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2017-2018 Newman Center Presents
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Welcome to the 201718 season of Newman Center Presents. We are proud to present an eclectic mix of performances that represents the highest level of artistic excellence. We are dedicated to exploring a broad range of culturally diverse programs and stimulating dialogue on social issues through the performing arts. This season, we launch two new series: the Family Series and the Student Matinee Series. These shows are a great way to introduce young people to the power and magic of live performance. The Newman Center continues to grow and thrive because of your support. We invite you to share your enthusiasm with your friends and family by organizing groups to attend performances or bringing a young person to a performance. I look forward to sharing more unforgettable evenings together. Thank you for being a part of the Newman Center’s 15th season.
Kendra Whitlock Ingram Executive Director
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MISSION & VISION OUR MISSION The mission of The Robert and Judi Newman Center for the Performing Arts is to inspire and enrich the University of Denver campus and the Colorado community by: •P resenting a rich program of diverse artists and thinkers in public performance.
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•P roviding education and community engagement programs to learners of all ages. •S tewarding a state-of-the art venue for the campus and community. OUR VISION A multidisciplinary arts venue that provides innovative, diverse and thought-provoking performance and education opportunities, and enables the community to remain engaged, inspired, and connected through the performing arts.
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FROM THE CHANCELLOR Welcome to the Robert and Judi Newman Center for the Performing Arts—a crown jewel of Denver’s arts scene and an embodiment of the University of Denver’s commitment to our community.
ABOUT THE ROBERT & JUDI NEWMAN CENTER FOR THE PERFORMING ARTS
Over the years, Denver audiences have come to count on the Newman Center and its acclaimed performing arts series. This year, we are launching a Family Series and a Student Matinee Series. Both series are results of the realization of DU IMPACT 2025, our strategic vision, which calls on the University to expand its deep roots in the Denver community, with a commitment to diversity and inclusion through our programming, learning and community engagement. The Newman Center’s stages enable our students to demonstrate their remarkable gifts, attracting some of the most promising and talented young people in the nation. This building helps every student production in our Lamont School of Music and the Department of Theatre showcase their extraordinary energy, enthusiasm and dedication. Here at the Newman Center, our students pursue their passions and discover their capacity to collaborate and innovate. May their creativity and talent inspire us all to reflect on what it means to be human—to create and appreciate artistic expression and use it to understand ourselves and our world. Enjoy tonight’s performance. I hope you will return again to another of our many offerings. Rebecca Chopp Chancellor, University of Denver
Opened in 2002, The Robert & Judi Newman Center for the Performing Arts at the University of Denver is acclaimed as one of the nation’s finest performing arts centers. Unique in the region for its size, acoustic quality, and caliber of artists, the Newman Center is dedicated to showcasing cultural diversity, stretching the imagination, and stimulating dialogue. The Newman Center hosts nearly 500 performances each season with up to 120,000 people in attendance. As a creative and effective leader in arts presenting the NCPA has served as an artistic gathering place and an economic engine elevating Denver’s reputation as the Cultural Capital of the West. In 2016, Kendra Whitlock Ingram joined the Newman Center in the Executive Director position. Heeding the call of DU IMPACT 2025 as well as a parallel directive in the Denver Arts & Venues Imagine 2020 plan to ‘make art unavoidable,’ Ingram is focused on blurring the lines between campus and community by presenting diverse and excellent performances, developing key community partnerships, and creating programming for families in order to introduce new generations to the performing arts.
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2017-2018 Newman Center Presents
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If you could organize a fantasy performance at the Newman Center with any artists living or dead, what would it be?
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A CONVERSATION WITH BOB AND JUDI NEWMAN What are you most excited about this season? We are very proud of the fact that every year NCP features world-class performers that might not otherwise appear in Denver. Gates Hall is a wonderfully constructed, mid-size venue with outstanding acoustics – a classic and marvelous place to see and hear great performances.
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2017-2018 Newman Center Presents
This year, the quality of programming continues and the breadth of programming expands. We look forward to long-time favorites like the King’s Singers, Sarah Chang and Gregory Porter as well as new surprises like Cashore Marionettes. We are particularly excited for the new Family and Student Matinee Series that will bring incredible performances to young audiences.
Bob: I very much like musical theater so my first choice would be a reprise of My Fair Lady, with Rex Harrison, Stanley Holloway and Audrey Hepburn. Since that will never happen, I would settle for a Lamont production, perhaps showcasing both professionals and DU students in various roles. A second choice: we were fortunate to once have Marvin Hamlisch visit our home in Denver and play for a small gathering. He even composed a short song, with lyrics, for us. What a talent – it was magical! Judi: My fantasy concert would be Frank Sinatra with the Rat Pack including Liza Minelli, Frank with Ella Fitzgerald, Sammy Davis Jr. dancing, Barbra Streisand (no politics), Tony Bennett, Adele, the Irish Tenors, Yo-Yo Ma, Victor Borge and Louis Armstrong. Wow, what a show that would be! Please watch the sound volume – no ear plugs needed!
If you had to choose one performance at the Newman Center from the past 14 years, what would be your favorite? A truly tough question to answer – so many outstanding performances! But perennially, we tend to favor vocal groups like Cantus, King’s Singers and the Whiffenpoofs as well as instrumental groups like Colorado Symphony ensembles, Bluegrass Masters, and Boston Brass. A truly memorable performance was by Manhattan Transfer at the 5th Anniversary concert.
To view a listing of our previous 14 seasons, please visit our website at www.newmancenterpresents.com and click on past seasons.
Learn •
Located on the DU campus
•
Expert faculty trained in gifted education
•
Low student to teacher ratio
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F lexible, differentiated curriculum designed around the whole child
•
Preschool through 8th grade
Flourish
THE WEIGHT BAND January 26
Solo Piano with Stacey Rose Blind Boys of Alabama September 15
Schedule a tour at Ricks
303.871.3715
ricksctr@du.edu 2040 S. York St., Denver
The Company Men
Lone Tree Arts Center Guild Opening Night Gala September 23
Explore
• Nancy Germer MD
• Anne Walters CNM
• Elizabeth Aparicio MD
• Tamara Burdi NPWH-BC
• Meredith Townsend DO
• Michelle Ellis NPWH-BC
Offices in Englewood & Littleton
February 8
Matt Dusk
February 15
National Geographic Live
• Jayne Jones CNM
PostSecret: The Show
Steppin’ Out with Ben Vereen
October 18
• Susan Peck MD
February 7
February 10
October 7
Julian Lage & Chris Eldridge
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Peking Acrobats
Classic Albums Live: Abbey Road
October 14
All About Women’s Care
January 27
View From Above: Terry Virts October 20
Take Me To The River: Memphis Soul and Rhythm & Blues Revue
Moscow Festival Ballet Cinderella Pradhanica March 3
Mandy Gonzalez Raise the Roof March 18
August Wilson's Fences April 5—21
SFJAZZ Collective
October 27
The Music of Miles Davis and Original Compositions April 25
Adonis Puentes and the Voice of Cuba Orchestra
West Side Story in Concert Bernstein at 100
November 3
Love Letters
November 9—19
National Geographic Live
April 29
Classic Albums Live Rumours May 5
Between River and Rim: Hiking Across the Grand Canyon: Pete McBride and Kevin Fedarko November 17
National Geographic Live
Home for the Holidays 2017
2017-2018 Season Sponsor:
December 7—17
Nature Roars Back: Bob Poole May 18 SEASON SPONSOR
A Kantorei Christmas December 19
Cherish The Ladies Celtic Christmas December 20
Michael Martin Murphey A Cowboy Christmas December 22
Viva Las Vegas: Elvis Night December 28
SEE | HEAR | EXPERIENCE
The Good Humor Men December 29
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Riders In The Sky A Tribute to Roy Rogers January 20
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2017-2018 Newman Center Presents
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We want to meet children in 2nd-5th grades who love to sing and perform! ChildrensChorale.org/Audition No previous musical experience is required and financial assistance is available.
Join us in Boettcher Concert Hall at the Denver Performing Arts Complex CHRISTMAS WITH THE CHILDREN’S CHORALE Saturday, December 2 • 1:00 pm Sunday, December 3 • 6:00 pm SPRING WITH THE CHILDREN’S CHORALE Saturday, April 21 • 1:00 pm Tickets $14-$80 ChildrensChorale.org/Tickets
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2017 2018 The Pedrito Martinez Group WED, SEP 13 | 7:30 pm
Black Violin THU, SEP 28 | 7:30 pm FRI, SEP 29 | 7:30 pm
Martha Graham Dance Company SAT, OCT 7 | 7:30 pm
A New World: Intimate Music From Final Fantasy FRI, OCT 20 | 7:30 pm
Gregory Porter SAT, NOV 4 | 7:30 pm
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2017-2018 Newman Center Presents
SEASON Erth’s DINOSAUR ZOO LIVE SAT, NOV 11 | 2:00 & 7:30 pm
The King’s Singers SUN, NOV 19 | 2:00 pm
Spanish Harlem Orchestra Salsa Navidad THU, DEC 7 | 7:30 pm
Windham Hill Winter Solstice TUE, DEC 12 | 7:30 pm
The Tierney Sutton Band The Sting Variations THU, JAN 11 | 7:30 pm
TICKETS:
303.871.7720
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Spectrum Dance Theater: A Rap on Race FRI, JAN 26 | 7:30 pm
Cashore Marionettes: Simple Gifts FRI, MAR 23 | 7:30 pm SAT, MAR 24 | 2:00 pm and 7:30 pm Elizabeth Eriksen Byron Theatre
wild Up Future Folk THU, FEB 1 | 7:30 pm
Antonio Sanchez - BiRDMAN Live Film and Live Score THU, FEB 22 | 7:30 pm
L.A. Dance Project SAT, MAR 10 | 7:30 pm
Sarah Chang Eight Seasons: The Music of Vivaldi and Piazzolla
TUE, MAR 13 | 7:30 pm
Nrityagram Dance Ensemble FRI, APR 6 | 7:30 pm
ODC Dance The Velveteen Rabbit FRI, APR 27 | 7:30 pm
Terence Blanchard and the E-Collective THU, MAY 3 | 7:30 pm
Presenting Denver Dance Festival JUNE 23 and 24
2017-2018 Newman Center Presents
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Denver Audiology BRIAN PATRICK LEATHERMAN ARTISTIC DIRECTOR & CONDUCTOR All concerts will be performed at 7:30pm at Bethany Lutheran Church 4500 East Hampden Avenue, Cherry Hills Village, CO 80113 For information and tickets, visit CherryCreekChorale.org.
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2017-2018 Newman Center Presents
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Black Violin SEP 28 & 29, 2017 Erth’s DINOSAUR ZOO LIVE NOV 11, 2017 Cashore Marionettes: Simple Gifts MAR 23 & MAR 24, 2018 ODC Dance - The Velveteen Rabbit APR 27, 2018
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Spectrum Dance Theater Thursday, January 25, 2018 at 6:30 pm (DU Diversity Summit) Friday, January 26, 2018 at 7:30 pm June Swaner Gates Concert Hall Donald Byrd, Executive Artistic Director
A Rap on Race Premiere: May 5, 2016 at The Leo K. Theatre at Seattle Repertory Theatre, Seattle, Washington Donald Byrd & Anna Deavere Smith, Co-Creators Donald Byrd, Choreography and Direction Jack Mehler, Lighting and Scenic Design Doris Black, Costume Design Sara Torres, Stage Manager A Rap on Race text by James Baldwin and Margaret Mead Music: The Black Saint and the Sinner Lady Composed by Charles Mingus
Newman Center Presents 2017‒18 Sponsors
The Cast James Baldwin is played by Donald Byrd Margaret Mead is played by Kathryn Van Meter* Spectrum Company Artists Blair Jolly Elliot, Marco Farroni, Paul Giarratano, Marte Osiris Madera, Nia-Amina Minor, Robert Moore, Madison Oliver, Alexander Pham, Emily Pihlaja, Andrew Pontius, Fausto Rivera, Mary Sigward, Jaclyn Wheatley
Acknowledgements A Rap on Race used by kind permission of The Estate of James Baldwin and Dr. Mary Catherine Bateson. The creation of A Rap on Race was supported by 4Culture, ArtsFund, the Seattle Office of Arts & Culture, the National Endowment for the Arts, MapFund, Tricia Stromberg Professional Dancers Fund, Nesholm Family Foundation, and Laird Patterson.
This program is funded in part by
Bonfils-Stanton Foundation Grynberg Family Endowment for Dance Programming L. Roger and Meredith Hutson The New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation *The Actor appears through the courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
ANNA DEAVERE SMITH AND DONALD BYRD TALK A RAP ON RACE
ADS: Yeah.
Anna Deavere Smith: Yes, and not uh, not true.
DB: I’ve found the same thing happens when doing it, performing it, is that they, Mead and Baldwin, start to make sense, literally just in the abstraction of the musicality of how they speak to each other. Do you think that that’s where the truth of it really is, in how they are playing their music together? That there is something about that, their music, as much as in what they are actually saying, their interplay, in the counterpart of the musicality of their conversation?
DB: In your usual process you do the fieldwork of interviewing the subjects, you have met them and have a real sense of them beyond the interview. Because this was a pre-existing recording, how are the challenges different, in shaping the script and in this particular case, it not being devised as a solo performance?
ADS: I think that’s part of it. But I do think that there is also just the heft, the intellectual heft, that even if we had never heard them and we just saw this on the page, you can feel the intellectual energy there and the bulk of knowledge. You know, these are true public intellectuals. So I would say that both are true, that both count in this case.
ADS: I have been learning and studying this material since the early eighties when I found it in the bookstore of the American Museum of Natural History in New York, where Margaret Mead worked in the Department of Anthropology from the 20’s until her death. I have taught it for years in my acting classes having students play parts and switch sides to learn about persona and language. I then learned and performed the edit that you have as a one-person piece for the opening of Zankel Theater at Carnegie Hall. I then directed actors in it in 2014. The recording and book are compelling to me as a drama. Race is the topic of discussion, but the drama is actually more complex. It is a drama about two people who have met their match intellectually but who substantively see the world differently in part because of their histories, and their experiences but also because one of them, Baldwin, thinks and talks in metaphor and the other collects and absorbs what she calls facts. The fire in the conversation is about two inevitably different ways of seeing and connoting the world.
DB: One of the things I find really interesting is that in the beginning of the conversation with her, he seems to let her speak. He acquiesces in some way or kind of—what’s the word I’m looking for…he is “gracious” in his letting her tell him all about her northern background and her northern good and all of that stuff, that progressive liberal kind of way of thinking, and that he is doing it in a way that is not meant to set her up, but just to allow her to revel in some ways in who she is and what her background is.
DB: Can you tell me what is it about this material, the recordings, that attracted you to it in the first place?
DB: Right.
Donald Byrd: So the first question—and I don’t want to do the interview, I think, as somebody who is not vested in it in some way because that’s kind of impossible.
ADS: The musicality of it, and also their willingness to talk with one another and their desire to pick up the pieces of the ‘60’s and to make sense of it. And so the vigor of the inquiry on both sides is very interesting to me. DB: This thing you said about the musicality of it, I mean when you and I were working together you said, listen to the tapes and try to capture the musicality of it— ii
ADS: Yeah, I mean I don’t know if he had a motive. I know from watching audiences watch it, they assume – they laugh because they think that it’s this white woman, you know, talking so much. DB: Yeah. ADS: But I actually think that any good writer, any good artist, any good thinker spends a good deal of time listening or reading or watching. And so I think that he’s truly—my choice if I were performing him is that he’s truly interested. ADS: He doesn’t know her. DB: Yeah. ADS: As you know they met specifically for this and he doesn’t know the terms of the conversation yet. So I think it would be wise for any of us in that same situation to listen before we speak. DB: I agree. I find that he just, they don’t know each other,
Spectrum Dance Theater: A Rap on Race
he just listens. And then the other thing, I mean one other question is about the role of alcohol in loosening them up. As the conversation progresses, obviously drunker, would they have been able you think to have a conversation like this if they had not been so sloshed?
peculiar relationship that was guarded and, um, where people didn’t have a chance to have, you know, their full humanist expressed. So I think many of us dove into that when we had a chance to do so, and uh, I think without alcohol it would be just as open and just as fiery.
ADS: Well I don’t know. We don’t know if they were drinking because we didn’t see it. You know what I’m saying? Maybe that slurred speech is that they’re tired. I mean at one point he says “these last 48 hours” or whatever.
DB: Right. Um, I wonder if uh, I mean I think… one of the things I’ve said to people and wonder if you agree with this or if there is something you want to add to it, I kind of look at this, their conversation as a model. That if we, … that the value of bringing it up, the Mead/Baldwin conversation, and kind of putting it in front of people is in some ways… they are a model for how we might…the degree of honesty and openness … that we might have… and the kind of messiness and sloppiness of having a conversation about race… my hope is that in some ways their conversation is a model and might give us permission to have deep uninhibited conversations around race.
DB: Right. ADS: So that’s a long time. So we don’t know for sure. I think we have to say that, Donald. We don’t know, uh, if they were drinking. It seems that they were. And do I think that they could have the same conversation? Absolutely. Absolutely. I have no doubt about that. Because you and I are both old enough to know how those quote-unquote “conversations” about race went quote-unquote “back in the day,” when we weren’t so careful about talking about white privilege or this or that or the other. I think that people were in a vigorous seeking of how can we find our way together after, you know, uh, more than 100 years—or 200 years depending on when you landed on American soil—all these years of a very, uh, um,
ADS: Well I think yes, I think it’s a model, very hard to find now. Um, but I also think that we again can’t underestimate that this isn’t just like a truth-telling session. These are two people who are extremely accomplished researchers in their own way, thinkers and writers.
Spectrum Dance Theater: A Rap on Race
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DONALD BYRD Executive Artistic Director, Co-Creator, Choreographer, and Director Donald Byrd’s career has been long and complex and his choreographic and theatrical interests are broad. The New York Times describes him as “a choreographer with multiple personalities … an unabashed eclectic.” It continues, “Yet he does more than hop like a magpie from style to style, taking any subject matter and imagery he finds along the way that strike his fancy. His unruliness is accompanied by a love of order.” In the same article it states, “Mr. Byrd has repeatedly alluded to George Balanchine in his works. Balanchine was an unparalleled master of form. Yet he could also present haunting visions of chaos. Mr. Byrd, like him, is preoccupied with harmony and disruption.” To this point Donald Byrd is equally at home creating cool, abstract pure dance works such as his 2012 work LOVE set to the complete cello suites of Benjamin Britten and the 2011 Euclidean Space set to the music of Amon Tobin, virtuoso sound designer and influential electronic music artist; to his theatrical narrative driven pieces like the ‘carny’ Petrushka and storefront Miraculous Mandarin, his revisionist versions of iconic early 20th Century ballets. Yet he is also known for creating lovely valentines to 19th Century classical repertory including The Harlem Nutcracker (1996) and The Sleeping Beauty Notebook (2005). As well as imaginative choreographic tributes to jazz legends and composers including In A Different Light (2000) set to the lesser known piece of Duke Ellington, Burlesque (2002) created to early recordings of Louis Armstrong, and Jazz Train (1998) to commissioned scores by Vernon Reid, Geri Allen, and the late great Max Roach. These works along with The Harlem Nutcracker with its score by Duke Ellington/ Billy Strayhorn and David Berger were critical and audience successes and toured extensively. Mr. Byrd, a TONY nominated (The Color Purple) and Bessie Award winning (The Minstrel Show) choreographer, became Artistic Director of Spectrum Dance Theater in December 2002. From 1978 – 2002, he was Artistic Director of Donald Byrd/The Group, a critically acclaimed contemporary dance company, founded in Los Angeles and later based in New York, that toured extensively, both nationally and internationally. He has created over 100 modern and contemporary dance works for his own groups as well as for iv
the Alvin Ailey American Dance Theater, Dayton Contemporary Dance Company, and Philadelphia Dance Company (Philadanco), among others; has choreographed for classical companies, including Pacific Northwest Ballet, The Joffrey Ballet, Dance Theater of Harlem, Aterballetto, MaggioDanza diFirenze, and Oregon Ballet Theater. His non-dance company work has been with some of the most prestigious theater and opera companies in the U.S., including The New York Shakespeare Festival/Public Theater, La Jolla Playhouse, the Intiman Theater, Center Stage, San Francisco Opera, Seattle Opera and New York City Opera. He counts among his numerous collaborators an eclectic mix of
Spectrum Dance Theater: A Rap on Race
distinguished artists including Peter Sellars, Anna Deavere Smith, and the late Max Roach. Mr. Byrd has frequently been referred to as a ‘citizen artist’ a descriptive that perfectly aligns with an important component of Spectrum Dance Theater’s mission – “dance as an art form and as a social/ civic instrument.” One of his recent projects for Spectrum was a cycle of three evening-length works that sought, through dance, to stimulate dialogue around a post-9/11, globalized America: A Chekhovian Resolution (a personal, diary-like reflection on the Israeli/Palestinian conflict), Farewell: A Fantastical Contemplation on America’s Relationship with China (inspired by the novel Beijing Coma from Ma Jian and the 1989 pro-democracy demonstrations in Tiananmen Square), and The Mother of Us All (a dense, collage like abstract meditation on contemporary Africa). Other productions for Spectrum that align to this mission are Interrupted Narratives/War (narratives from The Iraqi War) and The Theater of Needless Talents (artists victims of the Holocaust). His many awards and prizes include a Masters of Choreography Award from The Kennedy Center; a Fellowship at The American Academy of Jerusalem; a James Baldwin Fellow of United States Artists; and the Mayor’s Arts Award for his sustained contributions to the City of Seattle. In addition, he has received numerous grants and awards from many national foundations to support his projects and productions including Rockefeller Foundation, New England Foundation, Map Fund, Jerome Foundation, Seattle Foundation, and New York Foundation for the Arts; as well as local and national government agencies including 4Culture, The Office of Arts and Culture and The National Endowment for the Arts. Mr. Byrd has served as a Seattle Arts Commissioner, sat on many boards including Dance/USA and Dance Theater Workshop (now New York Live Arts), as well as served on numerous panels including the National Endowment for the Arts. He regularly teaches around the country and has been a Cultural Envoy for The U.S. Department of State, and was a fellow at the Institute on the Arts and Civic Dialogue based at Harvard. In 2013 he and Spectrum Dance Theater toured South Asia (Nepal, Bangladesh, Sri Lanka) as part of DanceMotion/USA, a joint partnership between the State Department and The Brooklyn Academy of Music (BAM) that presents the best of American dance to international audiences. Recently he returned from a
second visit to Bangladesh where he was engaged for a month long collaboration with SHADHONA’ – A Center for the Advancement of South Asian Culture and the US Embassy in Dhaka. Currently, in addition to his work at Spectrum he serves on Stage Directors and Choreographers Society (SDC) the nation theatrical union for professional directors and choreographers) Diversity Task Force as well as the SDC Journal–Editorial Board of the Peer Review Section. Also, he just completed his three-year term as a member of the Tony nominating committee.
ANNA DEAVERE SMITH Co-Creator
Anna Deavere Smith has performed in film, television, and on stage. She currently plays Attorney General Mary Campbell on Madame Secretary and appears as Alicia on Blackish. She played Mrs. Akalitis on Nurse Jackie, Nancy McNally, the National Security Advisor, on the West Wing and was featured in the series Presidio Med. Smith has been featured in several films, including Rachel Getting Married, The American President, The Human Stain, Dave and Rent. As a writer and a humanist, she has received numerous awards for her work including the prestigious 2013 Gish Prize for achievement in the arts, the 2012 National Humanities Medal presented to her by President Obama, and the 1996 MacArthur “Genius” Award. In 2015, she was named the Jefferson Lecturer, the federal government’s highest honor in the Humanities.
DORIS BLACK Costume Design
Doris Black has been designing costumes for theater, film and dance for 19 years. In six seasons with Spectrum, she has designed for Love, Carmina Burana, The Minstrel Show Revisited, A Rap on Race, and Autopsy of Love, among others. She designs for many theaters in the Puget Sound area including Seattle Shakespeare Company, The Seagull Project, Book-It Repertory Theatre, and Intiman, and has taught at and designed productions for the University of Puget Sound. Doris has been the company costume designer for the Seattle Men’s Chorus and Seattle Women’s Chorus since 2004. Her film work includes The Dark Horse, Cthulhu, Police Beat, Deadline, A Water Tale, and Shut Eye. Doris received her MFA in Costume Design from the University of Washington and her BFA from Washington University in St. Louis.
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JACK MEHLER
THE TEXT & MUSIC
Lighting & Scenic Design
Based in New York for 25 years, Jack Mehler designs for a wide variety of musicals, dance, plays, and corporate projects. He received the 2013 Korean Musical Theatre Award (Korean Tony) for his lighting of Rebecca and the 2012 award for Elisabeth. He received IRNE (Boston Critics’ Award) nominations for A Christmas Carol, Nine, and Camelot, all at North Shore Music Theatre. He has designed scores of projects with Donald Byrd, including A Rap on Race (scenery) and Dance, Dance, Dance (lighting) for Spectrum Dance Theater. Other highlights include Theatre of Needless Talents for Spectrum; Motown Suite & To Know Her for the Joffrey Ballet; Burlesque and Fin de Siècle for Alvin Ailey; Jazz Train and Harlem Nutcracker for Donald Byrd/The Group. Other dance projects include Joffrey Ballet works by Nic Blanc, Donald Byrd, Edwaard Liang, Lar Lubovitch, Yuri Possokhov, Stanton Welch, and for 9 years, Robert Joffrey’s Nutcracker. Other dance designs include Ballet Memphis, BalletMet, Buglisi Dance Theatre, Hubbard Street, José Limón, Lar Lubovitch, and San Francisco Ballet, among many others.
SARA TORRES Stage Manager
Sara Torres is a Pacific Northwest native who began studying technical theatre and the performing arts in her early teens and went on to earn a BFA in Performance Production from Cornish College of the Arts in 2008. Her eclectic skillset has kept her active in many circles of the Seattle arts community. Sara is perhaps best known in the Seattle dance scene for her 10-year tenure as Technical Director for Beyond The Threshold: Seattle Inter\national Dance Festival. Sara has designed lighting and Stage Managed for local choreographers Cyrus Khambatta, Wade Madsen, Karin Stevens, Alex Crozier, Coleman Pester, and many others. She also designs lighting for theater and special events like the Fremont Oktoberfest. Sara served as Stage Manager for Spectrum Dance Theater’s productions of Rambunctious 2.0 and A Rap On Race in 2016 before joining the company fulltime for the 2016 – 2017 season. This is Sara’s second full season with Spectrum Dance Theater. vi
James Baldwin
August 2, 1924 – December 1, 1987 James Arthur Baldwin, the grandson of a slave, was born August 2, 1924 in New York, New York and was the eldest of nine children. He was raised in Harlem, growing up in and surrounded by poverty. During his teen years, Baldwin was active as a preacher in a small revivalist church, an experience that later served to inspire his semiautobiographical first novel, Go Tell It on the Mountain (1953). Baldwin spent the years following his graduation from high school in Greenwich Village, working low paying jobs while beginning his career as a writer, finally attracting the attention of established novelist Richard Wright. Wright would eventually assist Baldwin in securing a grant that allowed him to devote himself full-time to writing. In 1948, at the age of 24, Baldwin left New York City for Paris, where he would spend the next eight years studying American society from a distance. “Once you find yourself in another civilization, you’re forced to examine your own,” Baldwin said. After time spent in Paris and Istanbul, Baldwin returned to the U.S., motivated in part by a desire to participate in the civil rights movement. Baldwin’s experiences traveling throughout the South brought forth his work The Fire Next Time (1963), focused on black identity and racial struggle, which became a bestseller and landed Baldwin on the cover of TIME Magazine. Baldwin would eventually return to France, settling in St. Paul de Vence, following the assassinations of his friends Medgar Evans, Reverend Martin Luther King, Jr., and Malcolm X. In the last ten years of his life, Baldwin began teaching as a means of connecting with a new generation, while continuing to produce socially relevant fiction, nonfiction, and poetry. James Baldwin died in St. Paul de Vence in 1987 at the age of 63
Margaret Mead
December 16, 1901 – November 15, 1978 Margaret Mead was born in Philadelphia, PA on December 16, 1901 into a family of social scientists. Her mother, Emily Fogg Mead, was a sociologist and early supporter of women’s rights, while her father, Edward Sherwood Mead, was a professor at the Wharton School. Mead’s grandmother,
Spectrum Dance Theater: A Rap on Race
Martha Ramsay Mead, was a child psychologist and encouraged Margaret to observe the behavior of younger children as a means of understanding their actions. Mead’s early education was highly unorthodox, as she attended school for only one year of fourth grade and six years of high school. This education was heavily supplemented by that offered by Mead’s family. Mead would go on to study psychology at DePauw University before transferring to Barnard College, where she graduated in 1923. That same year Mead began graduate school at Columbia University, studying anthropology with Franz Boas and Ruth Benedict and earning her M.A. in 1924 and a Ph.D. in 1929. It was during her time at Columbia University that Mead embarked upon the first of many trips to the South Seas. She conducted field research in American Samoa and Papua New Guinea, collecting material that would form the foundation for the first of her 23 books, Coming of Age in Samoa (1928). In this text Mead’s characteristic reliance on observation, rather than statistics was already apparent. Mead would later serve for many years with the American Museum of Natural History in New York City, first as Assistant and then Associate Curator, before being named Curator of Ethnology.
The wide-range of topics covered in Mead’s work is notable: women’s rights, child rearing, sexual morality, nuclear proliferation, race relations, world hunger, and the cultural conditioning of sexual behavior and natural character. Mead was posthumously awarded the Presidential Medal of Freedom, the United States’ highest civilian honor, in recognition of her contributions to science.
Charles Mingus
April 22, 1922 – January 5, 1979 One of the most important figures in twentieth century American music, Charles Mingus was a virtuoso bass player, accomplished pianist, bandleader and composer. Born on a military base in Nogales, Arizona in 1922 and raised in Watts, California, his earliest musical influences came from the church — choir and group singing — and from “hearing Duke Ellington over the radio when [he] was eight years old.” He studied double bass and composition in a formal way, while absorbing vernacular music from the great jazz masters, first-hand. His early professional experience, in the 40s, found him touring with bands like Louis Armstrong, Kid Ory and Lionel Hampton.
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Eventually he settled in New York where he played and recorded with the leading musicians of the 1950s — Charlie Parker, Miles Davis, Bud Powell, Art Tatum and Duke Ellington himself. One of the few bassists to do so, Mingus quickly developed as a leader of musicians. He was also an accomplished pianist who could have made a career playing that instrument. By the mid-50s he had formed his own publishing and recording companies to protect and document his growing repertoire of original music. He also founded the “Jazz Workshop,” a group that enabled young composers to have their new works performed in concert and on recordings. Mingus soon found himself at the forefront of the avant-garde. His recordings bear witness to the extraordinarily creative body of work that followed. They include: Pithecanthropus Erectus, The Clown, Tijuana Moods, Mingus Dynasty, Mingus Ah Um, and The Black Saint and the Sinner Lady. He recorded over a hundred albums and wrote over three hundred scores. In 1971 Mingus was awarded the Slee Chair of Music and spent a semester teaching composition at the State University of New York at Buffalo. In 1972 he also re-signed with Columbia Records. Ballet companies performed to his music frequently, and Alvin Ailey choreographed an hour program called “The Mingus Dances” during a 1972 collaboration with the Robert Joffrey Ballet Company. He toured extensively throughout Europe, Japan, Canada, South America and the United States until the end of 1977 when he was diagnosed as having a rare nerve disease, Amyotrophic Lateral Sclerosis. He was confined to a wheelchair, and although he was no longer able to write music on paper or compose at the piano, his last works were sung into a tape recorder. From the 1960s until his death in 1979 at age 56, Mingus remained in the forefront of American music. When asked to comment on his accomplishments, Mingus said that his abilities as a bassist were the result of hard work but that his talent for composition came from God. At a memorial following Mingus’ death, Steve Schlesinger of the Guggenheim Foundation commented: “I look forward to the day when we can transcend labels like jazz and acknowledge Charles Mingus as the major American composer that he is.” The New Yorker wrote: “For sheer melodic and rhythmic and structural originality, his compositions may equal anything written in western music in the twentieth century.” viii
THE COMPANY Blair Jolly Elliot, born in Los Angeles, CA, started dancing at the age of eleven. Blair summited Mt. Kilimanjaro via the Western Breach (age 11), sailed in the Flanders Youth Regatta in Nieuwpoort, Belgium on the U.S. National Team (age 12), and competed in the Junior Olympics for swimming (100 m butterfly, age 8). Blair studied dance at the Pinellas County Center for the Arts at Gibbs High School (St. Petersburg, FL) with Suzanne Pomerantzeff and Patricia Paige-Parks. She received her BFA from The University of the Arts. During her college years, Blair was an intern with Koresh Dance Company and trained extensively with Ronen Koresh and Melissa Rector. In 2016, Blair earned her personal training certification from the National Academy of Sports Medicine. This is Blair’s fourth season with Spectrum Dance Theater.
Spectrum Dance Theater: A Rap on Race
Marco Farroni, born in the Dominican Republic, attended New Jersey Performing Art Center’s young artist program where he was introduced to modern dance and ballet. He received a BFA in Dance from the University of the Arts under the direction of Donna Faye Burchfield, where he trained in ballet, modern, jazz, and improvisation. He has performed works by Sidra Bell, Earl Mosley, Kevin Wynn, Keelan Whitmore, Katie Swords, Jesse Zaritt, Ronald K. Brown, Tommie WaheedEvans, Douglas Becker, Mark Haim, Mark Caserta, and Jillian Peña among others. He has participated in the American Dance Festival six-week school, Alonzo King LINES Ballet summer intensive, Alonzo King LINES Ballet professional workshop, and Earl Mosley Institute of the Arts summer intensive. This is his first season dancing with Spectrum Dance Theater. He loves dance. Paul Giarratano was born and raised in Long Island, New York. He began his dance training at age 10 at Vic D’Amore’s American Studio of Performing Arts. Paul later attended SUNY Purchase College where graduated summa cum laude in 2016 with a BFA in Dance and a minor in Arts Management. While at SUNY Purchase, Paul had the opportunity to perform works by Doug Varone, Larry Keigwin, Loni Landon, Gregory Dolbashian, and Brian Enos, and also studied a semester abroad at the Hong Kong Academy of Performing Arts. Professionally, Paul has performed with Oui Danse under the direction of Brice Mousset and RudduR Dance under the direction of Christopher Rudd. This is Paul’s second season with Spectrum Dance Theater. Marte Osiris Madera was born in Guadalajara, Mexico. He has been a company member with Dance Kaleidoscope of Indianapolis, and worked in the San Francisco Bay Area and California with Oakland Ballet, Menlowe Ballet, Margaret Wingrove Dance, Man Dance Company, sjDANCEco, and Central West Ballet. He has also worked on the East Coast with Lustig Dance Theater of New Jersey. Marte has guested for various dance companies in California, including for Robert Moses Kin, and has worked for various choreographers including Donald McKayle, Stephanie Martinez, and Molissa Fenley. Marte has a BFA in Dance from San Jose State University where he graduated cum laude. This is Marte’s first season with Spectrum Dance Theater. Nia-Amina Minor is a performer, teaching artist, and screen dance filmmaker from South Los Angeles. She began dancing at the Debbie Allen Dance Academy and received her BA in
Communication with a minor in Film and Media Studies from Stanford University. Nia-Amina received her MFA in Dance from the University of California. In addition to performing at RedCat and Jacob’s Pillow, she was a faculty member at Saddleback Community College and Cypress College and a former arts administrator with San Francisco Ballet, Alonzo King LINES Ballet, and Heidi Duckler Dance Theatre. NiaAmina is also the co-founder of a movement-based collective called No)one Art House based in South L.A. This is her second season with Spectrum Dance Theater. Robert Moore, from Hamden, CT, began dancing at New England Ballet and continued at Dee Dee’s Dance Center and New Haven Ballet. He is an alumnus of Earl Mosley’s Institute of the Arts, Ailey Summer Intensive, Cunningham Trust Workshop, Jacob’s Pillow’s Commercial Dance Program, and the Complexions Intensive. He went to Mexico with JUNTOS Collective, and taught with Notes in Motion, Arthur Aviles Typical Theatre, and JD/dansfolk. He has performed works by Fredrick Earl Mosley, Ronald K. Brown, Ray Mercer, Jessica Lang, Marcus Willis, Norbert De La Cruz III, Rena Butler, Germaul Barnes, Matthew Rushing, Jeffrey Page, Francesca Harper, Jacqulyn Buglisi, Sidra Bell, Bradley Shelver, Lar Lubovitch, William Forsythe, Donald McKayle, and Alvin Ailey. Robert graduated magna cum laude from the Ailey/ Fordham BFA Program and has danced with Amanda Selwyn Dance Theatre, The Steps Repertory Ensemble, and AATMA Performing Arts. Robert joined Spectrum Dance Theater as an apprentice last season, becoming a full company member in fall 2017, the start of his second season with the company. Madison Oliver was born in Mesa, Arizona and raised in Orange, California. She trained at Tracy Dee Academy of Dance, where she had the opportunity to be coached by various artists from around the world. Throughout her training she worked with artists from Houston Ballet, Ballet West, Hubbard Street Dance Chicago, Alvin Ailey, New York City Ballet, and Alonzo King LINES Ballet. In 2009 and 2010 Madison competed, placed in the top twelve, and traveled to New York for the Youth America Grand Prix. At age fifteen, she moved to Las Vegas to join Nevada Ballet Theater where she spent two years dancing under the direction of James Canfield. During those years she performed in The Nutcracker, Swan Lake, Sleeping Beauty, Giselle, Coppelia, George Balanchine’s A Midsummer Night’s Dream, and various choreographic showcases. Madison is now in her third season as a company dancer with Spectrum Dance Theater.
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Alexander Pham, born and raised in Rosemount, Minnesota, received his BFA in Dance and BS in Human Resource Development from the University of Minnesota Twin Cities with dual honors. Alexander has had the privilege of performing works by artists such as Roy Assaf, Gregory Dolbashian, Martha Graham, Bill T. Jones, Larry Keigwin, Stephen Petronio, Uri Sands, Zoe Scofield, and Yin Yue among others. He also trained through Springboard Danse Montreal, Keigwin + Company, Visceral Dance Chicago, and Velocity Dance Center. After dancing for two seasons as a company artist with Contempo Physical Dance in Minneapolis, Alexander has since performed with Seattle-based companies and choreographers zoe | juniper, Anna Conner +CO, Kim Lusk, and most recently with LED, based out of Boise. He presented his own choreography at CHOP SHOP Contemporary Dance Festival in 2016. Alexander is grateful to be in his third season with Spectrum Dance Theater. Emily Pihlaja is from New Canaan, CT and received her early dance training from the New England Academy of Dance. She attended the Kirov Academy of Ballet in Washington, D.C. where she graduated in 2009. She then moved to Portland where she performed for four seasons with Oregon Ballet Theatre. Emily was featured in ballets such as George Balanchine’s Serenade, Divertimento No. 15, Emeralds, The Four Temperaments, Swan Lake, Coppelia, Giselle, and The Nutcracker. She also performed in New York with Thomas/ Ortiz Dance. Her performances with Spectrum Dance Theater include 5th Avenue Theatre’s Carousel and Donald Byrd’s Carmina Burana, Rambunctious (1, 2 and 3), Drastic Cuts, Jazz 1, and LOVE. This marks Emily’s fourth season with Spectrum Dance Theater. Andrew Pontius, originally from Bremerton, Washington, started studying ballet at the age of 11 with Pacific Northwest Ballet. At 15 he left for Washington, D.C. and graduated from the Kirov Academy of Ballet in 2010. He began his professional career with the Dresden SemperOper Ballet in Germany, where he spent two seasons, before moving to Madrid to dance for the Victor Ullate Ballet. He is happy to be home dancing in the Pacific Northwest in his fourth season working with Donald Byrd at Spectrum Dance Theater. Fausto Rivera is a Chicano dance artist from the Pacific Northwest. He graduated with a BA in Dance and a minor in Anthropology from the University of Washington, where he was awarded the Evelyn H. Green Endowed Scholarship for x
artistic merit and promise. He grew up training in Mexican Folk Dance, and trained in ballet and modern dance in college. While at the UW, he danced with the Chamber Dance Company, performing work by Lar Lubovitch, Danny Shapiro/ Joanie Smith, Bill T. Jones, and Doug Varone. He also trained at the San Francisco Conservatory of Dance, Northwest Dance Project’s Launch: 10, and, for a semester, at the University of Guadalajara in Jalisco, Mexico. He is a founding member of Seattle’s Au Collective, a collective of dance artists highlighting the work of artists from marginalized communities. Fausto has been a company member of Spectrum Dance Theater since January 2015. Mary Sigward was born and raised in Cincinnati, OH. She began dancing at the age of 5 at the Connie Ferguson School of Dance, and continued her formal training with Meredith Benson and Mario de la Nuez at De La Arts. In 2015 she graduated magna cum laude from the University of South Carolina with a BA in Dance Performance, where she was awarded the Outstanding Senior Award for artistic achievement. Under the direction of Susan Anderson and Stacey Calvert she had the honor of performing works by George Balanchine, Twyla Tharp, Tanya Wideman-Davis, Thaddeus Davis, Helen Pickett, Lynne Taylor-Corbett, and Paul Taylor. She has attended summer and winter workshops at Hubbard Street Dance Chicago, Spectrum Dance Theater, Complexions Contemporary Ballet, Lemon Sponge Cake Contemporary Ballet, Visceral Dance Chicago, and Company E. She became a certified Pilates instructor in April 2017. This is Mary’s third season with Spectrum Dance Theater and first season as the Academy Coordinator for the School of Spectrum Dance Theater. Kathryn Van Meter (Margaret Mead) is a multi-disciplinary theatre artist based in Seattle. Previous roles include: Nurse in Romeo and Juliet, Chorus Leader in Medea (Seattle Shakespeare Company), Myrtle in The Great Gatsby (Seattle Rep), Gwen in Rapture Blister Burn (ACT) Texas in Cabaret, Shirley Markowitz in The Producers, Shelby in Steel Magnolias (Village Theatre), Vibrata in A Funny Thing Happened (5th Avenue). Also a director and choreographer, Kathryn most recently directed Into the Woods for Village Theatre and choreographed a flamenco based Man of La Mancha for Arizona Theatre Company, The Magic Flute for The Seattle Opera, and the NETFLIX Original Series 13 Reasons Why. She is a proud member of SDC and AEA. Kathryn is honored to
Spectrum Dance Theater: A Rap on Race
join Spectrum Dance Theater and visionary Donald Byrd in this groundbreaking work. Jaclyn Wheatley, originally from Vancouver, B.C., received her early dance training under the tutelage of Kathryn Long, Rachael Poirier, and Li Yaming. Other training includes American Ballet Theatre, Central Pennsylvania Youth Ballet, Dance New York International (Paris, France), and Hubbard Street Dance Chicago. An alumna of the Alvin Ailey/ Fordham University BFA program, Jaclyn graduated summa cum laude with a major in Dance and a minor in Business Administration. A member of the JUNTOS Collective, Jaclyn travelled to Costa Rica, Guatemala, and Nicaragua to participate in dance outreach activities. She has performed the works of Alvin Ailey, Jennifer Archibald, Joshua Beamish, Ronald K. Brown, and Arch Contemporary Ballet. Since her move to Seattle, Jaclyn has performed in many of Donald Byrd’s productions including Drastic Cuts, LOVE, Carmina Burana, Shot, and (Im)pulse, as well as works presented by Alex Crozier, Vincent Michael Lopez, and The Cabiri. This is her fourth season with Spectrum Dance Theater.
ABOUT SPECTRUM DANCE THEATER Under Donald Byrd’s artistic leadership since 2002, Spectrum Dance Theater has become the foremost contemporary modern dance organization in the Pacific Northwest, gaining recognition nationally and abroad. For over thirty years, Spectrum Dance Theater has brought dance of the highest merit to a diverse community working to make dance accessible to all through contemporary dance performances and high quality dance training in a variety of dance styles. Three components comprise the organization: the professional Company, the School and Outreach programs. With Donald Byrd’s visionary artistic leadership, the organization has embarked on an exhilarating transformation that has attracted world-class dancers, produced some of the most avant-garde works in contemporary dance, and generated local and national praise. spectrumdance.org
Spectrum Managing Staff
Donald Byrd, Executive Artistic Director Alexander Pham, Interim Marketing & Media Associate Hayley Shannon, Outreach Coordinator Chelsea England, Bookkeeper Susan Daggett, Bob Gribas, and Mary Brown, Front Desk
Spectrum Production Staff Ira McCully, Truck Driver Lizzy Melton, Company Manager Michael Sterkowicz, Technical Director Sara Torres, Production Stage Manager
The School of Spectrum Dance Theater Joshua Crouch, School Principal Christopher Grant-Montoya, Interim School Principal Donald Byrd, Contemporary & Modern Head Christopher Grant-Montoya, Ballet Head Mary Sigward, Academy Coordinator Andrew Niles, School & Operations Administrator
Spectrum Board of Directors Russ Stromberg, President & Board Chair Josh LaBelle, Vice Chair Joanna Lau, Secretary Moriah Levy, Treasurer Sun McElderry, Director Samantha Nyham, Director Shirley Wong, Director Tricia Stromberg, Director, Emeritus For more information about booking Spectrum Dance Theater for touring, please contact: David Lieberman Artists’ Representatives info@dlartists.com or (714) 979-4700, DLArtists.com For more about sponsoring or contributing to Spectrum Dance Theater, please contact: Meghan Villanueva, meghan@spectrumdance.org or (206) 325-4161
NEW STUDENT MATINEES Announcing our Student Matinee Series! Educators and students — join us for five specially-designed school day performances featuring our world renowned artists. For more information visit newmancenterpresents.com/education.
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DONOR ACKNOWLEDGEMENT as of December 13, 2017 Lifetime ($1,000,000+) Morley C. Ballantine* Bonfils-Stanton Foundation Joy S. Burns Ruth S. Byron* Adolph Coors Foundation June Swaner Gates* Jane M. and Frederic C.* Hamilton The Frederic C. Hamilton Family Foundation Kresge Foundation Robert and Judi Newman Robert and Judi Newman Family Foundation Virginia E. Trevorrow* Carl M. Williams* Lifetime ($500,000+) Patrick D. and Joan A. Bowlen William K. and Rita Bass* Coors Devonshire Charitable Trust Margot Gilbert Frank and M Allan Frank Lewis D. and John J. Gilbert Foundation Celeste C. and Jack J. Grynberg Ronald L.* and Carol L.* Moore Scott J. and Virginia L. Reiman Reiman Foundation Daniel L. Ritchie Lifetime ($100,000+) Anonymous Raphael Levy Memorial Foundation Essie and Jordon* Perlmutter Porter Adventist Hospital Richard C. and Jeanne P. Saunders Galen and Ada Belle Spencer Foundation Vera M. Winchester* Judith M. and Marvin E. Wolf Lifetime ($50,000+) Fine Arts Foundation Gareth D. Flora LaRetta M. Flora Gay & Lesbian Fund for Colorado Beverlee B. Henry and Robert P. Fullerton L. Roger and Meredith Hutson Kern Family Foundation Mary L. Rossick and Jerome H. Kern The Kenneth King Foundation Antonia and Vladimer Kulaev Cultural Heritage Fund J. K. Mullen Foundation Anna and John J. Sie The Anna and John J. Sie Foundation John W. and Marilyn Johnson Stoddard
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Pioneer Legacy Society Donors who have included the Newman Center in their estate plans Anonymous Thomas and Brenda Douglis Sally G. Plummer Gift Pledges ($25,000+) Pledges made within the past five years Friends of Chamber Music Celeste C. and Jack J. Grynberg Beverlee B. Henry and Robert P. Fullerton L. Roger and Meredith Hutson
Annual Giving Circles Director ($25,000+) Bonfils-Stanton Foundation Gold ($10,000+) Antonia and Vladimer Kulaev Cultural Heritage Fund Encore ($5,000+) Nancy and Samuel Gary Robert and Judi Newman The Sakura Foundation Benefactor ($2,500+) Kendra Whitlock Ingram and Benjamin Ingram Ovation ($1,000+) Teri and Gordon Appell Lisa A. Feldman Diana W. and Michael Kinsey Paula J. Meadows Gregg Kvistad and Amy R. Oaks Doloris G. and Gene Milstein Carolyn A. Agosta and William Rauschert David Rosentrater Douglas G. and Mary B. Scrivner Rebecca Chopp and Frederick Thibodeau Patron ($500+) Leslie S. Beltrami Libby L. Bortz and Michael R. Altenberg Ellie Caulkins Margot Gilbert Frank and M Allan Frank Neal Arts Fund at the Denver Foundation Nelson Family Foundation Nancy M. and W. Peterson Nelson Jane N. and Wayne G. Nielsen Stephen B. Perry David N. and Helen Rasmussen Norwood L. and Barbara J. Robb Spectrum Dance Theater: A Rap on Race
Stephen Seifert Kellyn S. and Jeff M. Smith Carolyn M. Strand Etta M. and Michael D. West Friend ($250+) Laurie A. Booras Constance A. Brakken and Rodney L. Smith Mary Jo Craige Phyllis Goodman Amy A. and Donald Earl Harris Jean E. and Edward Onderko Natalie and Sean Raborn Harriet R. and Donald S. Kaufmann Diana Yunn Lee William Mohrman Kerry S. and Nathan W. Pearlman Amy and Jay Sage Polly W. Sanna and John S. Sanna, III Cynthia Secor and Adrian Tinsley Liora Spiess Edith E. and Joseph S. Wong
Tribute and Memorial Gifts Betty J. Croall and James A. Carney in memory of Nancy Simpson Margot Gilbert Frank and M Allan Frank in honor of Stephen Seifert’s birthday in honor of Beverlee B. Henry and Robert P. Fullerton Susan L. Froelich and Richard E. Ingram in honor of Kendra and Benjamin Ingram Barbara Jean Hamilton in memory of Susanne W. Hamilton Beverlee B. Henry and Robert P. Fullerton in honor of Sue Anschutz-Rodgers in honor of Margot Gilbert Frank and M Allan Frank The Grynberg Family in memory of Gloria Kubel Anne R. Hunting in memory of Gladys Monahan Kathy A. and Donald D. Rosenkrans in honor of Robert and Judi Newman Etta M. and Michael D. West in honor of Judi Newman *Deceased If you would like your donor listing to appear differently in our next performance program, please contact Kellyn Smith at 303-871-4472 or kellyn.smith@du.edu.
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Founding Partner
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2017-2018 Newman Center Presents
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Fine wines to accompany your story...whatever role you play. REAL | HONEST | EVERY DAY www.pioneerwine.com 2017-2018 Newman Center Presents
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Supporting Sponsor
Carson Brierly Giffin Dance Library Join us for our annual events. Legends of Dance Celebration October 15th, 2017 4-6 pm
Exhibit and Documentary Premiere June 15th, 2018 6-8 pm
For more information about the dance library visit facebook.com/cbgdlibrary or call 303-871-4065
PATRON INFORMATION • The Newman Center for the Performing Arts is fully accessible to patrons in wheelchairs and to those with other special needs. Patrons needing accommodations for a disability should call the Box Office as early as possible at 303.871.7720. • We offer COMPLIMENTARY PARKING for all Newman Center Presents shows in the Newman Center garage, subject to availability. Patrons are advised not to park in the neighborhoods, as most of the side streets have one-hour parking only. Arrive early to ensure a space in the garage. Food and beverages are prohibited in the seating areas of all theatres. • No audio, photographic, or video equipment of any kind is allowed in the performance venues.
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2017-2018 Newman Center Presents
• Artists and programs are subject to change without notice. • All sales are final. No refunds or exchanges. • Patrons are encouraged to call the Newman Center for information on the suitability of events for children. • The University of Denver is a smoke-free campus. Smoking is permitted only in the designated smoking area on S. York Street, south of the loading dock.
At Holly Creek, living well is always center stage. With luxury resort-style amenities including an indoor/outdoor pool, putting green, art gallery and three restaurants, plus a full slate of events, classes and social gatherings, Holly Creek is retirement living in a whole new light. Stop by for a tour at your convenience.
Colorful Colorado Living. 5500 East Peakview Avenue, Centennial, CO 80121 303.900.4982 | HollyCreekCommunity.com
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WASH PARK GRILLE
Choose from our extensive menu of seafood, Live Music - Thur., Fri., Sat. house made pasta, salads and choice grilled meats. Patio Seating Enjoy live music as you sit back and sip on one Lunch & Dinner Daily of Washington Park Grille’s lively libations.
Sunday Brunch Buffet & Menu
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with Bottomless Mimosas Happy Hour | Sunday-Friday 3:00-6:30 PM
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Fresh Fish Daily O Slow Spit Roasted Meats Beautiful Tree Covered Patio / Tiki Bar for Private Parties DINNER Monday – Sunday BRUNCH Saturday & Sunday
A-List “Best Seafood” immers e yo u rs elf . 1052 S. Gaylord Street Denver, Co 80209 maxgillandgrill.com 303.722.7456 One mile north of Newman Center
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Owned by DU Alumni
2017-2018 Newman Center Presents
specials Crab Tuesdays Snow Crab $14.95/lb King Crab $24.95/lb $2 Oyster Mondays $25 Lobster Saturdays 1lb Whole Maine Lobsters Great for Date Night! Bloody Mary Bar & Bottomless Mimosas at Saturday & Sunday Brunch – 10am to 2pm
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ST. ANNE’S EPISCOPAL SCHOOL, an independent school for children preschool (age 3) through eighth grade, invites parents to learn more about our outstanding curriculum, state-of-the-art facilities, and focus on character development. • • • • • •
Arts, Athletics, Technology, Languages Sports and Extracurricular Activities Extended Day Care Daily Hot Lunch Program Need-Based Tuition Assistance Available Small Class Size
2701 S. York Street | Denver, CO 80210 | 303.756.9481 | www.st-annes.org 2017-2018 Newman Center Presents
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2017-2018 Newman Center Presents
Linda, 74
Precious moments then, can still be precious moments now.
While a lot of things change over the years, some things don’t. And getting older doesn’t mean you have to stop doing what you love. So we encourage our residents to keep on doing their thing while we take care of the rest.
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3 Chances To
EXPERIENCE DYAO’S
40th
Anniversay Season
AT THE NEWMAN CENTER
1 2 3
October 7, 2017
Women in Music Denver Symposium Includes October 8th Concert www.womeninmusicdenver.org
Volunteer with Us! Do you have passion the performing arts? Do you love working with people? Looking for volunteer opportunities in the Denver community? Consider volunteering for the Newman Center for the Performing Arts!
October 8, 2017
YAO Presents: Challenging Expectations Featuring Shostakovich, Mozart and more!
March 4, 2018 at 2:30pm DYAO 40th Spectacular Featuring all orchestras of DYAO and Tchaikovsky Symphony No. 5!
for more information on the events:
dyao.org
For Concert Tickets: 303.871.7720 | newmantix.com
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2017-2018 Newman Center Presents
We’re looking for dedicated community members with a passion for the arts to join our volunteer team. Volunteer opportunities include: Ushering for performances and events Administrative office work Venue tours and more! FOR MORE INFORMATION: Contact Rachel Hargroder, Assistant Director of Patron Services, 303-871-7929 or Rachel.Hargroder@du.edu.
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2017-2018 Newman Center Presents
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32 2017-2018 Newman Center Presents PHOTO: LOCK + LAND
Limitations, fees, and taxes apply.
for most concerts!
TICKETS START UNDER $20.
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youngvoices.org 303.797.7464
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2017-2018 Newman Center Presents
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THEATRE
2017/2018 SEASON Savage in Limbo, October 2017 Kid-Simple: a radio play in the flesh, November 2017
Devised Project, February 2018 The Trojan Women, February & March 2018 Senior Capstone Festival, April & May 2018 + independent student productions and staged readings throughout the year www.du.edu/theatre 34
2017-2018 Newman Center Presents
3800 S. PiERcE STREET, DEnvER, cO 80235 | (303) 914-2513 | www.cOlORADOAcADEmy.ORG
Colorado Academy Colorado Academy
3800 S. PiERcE STREET, DEnvER, cO 80235 | (303) 914-2513 | www.cOlORADOAcADEmy.ORG
Think, Create, Innovate! Think, Create, Innovate!
For more than 100 years , thethan promise of Colorado Academy has been the pursuitAcademy of For more 100 years, the promise of Colorado has been the pursuit of
Grades: Pre K – 12
academic excellence. We understand the need to provide each new generation with the most excellence. understand the need to provide each new generation with the most relevant education.academic We set high standards forWe every child, and the community brings energy relevant education. set high standards for every child, and the community brings energy and commitment to help each student findWe success through—
Enrollment: 965 and commitment to help each student find success through—
• Innovative curricula that inspire critical thinking and creativity • Talented teachers• Innovative who instill motivation andthat self-discipline curricula inspire critical thinking and creativity • Character education based onteachers the practice of courage and kindness and self-discipline • Talented who instill motivation • Athletics & Arts that promote teamwork and initiative • Character education based on the practice of courage and kindness • Experiential & outdoor trips that develop leadership and resilience Athletics • Friendships that •last a lifetime& Arts that promote teamwork and initiative
Student/Faculty Ratio: 9:1 Financial Aid budget: $3.3 million Bus Routes: 10
• Experiential & outdoor trips that develop leadership anda variety resilience We are seeking highly qualified students in Pre-Kindergarten through grade 12 from of backgrounds. Please visit www.coloradoacademy.org • Friendships that last a lifetime to learn more about CA and to register for our admission Parent Preview on october 28 and 29.
CA is seeking intellectually curious We are seeking highly qualified students in Pre-Kindergarten through grade 12 from a variety students from a variety of backgrounds Admissions: (303) 914-2513 of backgrounds. Please visit www.coloradoacademy.org to learn more about CA and to register who seek academic challenge and Grades: PreforK our – 12 admission Parent Preview on october 28 and 29. community engagement. Please visit Enrollment: 960 Admissions: (303) 914-2513 www.coloradoacademy.org Student/Faculty Ratio: 9:1 Grades: Pre K – 12 to learn more. Tuition: $18,390-$24,540
Enrollment:
Financial Aid budget of $2.9960 million 10 Denver metro area bus routes
• Innovative curricula that Student/Faculty inspire critical thinking and creativity Ratio: 9:1 • Talented teachers who instill motivation and self-discipline Tuition: $18,390-$24,540 FinancialofAid budget of $2.9kindness million • Character education based on the practice courage and 10 Denver area bus routes • Athletics & Arts that promote teamwork andmetro initiative • Experiential & outdoor trips that develop leadership and resilience • Friendships that last a lifetime
A LOCALLY OWNED & OPERATED MORTUARY
3800 S. PIERCE STREET, DENVER , CO 80235 | (303) 914-2513
2017–18 SEASON D E N V E R
JORDI SAVALL AND HESPÈRION XXI MON, MAY 7, 2018
7:30pm
Attentive & Honest Serving All Faiths
AG
ES 191 University Blvd., #974 3 A N 80206-4613 Denver, 0CO
JU
Season Highlights
S
T $ DE FriendsofChamberMusic.com 1 R D
UN
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AUGUSTIN HADELICH, VIOLIN CONOR HANICK, PIANO WED, NOV 8, 2017 | 7:30pm
TAKÁCS QUARTET
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Available Statewide 24/7 Pre-plan Savings Veterans Benefits On-Site Crematory
WED, DEC 13, 2017 | 7:30pm
IGOR LEVIT, PIANO
WED, JAN 10, 2018 | 7:30pm
BERLIN PHILHARMONIC WOODWIND QUINTET AND STEPHEN HOUGH, PIANO TUE, FEB 6, 2018 | 7:30pm
EIGHTH BLACKBIRD
MON, APR 23, 2018 | 7:30pm
All concerts at the Newman Center for the Performing Arts, Gates Concert Hall
For a complete schedule, visit friendsofchambermusic.com NEWMAN CENTER BOX OFFICE
303-871-7720
www.newmantix.com
2017-2018 Newman Center Presents
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Lamont School of Music
250
CONCERTS ON US! du.edu/lamont Concert Line 303.871.6412 36
2017-2018 Newman Center Presents
Advanced Audiology, Inc. Hearing & Tinnitus Center
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We take Your Hearing Seriously 2017-2018 Newman Center Presents
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Happy Hour!
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38 2017-2018 Newman Center Presents
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