866.754.2787.

STUDENT TICKETS UC Davis students are eligible for a 50% discount on all available tickets.

Proof Requirements: School ID showing validity for the current academic year.

Student ID numbers may also be used to verify enrollment.

Non-UC Davis students age 18 and over, enrolled full-time for the current academic year at an accredited institution and matriculating towards a diploma or a degree are eligible for a 25% discount on all available tickets. (Continuing education enrollees are not eligible.)

46 MONDAVIARTS .ORG

Proof Requirements: School ID showing validity for the current academic year and/ or copy of your transcript/report card/tuition bill receipt for the current academic year. Student discounts may not be available for events presented by non-UC Davis promoters.

YOUTH (AGE 17 AND UNDER) A ticket is required for admission of all patrons regardless of age. Any child attending a performance should be able to sit quietly through the performance. For events other than the Children’s Stage Series, it is recommended for the enjoyment of all patrons that children under the age of 5 not attend.

PRIVACY POLICY The Mondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons efficiently.

We sometimes share names and addresses with other not-for-profit arts organizations.

If you do not wish to be included in our email communications or postal mailings, or if you do not want us to share your name, please notify us via email, U.S. mail or telephone. Full Privacy Policy at mondaviarts.org.

TOURS Group tours of the Mondavi Center are free, but reservations are required. To schedule a tour call 530.754.5399 or email mctours@ucdavis.edu.

ACCOMMODATIONS FOR PATRONS WITH DISABILITIES The Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADA requirements. Patrons with special seating needs should notify the Mondavi Center Ticket Office at the time of ticket purchase to receive reasonable accommodation. The Mondavi Center may not be able to accommodate special needs brought to our attention at the performance. Seating spaces for wheelchair users and their companions are located at all levels and prices for all performances.

Requests for sign language interpreting, real-time captioning, Braille programs

and other reasonable accommodations should be made with at least two weeks’ notice. The Mondavi Center may not be able to accommodate last-minute requests.

Requests for these accommodations may be made when purchasing tickets at 530.754.2787 or TDD 530.754.5402.

OPERA GLASSES Opera glasses are available for Jackson Hall.

They may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID be held until the device is returned.

ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available for Jackson Hall and the Vanderhoef Studio Theatre. Receivers that can be used with or without hearing aids may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID to be held at the Patron Services Desk until the device is returned.

ELEVATORS The Mondavi Center has two passenger elevators serving all levels. They are located at the north end of the Yocha Dehe Grand Lobby, near the restrooms and Patron Services Desk.

RESTROOMS All public restrooms are equipped with accessible sinks, stalls, babychanging stations and amenities. There are six public restrooms in the building: two on the Orchestra level, two on the Orchestra Terrace level and two on the Grand Tier level.

SERVICE ANIMALS Mondavi Center welcomes working service animals that are necessary to assist patrons with disabilities. Service animals must remain on a leash or harness at all times.

Please contact the Mondavi Center Ticket Office if you intend to bring a service animal to an event so that appropriate seating can be reserved for you.

LOST AND FOUND HOTLINE 530.752.8580

Music touches the heart From a simple tune to the richest harmony, music expresses emotion in ways that can resonate with all of us.

We’re proud to salute Mondavi Center for the Performing Arts.

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