SEPTEMBER–OCTOBER
A proud sponsor of the 2016-2017 Ogle Center Season
reetings...
and welcome to the Ogle Center’s 2016-2017 Season — our twentieth season of offering a variety of entertaining, professional, and educational arts and cultural experiences to our community! Many exciting events are in store for you this season with special surprises along the way. Thank you for joining us!
I am often asked, “How do you select the entertainment you bring to the Ogle Center? Do you see live performances of each of the acts?” These are timely questions as I am preparing to leave for the Arts Midwest Conference, an annual conference held for artists, their agents, and performing arts presenters like the Ogle Center. The first resource I use is our Ogle Center schedule. We present more than 100 events annually from performances like the one you are attending, to guest lectures as part of the Sanders Speaker Series, from rentals by local community groups, to receptions and other events. We present the IU Southeast Music and Theatre departments’ performances which are on an academic schedule, and several performances of The Louisville Orchestra. With only 52 weeks in a year, trying to avoid major holidays and larger community events, we have only a few dates with availability to schedule our Ogle Center Presents series performances. I listen to our audience. As you leave a performance, stop and let me know what you think. If you have other ideas for performers, send me an e-mail at karandol@ius.edu. I take your experiences and suggestions and try to find ways to make your suggestions work with the Ogle Center’s schedule. I work with other performing arts presenters. I lead a group of presenting organizations called the Indiana Presenter’s Network (IPN). My colleagues from all across Indiana have experiences with artists and share what has worked well in their venues. By networking and partnering with other presenters, in many cases we are able to route an artist through the state. An artist may perform at Ball State on a Thursday, Rose-Hulman on Friday, and at the Ogle Center on a Saturday. It helps keeps the artists’ fees lower for all of the agencies involved in a block. As I write this article, I am preparing to attend this year’s Arts Midwest Conference held in Milwaukee. There will be hundreds of artists performing during the conference. After a day full of professional development seminars and meetings with artists’ agents, the performances called showcases begin at 6:30 each evening. Artists have about 20 minutes to share their performance, and the showcases continue past midnight. If that’s not enough, there are no fewer than 10 performances happening simultaneously. My IPN colleagues and I try to “divide and conquer” to experience as many performances as we are able. I then take all of this information and work with agents on negotiating artists’ fees, trying to assemble a season of diverse, entertaining, and professional experiences that will offer something that everyone will enjoy. Thank you for being here, and I look forward to hearing from you about your experiences and suggestions!
WELCOME
F rom the Director
G
Office: (812) 941-2526 Ticket Office: (812) 941-2525 E-mail: oglemail@ius.edu Web site: oglecenter.com Facebook: facebook.com/OgleCenter TICKET OFFICE HOURS Monday through Friday | 10 a.m.–4 p.m. Other hours by appointment. The ticket office opens 90 minutes prior to curtain time on show days and remains open until intermission. Tickets may be purchased at the Ogle Center ticket office, the Ogle Center web site at oglecenter.com, or by phone at (812) 941-2525. OGLE CENTER STAFF Administration Kirk Randolph, director Ken Atkins, marketing manager Aaron “A.D.” Stonecipher, ticketing manager Jennifer Schulten, administrative assistant Technical Staff Jay Moore, technical director Joseph Leezer, audio technician Derek Young, lighting technician Support Staff Aaron Linson, student intern Al Everitt and Allison Ryan, stage managers Ticket Office Assistants: Brooke Wessel, Sophia Bierman, Miranda Ochoa, Allison Hedge, Tori Spalding, Sarah Thompson OGLE CENTER ADVISORY COMMITTEE D. Jack Mahuron, chair · Tyler Bliss · Patricia A. Cress John Hartstern · Judy Hess · Jim Hesselman · Lynn Prinz Betty Russo · Marty Ryall · Millicent Stiefler · Dana Wavle
SPONSORS
SEPTEMBER—OCTOBER
DANCE KALEIDOSCOPE PRESENTS COLE!
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AN INDIANA BICENTENNIAL EVENT PART OF THE THE OGLE CENTER PRESENTS SERIES Saturday, September 24, 2016 | 7:30 p.m.
SEPTEMBER–OCTOBER
Paul W. Ogle Cultural & Community Center Indiana University Southeast 4201 Grant Line Road New Albany, IN 47150
Richard K. Stem Concert Hall
LOUISVILLE ORCHESTRA
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PART OF THE LOUISVILLE ORCHESTRA OGLE NEIGHBORHOOD SERIES Saturday, October 1, 2016 | 7:30 p.m. Richard K. Stem Concert Hall
THE HOT SARDINES
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PART OF THE THE OGLE CENTER PRESENTS SERIES Friday, October 21, 2016 | 7:30 p.m. Richard K. Stem Concert Hall
COMMONWEALTH BRASS BAND
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PART OF THE IU SOUTHEAST MUSIC DEPARTMENT CONCERT SERIES Sunday, October 23, 2016 | 3 p.m. Richard K. Stem Concert Hall
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Concessions service provided by:
Highlander Point 702 Highlander Point Floyds Knobs, IN 47119 (812) 923-2323
Proudly serving a selection of classic favorites, exciting new dishes, and specials.
A portion of the proceeds from this evening’s concessions sales in the lobby benefits the IU Southeast Ogle Center.
samstavern.com
TICKET OFFICE Monday: Tuesday: Wednesday: Thursday: Friday:
Service Animals Service animals are animals that are individually trained to perform tasks for people with disabilities such as guiding people who are blind, alerting people who are deaf, pulling wheelchairs, alerting and protecting a person who is having a seizure, or performing other tasks. Service animals are working animals, not pets.
10 a.m.–4 p.m. 10 a.m.–4 p.m. 10 a.m.–4 p.m. 10 a.m.–4 p.m. 10 a.m.–4 p.m.
Other hours by appointment. Opens 90 minutes prior to curtain time on show days and remains open until intermission. You can order your tickets by any of the following methods:
POLICIES
All patrons must have a ticket, regardless of the patron’s age. Patrons arriving late to performances will be seated at the discretion of management. Cameras and recording devices are strictly prohibited unless special permission is granted from the Ogle Center and the artist. Flash photography is prohibited at all times. Indiana University Southeast is a tobacco– free campus. Smoking is prohibited in the Ogle Center and its theaters. Food is prohibited in the theaters. Food is permitted in designated lobby areas. Beverages purchased from our concessions provider are permitted in the performance halls and lobby areas.
Order by Phone: (812) 941-2525 Order online: oglecenter.com Order in Person: Our ticket office is located in the lobby of the Paul W. Ogle Cultural and Community Center directly inside the front entrance to our facility.
TICKET DONATIONS AND REFUNDS
ALL SALES ARE FINAL. No refunds or exchanges. If you are unable to use your tickets for a performance, we will gratefully accept them as a tax-deductible contribution provided they are returned at least 24 hours prior to the show date. Please call the Ticket Office at (812) 941-2525.
SPECIAL NEEDS
GENERAL INFORMATION
We are pleased to serve persons with special needs. Please call our Ticket Office at (812) 9412525 to detail your needs in advance to reserve special seating for wheelchair patrons, listening enhancement devices. Parking spaces for persons with disabilities are available in the lot immediately in front of the Center.
USH ER
ACCESSIBILITY
Assistive Listening Devices The Stem Concert Hall, Robinson Theater and Stiefler Recital Hall are each equipped with five assistive listening devices. These are for use by patrons without hearing aids. The use of these devices is free. To reserve a device, simply call the Ogle Center Ticket Office at (812) 941-2525.
PAUL W. OGLE CULTURAL & COMMUNITY CENTER
Wheelchair Accessibility An elevator is conveniently located in the lobby of the Ogle Center and Knobview Hall for those patrons needing assistance to reach the terrace level or the rear parking lot. In addition, each theater provides a number of seats without steps and rollup space for patrons in wheelchairs. For your convenience, please call the Ogle Center Ticket Office at (812) 941-2525 in advance to reserve your rollup location.
Restrooms are located just off of the Ogle Center lobby in Knobview Hall, to the right as you leave the concert halls. Parking is free from one hour prior to the start of the performance until one hour following the end of the performance in the Dogwood and Hickory lots directly in front and behind the Ogle Center. Vehicles parked in other locations and/or at other times will be subject to ticketing. To volunteer as an usher at any of our events, please call (812) 941-2525 or visit oglecenter.com. Advertise. To advertise in the Ogle Center’s Bravo program or on the video board in our lobby, e-mail Ken Atkins at atkins@ius.edu or call (812) 941-2523.
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Horseshoe Foundation of Floyd County has given $38.1 MILLION back to the community. Thank you Horseshoe Southern Indiana for $55.3 MILLION in donations.
www.horseshoefoundation.org
DANCE KALEIDOSCOPE · September 24, 2016 | 7:30 p.m.
THE OGLE CENTER PRESENTS Series
(1997) CHOREOGRAPHY by
DAVID HOCHOY MUSIC AND LYRICS by
COLE PORTER
LIGHTING by
LAURA E. GLOVER
COSTUMES by
CHERYL SPARKS
DANCERS
STUART COLEMAN BRANDON COMER PHILLIP CRAWSHAW EMILY DYSON JILLIAN GODWIN MARIEL GREENLEE TIMOTHY JUNE ALEKSA LUKASIEWICZ MARTE OSIRIS MADERA MANDY MILLIGAN CAITLIN NEGRON PAIGE ROBINSON MISSY TRULOCK NOAH TRULOCK ZACH YOUNG
An Indiana Bicentennial Celebration Event
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DANCE KALEIDOSCOPE
(1997)
Act I
Ol' King Cole Let’s Do It (Let’s Fall In Love) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company (Ambrose & His Orchestra)
Anything Goes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brandon Comer (Lew Stone & His Band) with Jillian Godwin, Aleksa Lukasiewicz, and Caitlin Negron I’ve Got You Under My Skin . . . . . . . . . . . . . . . . . . . . . . . . . . . Mariel Greenlee (Josephine Baker)
It’s D’Lovely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Caitlin Negron and Company (Frances Day)
What Is This Thing Called Love . . . . Stuart Coleman, Brandon Comer, (Artie Shaw and his Orchestra) Timothy June, Zach Young, and Noah Trulock Begin The Beguine . . . . . . . . . . . . . . . . . Jillian Godwin, Mariel Greenlee, (Leslie Douglas & The Savoy Hotel Orchestra) Aleksa Lukasiewicz, and Caitlin Negron You’re The Top . . . . . . . . . . . . . . . . . . . . . Jillian Godwin & Zach Young, (Jeanne Aubert & Jack Whiting) Mariel Greenlee & Timothy June, Caitlin Negron & Brandon Comer, Aleksa Lukasiewicz, Stuart Coleman, Noah Trulock Wunderbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company (Robert Shaw Chorale)
I N T E R M I SS I O N Act II
Cole Soul Don’t Fence Me In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company (David Byrne)
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Ev’ry Time We Say Goodbye . . . . . . . . . . . . . . . . . . . . . . . Mariel Greenlee (Annie Lennox)
Who Wants To Be A Millionaire . . . . . . . . . . . . . . . . . . . . . . . . . Company (The Thompson Twins) (k.d. lang)
It’s All Right With Me . . . . . . . . . . . . . . . . . . Brandon Comer, Timothy June (Frank Sinatra)
Miss Otis Regrets . . . . . . . . . . . . . . . . . . . . . . . Mariel Greenlee and Company (Bette Midler)
Easy To Love . . . . . . . . . . . . . . . . . . . . . Jillian Godwin, Brandon Comer, (Ella Fitzgerald) and Company You’re The Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company (Louis Armstrong)
DANCE KALEIDOSCOPE
So In Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Caitlin Negron, Zach Young
Choreographer's Note When a board member suggested I create a ballet using the music of Cole Porter, I was at first hesitant. Then he played a bit of an old recording and I was immediately captivated—my head began to swim with ideas. I listened to a great deal of Porter’s music in preparation for this piece. I’ve come to the conclusion that he was, in a way, a genius. The combination of great music and brilliant, sophisticated lyrics makes him perhaps the greatest of all American songwriters. Ol’ King Cole celebrates recordings made in the 1930s and 40s. They remind us of a simpler, more innocent time when the American Dream was still intact. Cole Soul is danced to more contemporary artists interpreting Porter’s songs. It reflects the world we inhabit today—a faster, tougher, more cynical world, but one that is in just as much need of compassion and love. As love was one of Porter’s favorite themes, his music will never go out of style and will always be relevant to our lives. —David Hochoy
COLE! is dedicated to the loving memory of Richard E. Ford who commissioned the ballet in 1997.
Dance Kaleidoscope
David Hochoy, Artistic Director Jan Virgin, Executive Director 4603 Clarendon Road, Suite 32, Indianapolis, IN 46208 dancekal.org • 317.940.6555
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DANCE KALEIDOSCOPE
Got You under My Skin” (1936) and “In the Still of the Night” (1937) were all written for the movies. In 1937, Porter was in a riding accident; his horse fell on top of him, crushing both of his legs. The aftereffects of his injuries would force Porter to endure more than 30 operations and years of pain. However, in spite of this—or as a coping mechanism—he continued to work, producing memorable songs like “Friendship” (1939) and “You’d Be So Nice to Come Home To” (1942).
Cole Porter was born on June 9, 1891, in Peru, Indiana. His mother gave him the middle name Albert later in his life. With a wealthy grandfather, James Omar Cole, Porter had a comfortable childhood, during which he studied the violin and piano. He preferred the piano, and was soon practicing for two hours every day. At age 11, he wrote a song that his mother helped him publish. While an undergrad at Yale University, Porter wrote the fight song “Bulldog,” as well as other pieces for student productions; his output during these years totaled approximately 300 songs. As his grandfather didn’t want him to have a career in music, Porter was dispatched to Harvard’s law school. However, he soon switched to studying music (though his grandfather was told he continued to study law). After his first musical, See America First, made an unsuccessful appearance on Broadway in 1916, Porter went to France the next year. World War I was in progress, and he sent home (untrue) reports that he had joined the French Foreign Legion. Porter was actually participating in an active Parisian social life. In 1919, he married Linda Lee Thomas, a widowed socialite from Louisville, Kentucky. Porter’s life with Thomas featured travel around Europe. The two set up a home in Paris, and later rented the Palazzo Rezzonico in Venice, Italy. Porter didn’t depend on music for an income; in addition to his wife’s money, he received financial support from his family. However, he continued to create songs, with his numbers appearing in some London shows. Porter wrote “Let’s Do It (Let’s Fall In Love)” for Paris (1928). The song was a hit, and the beginning of a successful Broadway career that reached new heights in the 1930s. For Gay Divorce (1932), which starred Fred Astaire, Porter wrote “Night and Day.” Anything Goes (1934) contained more popular numbers, including “I Get a Kick Out of You” and “You’re the Top.”
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Other notable songs Porter wrote during this decade are “Begin the Beguine” (1935) and “It’s De-Lovely” (1936). His talents found a home on the big screen as well: “Easy to Love” (1936), “I’ve
Some of Porter’s post-accident Broadway shows were successful, if forgettable, such as Something For The Boys (1943). He had a huge flop with Around the World (1946), directed by and starring Orson Welles. In Kiss Me, Kate (1948), adapted from William Shakespeare’s The Taming of the Shrew, Porter once again had a musical hit, receiving a Tony® Award for his work. The show’s songs include “Too Darn Hot” and “I’ve Come To Wive It Wealthily In Padua.” Porter’s wife died in 1954. Despite his years of extramarital homosexual relationships, she had been a source of friendship and support, and her death was a blow for Porter. He continued to work on both Broadway shows and films—gaining an Academy Award nomination for “True Love,” written for High Society (1956)—but he also escaped into alcohol and painkillers. In 1958, Porter had to have his right leg amputated. Afterward, he stopped writing songs. He also withdrew from public life, telling friends, “I am only half a man now.” At 73, he died in Santa Monica, California, on October 15, 1964. He is interred in Mount Hope Cemetery in his native Peru, Indiana, between his wife and father. Now celebrating his 25t h s e as on w it h Dance Kaleidoscope, David Hochoy, artis tic director, is truly an international ambas sador. David Hochoy was born in Trinidad, West Indies. After receiving a B. Sc. at McGill University in Montreal, where he began studying for a career as a doctor, he contin ued his graduate work in theatre earning an M.A. in directing from Penn State. It was there, at age 20, David took his first dance class and discovered his true love of dance. In New York, he studied at the Alvin Ailey and Martha Graham schools and danced with numerous national companies. In 1980, he was invited to join the Martha Graham Dance Company. Made a soloist in 1982 and rehearsal director in 1986, David toured the world with Graham until 1989. He has given master classes in Graham technique throughout the U.S. and Europe, and in 1990 was invited to Guangzhou, China, to teach the experimental troupe of the Guangdong Dance Academy for ten weeks.
Since becoming DK’s Artistic Director in 1991, he has choreographed over 70 dances including Scheherazade, Carmina Burana, COLE!, The Planets, The Four Elements, El Salòn Mexico, Magical Mystery Tour, Rite of Spring and Les Noces. He choreographed Daphnis et Chloé for a collaboration with the Indianapolis Symphony Orchestra as well as their New Year’s Eve and Discovery Series concerts. He has choreographed numerous productions at the IRT, including A Christmas Carol, the Civic Theatre, Phoenix Theatre, Edyvean Repertory Theatre, Salome for the Arizona Opera and Miss Evers’ Boys for Cincinnati Playhouse in the Park and for Santa Fe Stages. David co-directed As You Like It at the Indiana Repertory Theatre with IRT’s Artistic Director Janet Allen. He also was Artistic Director of The Green Shows at the Oregon Shakespeare Festival (OSF) for ten seasons. He has choreographed The Beat on the Ball State University Student Dance Company. In 2009 he re-set sections of Fascinatin’ Rhythm on Tiler Peck and Joaquin De Luz of the New York City Ballet and Sarah Lane of American Ballet Theatre for the inaugural gala performance of Indianapolis City Ballet. He is the founder and co-artistic director of Spotlight, an annual fund-raiser for the Indiana AIDS Fund that has brought together the Indianapolis Performing Arts community since 1994. David was a recipient of a prestigious Choo-San Goh Award for his choreography Rhapsody in Blue in 2006. He is a two-time recipient of a Master Fellowship in Choreography and an Individual Artist Grant from the Indiana Arts Commission as well as a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis. He has been awarded the Key to the City by the City/County Council, the Distinguished Hoosier Award by the Governor of Indiana, and was honored by the Center for Leadership Development for outstanding achievement in the arts. In 2004, he was voted one of Indiana’s 25 Keepers — men and women working to make a difference in Indiana — by the readers of Indy Men’s Magazine. He has served many times as a dance panelist for the National Endowment for the Arts. On April 2, 2011, Mayor Gregory A. Ballard declared that date as David Hochoy Day in honor of his 20 years as DK’s artistic director and in recognition of his service to the arts in Indianapolis. In 2012 he was honored with the Creativity Award by University High School. In 2015 the Indiana Historical Society named him an Indiana Living Legend. Most recently, the Indiana Arts Commission presented David with a 2015 Governor’s Arts Award.
DANCERS Stuart Coleman began training in 2005 under the tutelage of Keith Lee in Lynchburg, Virginia. In 2007, he joined Virginia School of the Arts where he trained and performed until he graduated in 2010. Upon graduating from VSA, he enrolled in Butler University under the instruction of Michelle Jarvis, Marek Cholewa, Susan McGuire, and others. Stuart has attended programs with Alonzo King’s LINES Ballet, Alvin Ailey American Dance Theatre, Paul Taylor Dance Company, and Ballet West. He has performed repertory by dance pantheons such as Doris Humphrey, Talley Beatty, Paul Taylor, and Nacho Duato. His choreography has been featured in concerts produced by Dance Kaleidoscope, Ballet Theatre of Indiana, Butler Ballet, and Virginia School of the Arts. The Arts Council of Indianapolis named Stuart a Robert D. Beckmann, Jr. Emerging Artist Fellow. This is Stuart’s 2nd DK season.
DANCE KALEIDOSCOPE
David has been on the faculty of the Martha Graham School since 1982. In addition, he has taught at the American Dance Festival (ADF) held at Duke University, as well as ADF West in Salt Lake City and ADF Seoul in Korea. In 1991 he was invited to teach and choreograph at the Vienna International Dance Festival. He has given workshops in Quebec City, Tokyo, Oslo, Dublin and Rio de Janeiro.
Brandon Comer began his dance training at The Dance Refinery in Indianapolis and graduated from Center Grove High School in Greenwood, IN, where he was very active in the musical and theatre department. He competed in ESPN’s National Hip Hop Competition, performed at local theaters, and was a part of The Young Tanzsommer Arts Festival which included a tour of Austria, Germany and Italy. Brandon is thankful for all the opportunities DK has given him and would like to thank David and the rest of the company for their guidance and support. This is Brandon’s 7th season with DK. Phillip Crawshaw is an Indianapolis native and a gr aduate of Anderson University with a Bachelor of Arts in Family Science and Psychology with a minor in Dance Performance. While at Anderson University he began his training in dance as well as participated in numerous dance, musical theatre, opera and choral performances. He danced with Gregory Hancock Dance Theatre, will appear in Beef and Boards Dinner Theatre’s Christmas show, and is excited for the new opportunities dancing with DK bring. This is Phillip’s 3rd DK season as an apprentice.
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DANCE KALEIDOSCOPE 14
Emily Dyson received her BFA in Ballet Pedagogy from the University of Oklahoma, where she performed with Oklahoma Festival Ballet and Contemporary Dance Oklahoma. She began ballet training in Houston, TX with Gilbert Rome and Victoria Vittum and was later inspired by Austin Hartel to study modern. She trained with Paul Taylor Dance Company, American Ballet Theatre, The Joffery, Washington School of Ballet, and Atlanta Ballet. Emily enjoys teaching around the city and passing forward her love of dance to younger students and she thanks her family and friends for their endless love and encouragement. This is Emily’s 5th DK season. Jillian Godwin began her dance training in Indianapolis at Dance Magic Performing Arts Center and graduated from Broad Ripple High School, Center for the Performing and Visual Arts. She has also trained at Chautauqua Institution School of Dance in Chautauqua, New York, and American Ballet Theatre’s Summer Intensive in Detroit. Jillian attended River North Chicago Dance Company’s summer intensive in 2010 and 2012, where she was accepted on scholarship. She trained with Frank Chavez, Sara Bibik, and Laura Wade. Most recently, she was named one of Indy’s top ten most intriguing artists in 2012. She also had the honor of sharing the stage with Michael Feinstein, Liza Minnelli, and Rita Moreno at the 2013 Encore Awards Celebration held at the Palladium. Jillian’s mother Donna, even in spirit, continues to feed her drive and passion for art, as well as her father Gregory, the DK family and David H. This is Jillian’s 13th DK season. M a ri e l G r e e n l e e, originally from Vestal, NY, received her BA in Dance from Point Park University. She studied in New York City at The Martha Graham Center for Dance, Dance Space (DNA), STEPs, the Paul Taylor School, the Joffrey Ballet School and the David Parsons Workshop. She also has worked previously with Robert Battle, Margo Sappington, Doug Bentz, Beth Corning, Jana Hicks, Keisha Lalama, Susan Stowe and others. Mariel received the Individual Artist grant from the IAC in 2007, and in 2010 she was awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis. Mariel also teaches ballet and modern dance locally. Her choreography can be seen
at places such as the Phoenix Theater, IRT, Indy Summer Stock Stage, The University of Indianapolis, as well as local music videos, competitions, and Galas. She thanks her friends and family for their love and support, and the staff of Apex Therapy for their great care. This is Mariel’s 11th DK season. Tim othy J u n e is originally from Enfield, CT. His dance training began at New England Dance Conservatory. Timothy continued studies at Miami City Ballet, Boston Ballet, the Rimsky-Korsakov Conservatory in St. Petersburg, Russia, the Martha Graham School and at Butler University where he received his BFA in Dance Performance. He has danced for Ballet Arkansas, Indianapolis Opera, and American Cabaret Theatre, as well as other guest artist appearances. Outside of DK, he has also had the privilege of performing works by choreographers such as Thaddues Davis, James Kudelka, Susan McGuire and George Balanchine to which he received coaching from Violette Verdy. In addition to performing, he enjoys teaching at Indianapolis School of Ballet and Pilates at Mindful Movement Studio. This is Timothy’s 8th DK season. Marte Osiris Madera was born in Guadalajara, Mexico. He has been a company member with Lustig Dance Theater of New Jersey. In the San Francisco Bay Area he has worked as a freelance dancer with Oakland Ballet, Menlowe Ballet, Margaret Wingrove Dance, Man Dance Company, and sjDANCEco. He has also worked with Central West Ballet and guested for various dance companies in CA, including Robert Moses Kin. Marte has a BFA in Dance from San Jose State University. He has choreographed contemporary pieces for Central West Ballet and San Jose State University’s contemporary dance ensemble. This is Marte’s first DK season as an apprentice. Man dy Milligan is originally from Sidney, Ohio. She graduated high school from Interlochen Arts Academy in 2010 with a focus in Dance and the attended the University of Cincinnati’s College Conservatory of Music where she received her BFA in Ballet Performance 2015. She also spent a semester abroad studying modern dance at the Beijing Dance Academy. Her previous professional experience includes an apprenticeship with Mamluft & Co.
Aleksa Lukasiewicz originally from Novi, Michigan began her serious dance training at Geiger Classical Ballet Academy. She continued her studies at Butler University where she graduated in 2011 with honors and a BFA in Dance Performance. Aleksa’s training also includes summer intensives such as Hubbard Street and a two month study abroad trip to Lithuania. She would like to thank her family for their love and support, and she would also like to thank David for the wonderful opportunity he has given her. This is Aleksa’s 5th season with DK. Caitlin Negron began her dance training in her hometown of Fort Wayne, IN at Fort Wayne Ballet. She continued her studies at Southern Methodist University and graduated summa cum laude with degrees in Dance Performance and Anthropology. Other training includes the Martha Graham School, Thodos Dance Company, American Ballet Theater and Richmond Ballet. Caitlin has danced with several choreographers in Chicago and LA, and performed with Kybele Dance Theater. In 2008 Caitlin co-founded and currently serves as the executive director of The Indy Convergence, a pop-up arts residency program for professional artists held annually in Indianapolis, Toronto, and Jacmel, Haiti. Caitlin is also a BASI certified pilates teacher and teaches classes throughout Indianapolis, she received a 2015 Creative Renewal Arts Fellowship from the Arts Council of Indianapolis and a 2015/16 Individual Artist Program Grant from the Indiana Arts Commission. This is Caitlin’s 8th DK season. Paige Robinson grew up dancing in the Chicago area, studying primarily at Dance C e n te r Ev a n s to n , Chicago Ballet Arts, and Giordano Dance Center. Following high school, Paige spent two years in Pittsburgh Ballet Theatre’s Graduate Program. She then performed Peter Pan and The Nutcracker, and toured Scheherazade with Eugene Ballet Company under Toni Pimble’s direction.
Last season she danced with Polaris Dance Theatre in Portland, OR. This summer she participated in Northwest Dance Project’s LAUNCH: 10 project, working under Sarah Slipper and Lucas Crandall. This is Paige’s first DK season as a trainee. Missy Trulock began gymnastics training at age three, continuing for thirteen years as a competitive gymnast. She also studied modern dance, ballet and jazz at Rhythm Nations Studio in Euless, TX. Missy is a graduate of the Indiana University Modern Dance program. She recently attended the Martha Graham summer Dance intensive in New York. Through colorguard, she has performed with top organizations such as the Phantom Regiment Drum and Bugle Corps and Zydeco Color Guard. Missy also has choreographed movement and dance for the marching field for many programs in Texas, Oklahoma, Arkansas, Indiana, and a Junior Corps in Quiberon, France. This is Missy’s 3rd DK season.
DANCE KALEIDOSCOPE
Dance, guest artist and choreographer for the Performance Time Arts series at Cincinnati’s Contemporary Dance Theater (2010–2014) and performing artist in Cincinnati’s Area Choreographers Festival in 2014. She is grateful for the support of her family and friends. This is Mandy’s first DK season as an apprentice.
Noah Trulock began his performing career with the Cavaliers drum and bugle corps at age 15. He toured for several seasons with the Cavaliers and Phantom Regiment performing in featured ro l e s a c ro s s th e country. Noah studied dance at Indiana University through the contemporary dance program where he worked with several professional artists, including Connie Dinopoli, Liz Lerman, Nai-Ni Chen, David Parsons, Ben Munisteri, and David Hochoy. He recently attended the Martha Graham summer dance intensive in New York City. This is Noah’s 5th DK season. Zach Young trained at Columbia Performing Arts Centre in Columbia, Missouri, where he studied under Karen Mareck Grundy, Lisa Geger, Sean France and Jen Lee. He participated in summer intensives and workshops with River North Dance Chicago, Mark Morris, L.J. Ballard, Gary Hubler and Dante Adela. He has worked with contemporary choreographers Benoit Swan Pouffer, Jamar Roberts and Angel Fraser-Logan, and as a guest artist with the Cuban National Ballet. Zach also is trained in Tae Kwon Do and holds a first-degree black belt. Previously, he danced for the Cedar Lake Youth Ensemble, Cedar Lake II and the Missouri Contemporary Ballet. This is Zach’s 8th season with DK.
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I N D I A N A U N I V E R S I T Y S O U T H E AST F I N E A R TS D E PA R T M E N T
Ronald L. Barr Art Gallery Paul W. Ogle Cultural and Community Center
Monday – Thursday, 9 a.m. – 9 p.m. | Friday, 9 a.m. – 5 p.m. All events are free and open to the public.
2016–2017 EXHIBITION SCHEDULE DEBORAH MARIS LADER: BACHELOR OF ART (BA) EXHIBITION MAPC OUTSTANDING PRINTMAKER Exhibition dates March 2–14 Exhibition dates October 3–31 Opening Reception March 2 Opening Reception October 5 | 8 p.m.–10 p.m. BACHELOR OF FINE ART (BFA): EXHIBITION ONE IU SOUTHEAST FACULTY EXHIBITION Exhibition dates March 23–April 11 Exhibition dates November 5 – 30 March 23 Open House November 5 | 9 a.m.–1 p.m. Opening Reception Opening Reception November 10 BACHELOR OF FINE ART (BFA): EXHIBITION TWO ANNUAL JURIED STUDENT EXHIBITION April 13–30 Exhibition dates January 23–February 19 Exhibition dates Opening Reception April 20 Opening Reception January 24
IU Southeast Fine Art Program Gallery Co-Directors: Tiffany Carbonneau, tcarbonn@ius.edu | Susanna Crum, sgcrum@ius.edu
TEDDY ABRAMS, MUSIC DIRECTOR
Ogle Neighborhood Series
BEETHOVEN Bob Bernhardt, conductor
PROGRAM CORIOLAN OVERTURE
LOUISVILLE ORCHESTRA · October 1, 2016 | 7:30 p.m.
LOUISVILLE ORCHESTRA
“Turkish March” from RUINS OF ATHENS Overture to THE CREATURES OF PROMETHEUS SYMPHONY No. 1 IN C MAJOR, Op. 21 I. Andante cantabile con moto
SYMPHONY No. 6 IN F MAJOR, Op. 68 I. Allegro ma non troppo
SYMPHONY No. 8 IN F MAJOR, Op. 93 I. Allegro vivace e con brio II. Allegretto scherzando III. Tempo di Menuetto IV. Allegro vivace
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LOUISVILLE ORCHESTRA MUSICIANS TEDDY ABRAMS, MUSIC DIRECTOR
MARY AND BARRY BINGHAM, SR., MUSIC DIRECTOR CHAIR
LOUISVILLE ORCHESTRA
JORGE MESTER, MUSIC DIRECTOR EMERITUS
FIRST VIOLIN Gabriel Lefkowitz, Concertmaster
BASS Bert Witzel, Principal Fanny and Charles Horner Patricia Docs, Interim Assistant Principal Concertmaster Chair Julia Noone, Assistant Concertmaster Robert Docs National City Bank Chair Karl Olsen Jarrett Fankhauser Chair, Endowed by the Katheryn S. Ohkubo Paul Ogle Foundation Cheri Lyon Kelly Michael Chmilewski Mrs. John H. Clay Chair Stephen Taylor
Clayton Pusateri Chair, Endowed by Joe and Vickie Pusateri
FLUTE Kathleen Karr, Principal Elaine Klein Chair
TROMBONE Donna Parkes, Principal
PNC Bank, Kentucky, Inc. Chair
Brett Shuster§ BASS TROMBONE Open TUBA John DiCesare, Principal TIMPANI James Rago, Principal
Scott Staidle Nancy Staidle Barbara Meek Patricia Fong Maria Semes
Donald Gottlieb PICCOLO Donald Gottlieb
PERCUSSION John Pedroja, Principal Mark Tate§
SECOND VIOLIN Robert Simmonds, Principal
OBOE Alexandr Vvedenskiy, Principal
HARP Mary Julian Rapier, Principal
Claire and Lee Lenkoff Chair
Philip M. Lanier Chair
Alvis R. Hambrick Chair
Betty Arrasmith Chair, Endowed by the Association of the Louisville Orchestra
Mr. and Mrs. Warwick Dudley Musson Principal Timpani Chair
The Humana Foundation Chair
Kimberly Tichenor, Assistant Principal Trevor Johnson, Assistant Principal Devonie Freeman Edgar J. Hinson III Chair Mary Catherine Klan Violin Chair, Endowed by Chase
Elisa Spalding Charles Brestel
Patricia Ann Jenkins Endowed Chair
Heidi Tracy Judy Pease Wilson Blaise Jessup Poth VIOLA Jack Griffin, Principal
Brown-Forman Corp. Chair
Marilyn Nije§ Ernest Gross
Kate H. and Julian P. Van Winkle, Jr. Chair
BASS CLARINET Ernest Gross
General Dillman A. Rash Chair
§Auxiliary musician
*On leave
GENERAL MANAGER Lindsay C. Vallandingham PERSONNEL MANAGER Adrienne Hinkebein
Evan Vicic, Assistant Principal
BASSOON Matthew Karr, Principal
LIBRARIAN Erika Voss Mahlbacher
Clara Markham
Chris Reid§
OPERATIONS MANAGER Kierstin Quick
HORN Jon Gustely, Principal
STAGE MANAGER Bill Polk
Aegon Chair
Jacqueline R. and Theodore S. Rosky Chair Mr. and Mrs. Charles W. Hebel, Jr. Chair
Jennifer Shackleton Jonathan Mueller
Virginia Kershner Schneider Viola Chair, Endowed in Honor of Emilie Strong Smith by an Anonymous Donor
Meghan Casper CELLO Nicholas Finch, Principal
Thomas Mattingly and Anita Grenough Abell Memorial Chair
Joseph Caruso, Assistant Principal Carole C. Birkhead Chair, Endowed by Dr. Ben M. Birkhead
Christina Hinton
Dr. Edward Leo Callahan Chair
Allison Olsen
Frances Shapiro-Weitzenhoffer Chair, Endowed by Esther & Dr. David Shapiro
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CLARINET Andrea Levine, Principal
Deborah Caruso Julia Preston
Paul D. McDowell Chair
Edith S. and Barry Bingham, Jr. Chair
Stephen Causey, Assistant Principal Diana Wade Morgen Gary and Sue Russell Chair
Bruce Heim§ TRUMPET J. Jerome Amend, Principal
Leon Rapier Chair, Endowed by the Musicians of the Louisville Orchestra
James Recktenwald, Assistant Principal Lynne A. Redgrave Chair
Daniel Kassteen
THE HOT SARDINES
Q
uality is timeless. Just ask The Hot Sardines.
In t he ta lented ha nds of the New York-based ensemble, music f i rst made famous decades ago comes alive through their brassy horn arrangements, rollick ing piano melodies, and vocals from a chanteuse who transports listeners to a different era with the mere lilt of her voice. On French Fries & Champagne, The Hot Sardines’ new album for Universal Music C l a s s ic s , t he j a z z collective broadens its already impressive palette, combining covers and originals as they effortlessly channel New York
speakeasies, Parisian cabarets, and New Orleans jazz halls. Ba nd leader Eva n Pa la zzo a nd lead singer Elizabeth Bougerol met i n 20 07 a f ter t hey bot h answered a Craigslist ad about a jazz jam session above a Manhattan noodle shop. The unlikely p a i r — s he w a s a L ondon S c ho ol of Economics-educated t r ave l w r it e r w ho grew up in France, Canada and the Ivory Coast, he was a New York City born and raised actor who studied theater at the University of the Arts i n Ph i l a d e lp h i a — bonded over their love for Fats Waller. Inf luenced also by such greats as
THE HOT SARDINES · October 21, 2016 | 7:30 p.m.
THE OGLE CENTER PRESENTS Series
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THE HOT SARDINES 22
Dinah Washington, Louis Armstrong and Billie Holiday, they began playing open mic nights and small gigs and by 2011, they headlined Midsummer Night Swing at New York’s Lincoln Center. The Hot Sardines’ selftit led debut album, named by iTu nes a s one of the best jazz a lbums of 2014, spent more than a year on the Billboard Jazz Chart, debuting in the top 10 alongside Tony Bennett and Lady Gaga. The accolades began pouring in for the band: Downbeat called The Hot Sardines “o n e o f t h e m o s t delightfully energetic bands on New York’s ‘hot’ music scene,” while The London Times praised their “crisp musicianship” and “immaculate and w itt y showmanship,” declaring them “simply phenomenal.” “We found ourselves in the perfect place at the perfect time,” says Evan. “As w e e x p l or e d this 100 yearol d j a z z , we began to look at it as a journey for ward, not so much as a lo ok back. This is music for today, not a museum piece.” The Hot Sardines played more than 100 shows last year, taking their act from their familiar confines of New York across
the country. And, to no one’s surprise but their own, they were greeted by music lovers everywhere. “It never really occurred to me that anyone was listening to us outside of New York City. To s h o w u p in a town and have people say, ‘I love this song. I love this video’ is mind-blowing to me ,” s ay s Elizabeth, who adds she remembers the towns by the food, seeking out “whatever that region does really well — we’re constantly in the tour van, researching mom-and-pop places in the next town.” In New York City, T he Hot Sa rd i nes draw a young aud ie nc e . I n t he rest of the country, mu lt i-generat ions come to enjoy t he m u s i c . “ We ’ l l s e e daughters, mothers and grandmothers coming to our show together,” Evan says. “In Long Island, a young girl came up to Elizabeth with a can of sardines to sign. She was 7!” In the hot jazz movement, The Hot Sardines stand apart for the i n n ov at i o n , verve and sheer joy they bring to music, both new and old. “It’s a really cool time to be making music,” Elizabeth says. “Especially if you’re making music that started its life 100 years ago.”
COMMONWEALTH BRASS BAND J. Jerome Amend, music director
Anita Cocker Hunt, associate director Shawn Roark, concertmaster · Robert Crafton, solo euphonium
Gratitude & Acknowledgment PROGRAM Resurgam. Tone Poem (1950) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eric Ball
(1903–1989)
Cavatina Una Voce Poco Fá Qui Nel Cor Mi Risuono . . . Gioachino Rossini (Act I, Scene 2, Il barbiere di Siviglia, 1816)
(1792–1868) Arranged for English brass band by J. Jerome Amend
COMMONWEALTH BRASS BAND · October 23, 2016 | 3 p.m.
The IU SOUTHEAST MUSIC DEPARTMENT presents the
Dr. Joanna Goldstein, soloist
Army of the Nile. March (1941) . . . . . . . . . . . . . . . Frederick Joseph Ricketts Dedicated to British General Archibald Wavell (under the pseudonym Kenneth J. Alford) (1883–1950) for halting the Axis advance in Egypt (WWII) (1881–1945)
Anita Cocker Hunt, conductor
Beautiful Colorado. Valse Caprice . . . . . . . . . . . . . . . . . . . . Joseph De Luca
(1890–1935) Arranged for English brass band by Keith Wilkinson
Raymond Horton, soloist
Gaelforce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Graham Anita Cocker Hunt, conductor
(b. 1958)
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COMMONWEALTH BRASS BAND
INTERMISSION Toccata and Fugue in D Minor (BWV 565) . . . . . . . . . Johann Sebastian Bach
(1685–1750)
Arranged for English brass band by Derek Ashmore
Anita Cocker Hunt, conductor
Waltzing Mathilda . . . . . . . . . . . . . . . Australian Traditional Bush Ballad
Arranged for English brass band by Gordon Langford (b. 1930)
Anita Cocker Hunt, conductor
Våren (The Last Spring), Op. 34, No. 2 (1885) . . . . . . . . Edvard Hagerup Grieg (1843–1907)
Arranged for English brass band by Raymond Victor Steadman-Allen (1922-2014)
Anita Cocker Hunt, conductor
An Amish Crazy Quilt (2007) . . . . . . . . . . . . . . . . . . . . . . Raymond Horton Raymond Horton, guest conductor
MUSICIANS OF THE COMMONWEALTH BRASS BAND E b TUBAS SOPRANO CORNET FLÜGELHORN Jackie Amend Andrew Scott
SOLO CORNETS Shawn Roark, concertmaster Jason Houghland, assistant concertmaster Nick Scoggins SECOND CORNETS Brent Dellacoletta, principal Brent Mode THIRD CORNETS Joanna Goldstein, principal David Campisano Ernest Woodworth
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REPIANO CORNET Christopher Labrum Carl Reckelhoff
E b TENOR HORNS Susan Reigler, solo Norma Ruble, first Mark McDonald, second
Steve Lasher Ferenc X. Vegh, Jr.
BARITONES Peter Felice, first J. David McNeely, second
PERCUSSION Nicole Bullard John Harris David Milburn
Steven Palmquist
TROMBONES Mildred Kemp, first Michael Raley, assistant first Charlie Rademaker, second Joe Spain, bass EUPHONIUMS Robert Crafton, solo Kristi Schmidt, second
B b TUBAS Adam Edwards Russell Shartzer
Librarians David Campisano Mildred Kemp
COMING SOON TO THE OGLE CENTER
IU SOUTHEAST THEATRE
YOU’RE A GOOD MAN, CHARLIE BROWN November 3–13
RYAN & RYAN November 4
IU SOUTHEAST
CONCERT CHOIR & COMMUNITY CHORUS November 6
Charles Schulz’s beloved comic comes to life in Clark Gesner’s classic musical. The whole gang is here: bossy Lucy is hopelessly in love with piano prodigy Schroeder who doesn’t give her the time of day, perfectionist Sally is still mocking blankettoting Linus, Snoopy is in the doghouse, and “blockhead,” himself, Charlie Brown, is in rare form.
A dynamic fatherson piano duo that blends classic and contemporarymusic into a delightful concert experience. Donald and Barron combine efforts to amaze audiences with their skill, expressiveness, and love of making music. Their experience in classical, jazz, ragtime, and funk allows them to create exciting new music and give fresh interpretations of old standards.
The IU Southeast Concert Choir is the university’s premier choral ensemble and performs highly varied choral literature from all styles and historical periods. The Community Chorus is open to all students, faculty, staff, and members of the community. The group performs a variety of literature and performs along side the Concert Choir.
LOUISVILLE ORCHESTRA November 12
ORCHESTRA November 20
IU SOUTHEAST
RIDERS IN THE SKY
The Louisville Orchestra is strengthening its ties to the community by expanding the number of performances offered outside of Whitney Hall and the Brown Theatre. The Orchestra’s commitment to Southern Indiana remains strong, and IU Southeast’s Ogle Center continues to be an important venue in the Music Without Borders Neighborhood Series.
The Indiana University Southeast Orchestra explores a breadth of literature from the symphonic repertoire. Classical works include symphonies, concertos, operatic repertoire and major choral/ orchestral works. The ensemble performs works from many styles, genres and musical periods.
CHRISTMAS THE COWBOY WAY
November 22 Hear the Christmas Yodel resounding! It’s a great big western hohoho from “America’s Favorite Cowboys” Riders In The Sky! Those wacky, fourpart harmonizing cowboys have spruced up the bunkhouse, donned their sequined yuletide outfits, and loosed their vivid imaginations to create a holiday musical fantasy for Saddle Pals of all ages.
TICKETS ON SALE NOW Call (812) 941-2525 or visit
oglecenter.com
IU SOUTHEAST
CONCERT BAND November 11 Regarded as one of the finest concert bands in the region, the IU Southeast Concert Band will present its annual fall concert on November 11. The Concert Band performs the highest quality literature from band classics to the latest international contemporary works. Versatility and variety mark the tradition of the Concert Band.
THE GOSPEL ACCORDING TO MARK November 29 Adapted from the words and works of Mark Twain byJ.R. Stuart, celebrating both sides of the Mark Twain/Samuel Clemens coin through Twain’s writings on truth,conscience,freedom, equality, and man’s relationship to God that are weaved through most everything he wrote. “...The author’s charms shine brighter in the warm light of Stuart’s performance.” —The Courier-Journal
FRIENDS OF THE OGLE CENTER
CONTRIBUTORS
Indiana University Southeast, the Ogle Center, the Music, Theatre, and Fine Arts departments, and our students and community have benefited from the generosity of our donors. Words cannot express the appreciation we have for the support you provide through these gifts. Anonymous Dr. David and Bobbie Bell Harrison County Community Foundation Horseshoe Foundation of Floyd County James Y. McCullough, M.D. Jack and Carol Mahuron Kirk and Meghan Randolph Phyllis Robinson
OGLE CENTER CONTRIBUTORS
James W. Allgood Carolyn and Bernie Babione Joseph and Linda Baker Hon. Cecile A. Blau Debra and Maurice Bohrer Barbara A. Cannon Mark and Mariellen Cassidy Sue A. Clements Eleanor L. Cox Patricia A. Cress Donald J. Day Carl A. deGraaf Teesue Fields Edwin Foote General Electric Foundation John Greenman Robert and Janet Hamilton, D.M. David and Carole Hammett Alan and Candice Hilderbrand Linda Jasper Joy Knopfmeier Patricia J. Loebig Deborah L. Marr and James D. McLister Robert E. Marshall Glen A. Morris Stuart and Connie Newbanks Dennis and Dorothy Ott Curtis H. Peters, Ph. D. and Pamela R. Peters Sharon Pfister Paul David Prather Dorothy J. Ramp Carolyn K. Randolph John and Carolyn Reisert Susan K. Ridout, Ph.D. and Kyle R. Ridout Paula M. Robinson Ronald E. Severtis, Jr. Donald and Mary Ann Sodrel Frances H. Squires, Ph.D. Hon. Richard G. and Ms. Delores A. Striegel Robert P. Thurston Roger and Janie Whaley Mary G. Wilson
MEMORIAL AND HONORARY GIFTS
Gift Given in Memory of Stephen Brewer Kirk and Meghan Randolph Gift Given in Memory of Mike Ehringer Kirk and Meghan Randolph
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Morris and Martha Rosenbaum Bill and Betty Russo The Family of William F. Ryall Sam’s Food & Spirits Patricia G. Sisloff Millicent and Norman Stiefler Chancellor Ray and Susan Wallace Dana and Sharon Wavle
Gifts Given in Memory of Carolyn Bates Greenman Nancy D. Balf Friends of IU Southeast Cecelia D. Janson William and Katherine Dotson Dale and Barbara McMakin Kirk and Meghan Randolph Gift Given in Memory of Paul David Prather Lane and Anna Judd Gift Given in Honor of Chancellor Emeritus Leon Rand Anonymous Gift Given in Honor of Millicent and Norman Stiefler Shelton and Anita Weber
IU SOUTHEAST MUSIC DEPARTMENT CONTRIBUTORS Thomas and Mary Barnard Edwin Foote Edmund and Margaret Goerlitz Robert E. and Donna L. McMahel Klinglesmith Barbara Ann Maxwell Elizabeth McMahel Raleigh and Joanne Wilson Gifts given in memory of Milton L. Moore Bradley A. Ambuehl Robert and Eloise Beliles
IU SOUTHEAST FINE ARTS CONTRIBUTORS Richard and Barbara Combs Wayneda Dupont-Black Charles Edelen Susan K. Ridout, Ph.D. and Kyle R. Ridout Gregory Roberts Aaron and Amanda Stonecipher
IU SOUTHEAST ARTS INSTITUTE CONTRIBUTORS Horseshoe Foundation of Floyd County Catherine A. Shea, Ph.D.
DONALD E. AND ELIZABETH H. McMAHEL MUSIC SCHOLARSHIP CONTRIBUTORS Robert Gilewski John Greenman James D. Henry John and Dora Largent Doris and Ronald Lind Robert E. and Donna L. McMahel Klinglesmith Carol Martin Dr. and Mrs. Stephen W. Nale James J. Woeppel
Gifts given from July 1, 2015 through August 31, 2016. To report an error or omission, please contact Kirk Randolph at (812) 941-2266 or by e-mail at karandol@ius.edu. For information about supporting IU Southeast, please contact the IU Southeast Office of Advancement at (812) 941-2464.
GIVING OPPORTUNITIES
FRIENDS OF THE OGLE CENTER
The Ogle Center’s community of donors, Friends of the Ogle Center, join corporate, philanthropic, and cultural leaders in ensuring the Ogle Center continues to thrive as a presenter of world-class performing arts in southern Indiana. Your financial support is vital to the operation of this community treasure and helps foster educational opportunities for IU Southeast and community members alike. Your gift to the Ogle Center may be designated to either our Operations Support Fund, which supports the annual operations of the Ogle Center, or to the Ogle Center Endowment Fund. A gift to the endowment is a lasting gift. The income from the endowment helps defray the costs of programs brought to the Ogle Center for presentation to the University and to the public. In addition, income may be used to purchase art works for the IU Southeast campus, provide scholarships for students at IU Southeast in the arts, or generally enhance the role of the arts in the region served by IU Southeast. Contributions help the Ogle Center to: • Ensure the level of excellence and variety in programming • Maintain affordable ticket prices • Provide for the ongoing restoration of the Ogle Center’s art collection • Provide future funding needs for the maintenance of the Ogle Center to ensure that it remains the premier performing arts facility in southern Indiana for future generations.
SUPPORT THE OGLE CENTER
It’s a common misconception that income from ticket sales is sufficient to operate a performing arts facility such as the Ogle Center. Ticket sales cover only 25% of the Ogle Center’s operating expenses. It’s also a common misconception that the Ogle Center is fully funded by Indiana University, and therefore by the state of Indiana and its taxpayers. While we do receive financial support from Indiana University — and IU Southeast in particular — we could not function on that support alone. In addition to ticket revenue and support from the university, the Ogle Center, the IU Southeast Music and Theatre Departments depend on the generosity of businesses and individuals to continue and strengthen arts programming in our community. If you have enjoyed past performances at the Ogle Center, please consider making a contribution to our annual programming fund. If you are a regular contributor to the Fund for the Arts, you can earmark your donation for the Ogle Center.
GIVING LEVELS & BENEFITS Friend $100
• Listing in BRAVO program as a contributor to the Ogle Center
Supporter $500 All of the benefits above, plus:
• Subscription purchases with seat location preferences will receive priority processing • Invitation to attend a Children and Family Series performance and reception
DIRECTOR’S CIRCLE A gift at the $1,000 level or above includes membership in the Director’s Circle. Supporters giving at this level will have access to a V.I.P. reception room during show intermissions as scheduled. Patron $1,000 All of the benefits above, plus:
• Subscription purchases with seat location preferences will receive first priority processing • Invitation to the Director’s Circle V.I.P. reception room during show intermissions as scheduled • V.I.P. reserved parking location on the night of Ogle Center Presents and Nashville Nights performances
Benefactor $2,500 All of the benefits above, plus: • Name recognition for co-sponsorship of one performance during current season • An opportunity to schedule a V.I.P. tour of the Ogle Center for friends and family
Sustainer $5,000 All of the benefits above, plus:
• Inclusion as a Season Supporter for all Ogle Center Programs • Half-page recognition in BRAVO program for the entire season
Producer $10,000 All of the benefits above, plus:
• Invitation to “meet and greet” the guest artists subject to specific artist’s contract • Inclusion in season marketing • Full-page recognition in BRAVO program for the entire season • Invitation to welcome audience from stage for a selected Ogle Center performance
For more information on how to give, please call Kirk Randolph at (812) 941-2266 or visit oglecenter.com. Your gift to the Ogle Center will inspire imaginations and enrich lives. Thank you for your annual support!
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