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President’s Message Thomas J. Schwarz, President, Purchase College It is my pleasure to welcome you to Purchase College and its Performing Arts Center. Executive Director Wiley Hausam and his talented staff once again present an exciting program of classical and popular entertainment. The expansion of the season’s offerings is noteworthy. Jazz has returned. We have enhanced our Family Series. The mix of talent and shows is more international. We are delighted to introduce several exciting young artists, and welcome back one Purchase alumnus, choreographer Kyle Abraham, and his company. Audiences at The Performing Arts Center will be treated to a special preview performance of a world-premiere work, Brooklyn Babylon, that will then move on to the BAM Next Wave Festival. As always, our student artists from the Conservatories of Dance, Theatre Arts and Music will be in residence with a full season of fine productions. We hope that while you are on campus you will take the time to get to know us better. Immediately across from the entrance to The Performing Arts Center is our new Passage Gallery, where displays of work by our students, faculty and staff are presented on a rotating basis. The Neuberger Museum of Art and our School of Visual Arts are just short strolls across our newly renovated plaza. Surrounding the plaza are our academic buildings and our library. The proximity of these buildings to our Performing Arts Center is a reflection of our mission to pair the arts with the liberal arts. Our School of the Arts with its Conservatories of Dance, Music, Theatre Arts, and Art and Design is a vital component of The Performing Arts Center. The Performing Arts Center serves as the School’s incubator, offering an important

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venue to students for their practices, performances and perfection of skills. Our School of the Liberal Arts and Sciences offers comprehensive and forward thinking programs for students seeking a well-rounded education featuring opportunities for interaction with the arts. The interdisciplinary programs within our School of Film and Media Studies, Journalism and Arts Management majors grow in popularity. We continue to expand our Liberal Studies and Continuing Education programs, now featuring more on-line courses in January and the summer to accommodate all learners. Not only are we on-line, but we are world-wide, as our focus on internationalizing our curricula and offering a global education to our students broadens. We are deeply committed to maintaining the quality of our academic core despite the ongoing reduction in state support. Purchase College’s faculty is outstanding; not only are our faculty members serious academicians but also professionals in their fields of study. Our students benefit from their teaching as well as experience and commitment to their careers. Our sincere appreciation to all of you who have generously supported The Performing Arts Center, the Neuberger Museum of Art and the students of Purchase College. Your continued support of our programs has become even more vital to the mission and livelihood of our institution. Please visit us often, whether in person or on the web: www.purchase.edu. Enjoy your time with us.

9/28/2011 12:09:27 PM

THE CAMPAIGN FOR 2011-2012

SUPPORT THE ARTS Support The Center Ticket sales cover only 40% of the cost of bringing you the world-class programming you expect from The Performing Arts Center. The continued health and vitality of our Series and Arts-In-Ed events depend on you, our friends and supporters. Only with your generous support can we continue to educate, engage and inspire. Consider a gift to the annual fund by adding a donation to your ticket purchase price and help ensure that The Center can continue to thrive. For more information about giving opportunities, call 914-251-6189. THANK YOU FOR YOUR SUPPORT.

Bill T. Jones photo ÂŠ Paul Goode

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9/28/2011 12:09:29 PM

Managing Director’s Message Harry McFadden, Managing Director The Performing Arts Center, Purchase College

I can’t think of a better way to close out this terrific 11/12 Season than with the return of good friends: the always marvelous Orpheus Chamber Orchestra and the timeless Martha Graham Dance Company. Two amazing groups of artists that help make The Center one of Westchester’s true gems. I have to say that this is an odd time of year when you work for a performing arts center. We’re putting the finishing touches on the 12/13 PAC series, already making plans for 13/14, but still have remarkable performances to enjoy in this last portion of 11/12. No wonder we sometimes have trouble remembering what day it is here! (We’d be lost without our performance “bible”!) But, as we head into the home stretch, I can’t help looking back over the past year. And what a year we’ve had here at The PAC! Remarkable artists – both wellknown and new to you – have brought us beauty, excitement, amazing performances, and just plain fun. I had many personal favorites…the joyful performance by Yuja Wang, the powerful jazz horns of Brooklyn Babylon, the riotous world premiere of the Paul Taylor Dance Company’s Gossamer Gallants, the magnificence of the Budapest Festival and Hamburg Orchestras, the masterful artistry of Gil Shaham, and the delightful Sunday Chamber Series afternoons hosted by NPR’s Bill McGlaughlin. And don’t forget the exuberance of Purchase alum Kyle Abraham’s company Abraham.In.Motion and the incredibly elegant (and sexy) Barcelona Ballet. And speaking of memories…remember the big snowstorm last October? We sure do. It was a joint Gala event (in fact, the first ever) between The Performing Arts Center and the Neuberger Museum with the glorious Audra McDonald. As the storm raged that afternoon, we were forced to cancel the evening’s festivities and concert. But with a little (well, OK, a lot) of scrambling and luck, the show went on several weeks later – maybe a little less formal, but no less wonderful. We will always be grateful to the gracious Ms. McDonald and our loyal patrons for coming through for us just when things were looking to be not so wonderful. And what’s ahead for next year? Well, we’ve got a roster of really terrific artists and companies – some are old friends coming back for another turn on our stages, while others are brand new to us, but I am certain that they are “old friends” just waiting to be made. Be sure to check out pages 16 – 17 to see what we have in store for the 12/13 PAC Season – our 35th! Then, make sure you mark your calendars and get your tickets for more extraordinary afternoons and evenings at The Center. I know I’ll be there (please be sure to say “hello!”). My best wishes to you all for a great summer. See you in September! 1

Major sponsorship of the 2011â&#x20AC;&#x201C;2012 season is provided by The Vivian and Seymour Milstein Endowed Fund The Basic Program Support Grant of ArtsWestchester with funds from Westchester County Government The Great Orchestras Series and Chamber Sundays with NPRâ&#x20AC;&#x2122;s Bill McGlaughlin are made possible by generous support from the Tanaka Memorial Foundation.

Spring 2012 April 29

May 2 5 8

Sun

3pm

Orpheus Chamber Orchestra

Wed Sat Tue

7pm 8pm 7pm

Purchase Symphonic Winds Martha Graham Dance Company Talk Cinema

Scan with your smartphone to download the season brochure.

Orpheus Chamber Orchestra Viviane Hagner, violin Sunday, April 29, 2012, at 3pm

Photo: Larry Fink

Photo: Marco Borggreve

SCHREKER

Scherzo for Strings

BEETHOVEN Romance no. 2 for Violin and Orchestra in F Major, op. 50 VIEUXTEMPS Violin Concerto no. 5 in A Minor, op. 37, Grétry Allegro non troppo — Cadenza — Adagio — Allegro con fuoco Intermission MINCEK

Pendulum IX: Machina/Humana World Premiere Commissioned by the Orpheus Project 440

MOZART Symphony no. 40 in G Minor, K. 550 Molto allegro Andante Menuetto: Allegretto Allegro assai All programs and artists are subject to change. As a courtesy to the artists, please remain seated until they have left the stage. This tour of Orpheus Chamber Orchestra is made possible by a grant from Mid Atlantic Arts Foundation with support from the National Endowment for the Arts.

The Great Orchestras Series is made possible by generous support from the Tanaka Memorial Foundation.

Orpheus Chamber Orchestra

Violin Ronnie Bauch Martha Caplin Laura Frautschi Liang-Ping How Joanna Jenner Renée Jolles Miho Saegusa Eriko Sato Cal Wiersma Viola Danielle Farina Christof Huebner Shmuel Katz Nardo Poy Cello Julia Lichten Melissa Meell Jonathan Spitz Double Bass Karl Doty Flute Tanya Dusevic-Witek Susan Palma Nidel

Oboe Matthew Dine James Austin Smith Clarinet Alan Kay David Singer Bassoon Gina Cuffari Frank Morelli Horn Julie Landsman Stewart Rose Trumpet Louis Hanzlik Ronald Sheppard Timpani Maya Gunji Percussion Maya Gunji

About the Artists

Orpheus Chamber Orchestra A standard-bearer of innovation and artistic excellence, Orpheus is renowned as one of the world's foremost chamber orchestras. For nearly four decades, the orchestra has been making music on a global stage, with tours from Brunei to Vienna. Orpheus Chamber Orchestra presents an annual series at Carnegie Hall and appears regularly at major New York venues with esteemed soloists and rising stars. Dedicated to the integration of innovation and tradition, Orpheus has expanded the chamber orchestra repertoire with 34 original commissions and prides itself on collaborations with dynamic artists across multiple genres. Orpheus' legendary discography comprises over 70 albums, including the Grammy® Award-winning Shadow Dances: Stravinsky Miniatures. Each Carnegie Hall performance is broadcast live on WQXR-New York Public Radio and rebroadcast on American Public Media's “Performance Today” and “SymphonyCast,” for a total of 1.6 million weekly listeners nationwide. Orpheus continues its rich tradition with leading soloists during the 2011-2012 season. Opening Night featured violinist Gil Shaham, an old friend and close collaborator, continued with oboist Albrecht Mayer, pianist Jean-Yves Thibaudet, Grammy® Awardwinner Chris Thile performing the New York premiere of his Mandolin Concerto in March. The year continues with this evening’s guest violinist, Viviane Hagner, who will make her Orpheus debut with Beethoven and Vieuxtemps in April. Throughout the season, Orpheus will debut new pieces by the four winners of Project 440. Composers Alex Mincek, Clint Needham, Andrew Norman, and Cynthia Wong were selected through an

interactive process in which fellow musicians and fans worldwide shared their perspectives on new music and emerging composers online. Continuing this commitment to young composers, over the 2011-2012 and 20122013 seasons, Orpheus will host its first ever Composer-in-Residence, Gabriel Kahane. By integrating Kahane as writer, curator, performer, and ambassador in piloting a new Brooklyn series at Galapagos Art Space, Orpheus aims to introduce its distinctive approach to repertoire to a new generation of omnivorous music lovers. In 2010-2011, Orpheus continued its Carnegie Hall series and opened the inaugural Spring for Music festival with a performance of the New Brandenburgs, six original commissions inspired by Bach. Acclaimed pianist Garrick Ohlsson returned to Orpheus for a program of works by Schubert, Berg, and Beethoven. Additional guest soloists last season, all debuting with Orpheus, were rising star soprano Kate Royal, violinists Vadim Gluzman and Arabella Steinbacher, and renowned Austrian pianist Rudolf Buchbinder. Highlights included works by Mozart, Beethoven, and Haydn, and the revival of an Orpheus commission by Fred Lerdahl. Orpheus is committed to changing the way the world thinks about orchestras, organizational dynamics, and creative leadership. By performing without a conductor and integrating musicians into virtually every facet of the organization, Orpheus empowers its members and infuses performances with unparalleled energy. The Orpheus ProcessTM, an original method that places democracy at the center of artistic execution, has been the focus of studies 7

About the Artists (cont'd)

at Harvard and Stanford, and of leadership seminars at Morgan Stanley and Memorial Sloan-Kettering Hospital, among others. On and off the stage, Orpheus provides learning opportunities for over 1,500 New York City public school students each year. The Orpheus Institute offers musicians, university students, and business leaders experiential training in collective leadership through the Orpheus ProcessTM. With support from The Andrew W. Mellon Foundation, the program is expanding nationwide; the 2011-2012 season will feature the launch of a yearlong residency at University of Maryland and ongoing activities at Manhattan School of Music, The Juilliard School, and the University of Connecticut. For more information, please visit www.orpheusnyc.org or blog.orpheusnyc.org. Viviane Hagner Violin

Born in Munich, violinist Viviane Hagner has won exceptional praise for her highly intelligent musicality and passionate artistry. Ms. Hagner performs with "poise and magnificent assurance" (The Times/London) and "an almost hauntingly masterful display of technique and artistry" (Washington Post), while the Berliner Morgenpost wrote: "Listening to Viviane Hagner play the violin is an enchanting experience...she is both a thoughtful and brilliant violinist. In her playing, she knows how to combine reflection and luminosity in the most striking way." Since making her international debut at the age of 12 – and a year later participating in the legendary joint concert of the Israel and 8

Berlin Philharmonics, conducted by Zubin Mehta — Viviane Hagner has become known for her substantial and beautiful sound as well as her thoughtful interpretations. She has appeared with the world's great orchestras, including the Berlin Philharmonic, Boston Symphony, New York Philharmonic, Chicago Symphony Orchestra, Leipzig Gewandhaus, Munich Philharmonic, and Philharmonia, in partnership with conductors such as Claudio Abbado, Vladimir Ashkenazy, Daniel Barenboim, Ricardo Chailly, Pinchas Zukerman, Hugh Wolff, and Christoph Eschenbach. Recent concert highlights are appearances with the Pittsburgh Symphony Orchestra with Arild Remmereit conducting as well as performances with the Cincinnati Symphony and the Orchestra Symphonique de Montreal under the direction of Kent Nagano. Abroad, Ms. Hagner has most recently appeared with Zürich Tonhalle, Royal Stockholm Philharmonic, Monte Carlo Philharmonic, Bamberg Symphony, and Dresden Philharmonic, with whom she toured as soloist. Recital performances this past season have taken her to some of the world’s greatest stages, including Wigmore Hall (London), Berlin’s Konzerthaus, Palais des Beaux Arts (Brussels), Tokyo's Suntory Hall, and Salzburg’s Mozarteum. Ms. Hagner's 2011-2012 season began with an unexpected Cleveland Orchestra debut as she stepped in on one day’s notice to perform the Tchaikovsky Violin Concerto with David Zinman. Other highlights include performances with the Orpheus Chamber Orchestra in Carnegie Hall as well as on tour to Nashville and Adelphi University, as well as Purchase College. She will also perform the Mendelssohn Concerto with Pinchas

Zukerman and the National Arts Centre Orchestra. European highlights include performances of the Unsuk Chin Concerto with the Philharmonic Orchestra and EsaPekka Salonen in Royal Festival Hall, a reinvitation to Gürzenich-Orchester Köln, an engagement with MDR-Sinfonieorchester Leipzig, and a performance of Vieuxtemps Violin Concerto with the Lahti Symphony Orchestra. Ms. Hagner appears at prestigious festivals including Edinburgh, Festspiele Mecklenburg-Vorpommern and Lucerne, and performs chamber music at venues such as Berlin’s Konzerthaus, Frankfurt’s Alte Oper, Amsterdam's Concertgebouw, and London's Queen Elizabeth Hall. Ms. Hagner's engagements include many special collaborations: the Brahms Double Concerto with Yo-Yo Ma and Canada's National Arts Centre Orchestra, and Mozart's Sinfonia Concertante with Pinchas Zukerman and the Pittsburgh, Seattle, and Dallas Symphony Orchestras. In June 2007, Ms. Hagner stepped in at the last minute to perform the Beethoven Violin Concerto with Riccardo Chailly and the Leipzig Gewandhaus Orchestra in Leipzig. Following the performance, she was immediately engaged to tour with them to the Salle Pleyel in Paris and BBC Proms in London. A committed chamber musician, Viviane Hagner has been a featured artist at renowned American and international festivals such as Schleswig-Holstein, Salzburg Easter Festival, Marlboro, Ravinia, Santa Fe, and Mostly Mozart; and has appeared at Amsterdam's Concertgebouw, Barcelona's Palau de la Musica, Berlin’s Konzerthaus, Cologne’s

Philharmonie, London's Wigmore Hall, and New York's 92nd Street Y series. As well as bringing insight and virtuosity to the core concerto repertoire, Viviane Hagner is an ardent advocate of new, neglected, and undiscovered music. Composers whose work she champions include Sofia Gubaidulina, Karl Amadeus Hartmann, and Witold Lutoslawski. In 2002 she gave the world premiere of Unsuk Chin's Violin Concerto with the Deutsche Sinfonie-Orchester Berlin and Kent Nagano, later playing the work in the United States — an event which prompted The San Francisco Chronicle to rave that her performance was "vibrant, warm-toned and jaw-droppingly precise [and] may well be unimprovable." After her 2006 premiere of Simon Holt's new Violin Concerto with the BBC Symphony Orchestra led by Jonathan Nott, The Sunday Times critic remarked she "caught the music's soul." The Hyperion label has recorded her performances of the Vieuxtemps Violin Concerti 4 & 5 and the Canadian company Analekta has recently released her recording of Unsuk Chin's Violin Concerto with Kent Nagano and the Orchestra Symphonique de Montréal. Her first solo recording on the Altara label features works by Bartók, Hartmann, and Bach. Viviane Hagner plays the Sasserno Stradivarius built in 1717, generously loaned to her by the Nippon Music Foundation. Ms. Hagner was a 2000 winner of the Young Concert Artists International auditions and in 2004 was awarded the Borletti-Buitoni Trust Award. 9

Scherzo for Strings Franz Schreker (1878-1934) Composed in 1900. Franz Schreker, like Erich Wolfgang Korngold and Alexander von Zemlinsky, occupies the chronological and stylistic ground between the Late Romanticism of Strauss and Mahler and the modernist school of Schoenberg and his disciples. Schreker was born in 1878 in Monaco, where his father, an Austrian national, was court photographer. When Herr Schreker died ten years later, his widow returned with her four children to Vienna. Franz won a scholarship at the Vienna Conservatory in 1892, when he was fourteen, to study violin with Arnold Rosé and composition with Robert Fuchs, and by the time he left the school in 1900, his Love Song for Harp and Orchestra (now lost) had been performed in London and a setting of Psalm 116 for Female Chorus and Orchestra had been given as part of his graduation exercises; he won first prize for an Intermezzo for String Orchestra later that year. Schreker’s first notable success came with the 1908 ballet Der Geburtstag der Infantin (“Birthday of the Infanta”), which was presented in conjunction with the opening exhibition of the Vienna Secession. That same year, he founded the Philharmonic Choir, which was responsible for bringing to performance many modern works, including the premiere of Schoenberg’s Gurrelieder (“Songs of Gurre”) in 1913; Schreker headed the Choir until 1920. His growing reputation led to his appointment to the faculty of the Music Academy in Vienna, and the success of his operas Die Gezeichneten (“The Branded”) and Der Schatzgräber (“The Treasure Seeker”) in the 1920s ensured his preeminence among 10

German composers. His career as a teacher was capped by his appointment as director of the Berlin Hochschule für Musik in 1920. With the rise of the Nazis in the early 1930s, however, the fortunes of Schreker, a Jew, began to decline. Performances of his works were prohibited, and he was forced from his position at the Hochschule in 1932. He took over a class at the Prussian Academy of Arts, but the shock of his abrupt dismissal from that job at the end of 1933 led to a severe heart attack, from which he never recovered. He died in Berlin on March 21, 1934. Schreker composed his Scherzo in late 1900 as an entry in a competition for a “short, characteristic piece for string instruments” organized by Vienna’s Neue Musikalische Presse. The work’s outer portions comprise elfin music countered by a march-like strain, while the central trio is built around a graceful melody introduced by the first violins. The two elements of the scherzo return before the work closes with a reprise of the trio’s graceful theme. Romance no. 2 for Violin and Orchestra in F Major, op. 50 Ludwig van Beethoven (1770-1827) Composed in 1803. Beethoven’s Romances (Op. 40 in G and Op. 50 in F) probably date from 1803. The G major was published in that year; the F major, two years later. Their calm serenity of mood belies their proximity to the “Heiligenstadt Testament,” the composer’s anguished letter of October 1802 in which he bewailed the fate of his worsening deafness. Though the Romances are simple in expression, they require a high degree of musicianship and technical proficiency from the soloist. The

F major Romance is based on a hauntingly beautiful melody presented immediately by the violin. Two intervening episodes, darker in emotional coloring, separate the returns of the main theme. The Romances are works of quiet beauty and simplicity that add a fuller dimension to the popular image of Beethoven as a heaven-storming titan. Violin Concerto no. 5 in A Minor, op. 37, Grétry Henri Vieuxtemps (1820-1881) Composed in 1861. Henri Vieuxtemps was among the reigning virtuosos of the mid-19th century, regarded by the press as “le roi [king] du violon” and as successor to Paganini by no less a figure than Robert Schumann. Vieuxtemps was born at Verviers, Belgium, on February 17, 1820, and began studying his instrument with his father, a piano tuner and amateur violinist, at the age of four. He first appeared publicly in his home town two years later and subsequently gave a successful performance in Liège in November 1827. His appearances in Brussels early the next year attracted the attention of Charles de Bériot, a distinguished pedagogue and violinist to King William I of the Netherlands, who took him on as a student. Vieuxtemps’ first tour, to Italy in 1831, was undertaken with the aid of a stipend from the Belgian King Leopold; he was on the road almost constantly thereafter. He made a sensation in Vienna on March 16, 1834, with his performance of Beethoven’s Violin Concerto, woefully neglected after that composer’s demise. Vieuxtemps then traveled to London, where in June he met Paganini, who predicted a great future for his young colleague. After some composition lessons with Reicha in Paris in 1836, Vieuxtemps debuted as a

composer with the Concerto in F-sharp Minor before resuming his tours through Europe, England, and Russia; he visited the United States in 1843-1844, 1857-1858, and 1870-1871 with outstanding success. From 1846 to 1851, Vieuxtemps was based in St. Petersburg as soloist to the Tsar and professor of violin. He taught at the Brussels Conservatory from 1871 to 1873 before suffering a paralytic stroke that ended his career. He died in a sanatorium in Mustapha, Algeria, on June 6, 1881. The Concerto no. 5 in A Minor, completed soon after his second American tour in 18571858, was a daring formal experiment in its day, an analog to the ingenious telescoping of musical structure that Liszt was undertaking in his symphonic poem at just that time in Weimar. The Concerto is in three large sections, played without pause. The opening episode follows what appears to be a large sonata-concerto form, with a full orchestral introduction, a dramatic main theme, and a sweetly lyrical subsidiary subject. The music proceeds through an orchestral tutti and an extensive and demanding development section before giving way to an elaborate solo cadenza. In place of the expected recapitulation, however, there occur a poignant Adagio (which quotes an aria from André Grétry’s opera Lucile) and a brilliant coda in fast tempo to close the work. It is music of such élan, refinement, and originality that caused Hector Berlioz to write, “Vieuxtemps is a remarkable composer, no less than an incomparable virtuoso.”

Program Notes (cont'd)

Pendulum IX: Machina/Humana Alex Mincek (born in 1975) Composed in 2012. Premiered on April 24, 2012, in Nashville, Tennessee, by Orpheus. Alex Mincek, born in Jacksonville, Florida, in 1975 and now based in New York City, studied composition with Tristan Murail and Fred Lerdahl at Columbia University and with Nils Vigeland at the Manhattan School of Music, where he received a Master of Arts degree. As a performer, Mincek studied saxophone with Richard Oatts at Manhattan School of Music (B.A.) and with Bunky Green at the University of North Florida. From 2001 to 2005, Mincek was a member of the experimental ensemble Zs, with whom he performed his own music, the music of others, and improvisations. He currently serves as the saxophonist, bass clarinetist, and artistic director of the Wet Ink Ensemble, a group dedicated to contemporary music, which he founded in 1998. Mincek’s compositions, for orchestra and a wide variety of chamber ensembles, are characterized by unique timbres, dynamic textures, and complex repetitions. He is also committed to the art of improvisation and has been influenced greatly by his participation in various forms of jazz, punk rock, and electronic music. In addition to being chosen for Orpheus’ Project 440, Mincek has received a Charles Ives Scholarship from the American Academy of Arts and Letters as well as commissions and grants from the New Mendelssohn Chamber Orchestra (Leipzig), Ensemble XXI (Dijon), Present Music, MATA, French Ministry of Culture, Meet The Composer, National Foundation for Advancement in the Arts, Due East, ASCAP, and National Endowment for the Arts. His music is featured on two recent releases on Carrier Records. 12

Alex Mincek’s Pendulum IX: Machina/Humana is the last of four new works commissioned through Project 440, which celebrates Orpheus’ upcoming 40th anniversary season. The project began with sixty emerging composers nominated by a panel of industry experts; through multiple rounds of public feedback and panel reviews, Orpheus selected four outstanding young composers to receive commissions. Mincek provided the following information about Pendulum IX: Machina/Humana: “‘Pendulum: A body suspended from a fixed point so as to swing freely, or something that alternates between opposites.’ “Pendulum IX: Machina/Humana is the ninth piece in a series of works inspired by the simple swinging motions of pendulums, along with the complex forces these motions reveal. The works in this series mimic pendulum behavior by oscillating between basic musical oppositions: high/low, fast/ slow, short/long, loud/soft, etc. These works are also characterized by more nuanced, poetic relationships between extra-musical oppositions; for example, Machina/Humana refers to the representation of mechanical versus human types of sound, shape and movement. (This is also my homage to Monteverdi’s opera L’Orfeo, which, among other things, explores the conflict between logic and passion). “Machina/Humana alternates between austere, machine-like repetition and sinuous, lyrical continuity. And while the prevailing direction of the piece is perhaps best described as unfolding from mechanistic to humane, contrasts frequently combine and overlap.

“Many of the instrumental sounds are representational. Some are modeled after actual sounds associated with machinery and electronic/digital technology, such as screeching drills, crunching gears, assembly lines, construction sites, crackling wires, static interference, and digital glitches. Conversely, other sounds relate to the human body, including chattering teeth, fluctuating heartbeats, breathing, singing, and laughter. These sounds are often paired with specific gestures: angular, disjunctive contours articulate the mechanical, while supple, curved contours relate to human qualities. “Why? The point is to find blurry intersections between contrast and similarity. By doing so, more complex relationships emerge, giving rise to questions about the fundamental essences of things, and the futility of classifying them. “Having described the work in the preceding manner, I encourage the listener to largely ignore my words. For what I have described is a thought process, not music — it is a version of how the piece came to be organized, not what it is or what it should mean.” Symphony no. 40 in G Minor, K. 550 Wolfgang Amadeus Mozart (1756-1791) Composed in 1788. At no time was the separation between Mozart’s personal life and his transcendent music more apparent than in the summer of 1788, when, at the age of 32, he had only three years to live. His wife was ill and his own health was beginning to fail; his six-monthold daughter died on July 29th; Don Giovanni received a disappointing reception at its Viennese premiere on May 7th; he had small

prospect of participating in any important concerts; and he was so impoverished and indebted that he would not answer a knock on the door for fear of finding a creditor there. Yet, amid all these difficulties, he produced, in less than two months, the three crowning jewels of his orchestral output, the Symphonies Nos. 39, 40, and 41. The G minor alone of the last three symphonies may reflect the composer’s distressed emotional state at the time. It is among those great works of Mozart that look forward to the passionately charged music of the 19th century while epitomizing the structural elegance of the waning Classical era. The Symphony’s pervading mood of tragic restlessness is established immediately at the outset by a simple, arpeggiated figure in the violas above which the violins play the agitated main theme. This melody is repeated with added woodwind chords to lead through a stormy transition to the second theme. After a moment of silence, a contrasting, lyrical melody is shared by strings and winds. The respite from the movement’s driving energy provided by the dulcet second theme is brief, however, and tension soon mounts again. The wondrous development section gives prominence to the fragmented main theme. The recapitulation returns the earlier themes in heightened settings. The Andante, in sonata form, uses rich chromatic harmonies and melodic half-steps to create a mood of brooding intensity and portentous asceticism. Because of its somber minor-key harmonies, powerful irregular phrasing, and dense texture, the Minuet was judged by Arturo Toscanini to be one of the most darkly tragic pieces ever written. The character of the Minuet is emphasized by its contrast 13

Program Notes (cont'd)

with the central trio, the only untroubled portion of the entire work. The finale opens with a rocket theme that revives the insistent rhythmic energy of the first movement. The gentler second theme, with a full share of piquant chromatic inflections, slows the

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hurtling motion only briefly. The development section exhibits a contrapuntal ingenuity that few late-18th-century composers could match in technique and none surpass in musicianship. The recapitulation maintains the Symphonyâ&#x20AC;&#x2122;s tragic mood to the close.

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The 5 Browns / Photo: Andrew Southam

Lila Downs / Photo: Elena Pardo

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Martha Graham Dance Company Saturday, May 5, 2012, at 8pm

Cave of the Heart / Dancers: Blakeley White-McGuire, Katherine Crockett

Janet Eilber

LaRue Allen

Artistic Director

Executive Director The Company

Tadej Brdnik Katherine Crockett Jennifer DePalo Carrie Ellmore-Tallitsch Maurizio Nardi Miki Orihara Blakeley White-McGuire Jacqueline Bulnes Lloyd Knight Mariya Dashkina Maddux Samuel Pott Ben Schultz PeiJu Chien-Pott Iris Florentiny Andrea Murillo Xiaochuan Xie Abdiel Jacobsen Denise Vale

Senior Artistic Associate

Elizabeth Auclair Artistic Associate

Major support for the Martha Graham Dance Company is provided by National Endowment for the Arts New York City Department of Cultural Affairs New York State Council on the Arts

The Artists employed in this production are members of the American Guild of Musical Artists AFL-CIO. Copyright to all dances held by the Martha Graham Center of Contemporary Dance. All rights reserved.

Martha Graham Dance Company

EMBATTLED GARDEN Choreography and Costumes

Set Isamu

Martha Graham Music Carlos Surinach†

Noguchi

Adapted by

Original lighting Jean

Rosenthal Beverly Emmons

Premiere: April 3, 1958, Adelphi Theatre, New York City Love, it has been said, does not obey the rules of love but yields to some more ancient and ruder law. The Garden of Love seems always to be threatened by the Stranger’s knowledge of the world outside and by the old knowledge of those like Lilith (according to legend, Adam’s wife before Eve) who lived there first. Eve Miki Adam

Orihara Samuel Pott

Lilith

Katherine Crockett Knight

The Stranger Lloyd

Used by arrangement with Associated Music Publishers, Inc., publisher and copyright owner; G. Schirmer, Inc., agents in the United States for publisher and copyright owner.

†

PAUSE ERRAND INTO THE MAZE Set Isamu

Choreography and Costumes

Martha Graham Music Gian Carlo Menotti†

Noguchi

Original lighting Jean Adapted by Beverly

Rosenthal Emmons

Premiere: February 28, 1947, Ziegfeld Theatre, New York City There is an errand into the maze of the heart’s darkness in order to face and do battle with the Creature of Fear. There is the accomplishment of the errand, the instant of triumph, and the emergence from the dark. PeiJu Chien-Pott †

Abdiel Jacobsen

Used by arrangement with G. Schirmer, Inc., publisher and copyright owner.

INTERMISSION

CAVE OF THE HEART Choreography and Costumes

Set Isamu

Martha Graham Music Samuel Barber†

Noguchi

Adapted Beverly

Original lighting Jean

Rosenthal Emmons

Premiere: May 10, 1946, Columbia University, New York City Cave of the Heart is a study of the destructive powers of love, the dark passions that guard the human heart, coiled like a serpent ready to strike when attacked. In the myth, Medea, a sorceress, falls in love with Jason and uses her magical powers to help him gain the Golden Fleece. Sacrificing all that is dear to her, she flees with him to Corinth. But Jason is ambitious and abandons Medea. Betrayed and exiled, Medea plots a course that will end with the death of her rival, the Princess, and the murder of her own two children. The Chorus, foreseeing the tragedy about to be enacted, tries to prevent it, and suffers its deepest meaning. The Sorceress, Medea Jason

Tadej Brdnik

Miki Orihara

The Princess, Creon’s Daughter

Iris Florentiny Katherine Crockett

The Chorus Originally commissioned by the Alice N. Ditson Fund, Columbia University. †

Medea, Opus 23, used by arrangement with G. Schirmer, Inc., publisher and copyright owner.

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Notes on The Repertory

EMBATTLED GARDEN (1958) Embattled Garden premiered at the Adelphi Theater in New York City on April 3, 1958. Set to a score commissioned from Carlos Surinach, and in an environment designed by Isamu Noguchi consisting of a forest of supple poles and a stylized tree, Martha Graham created her own Garden of Eden. It was a garden of highly charged amorousness rather than biblical solemnity, according to critic Walter Terry. Choreographed the same year as the glorious full length epic Clytemnestra, it inspired critics to marvel at the breadth of Graham’s talents. In a frankly erotic romp, this tragi-comedy explores sacred and profane love. Seduced by the worldly Stranger and his companion Lilith (Adam’s first wife), the innocence of the Garden of Eden is shattered. According to Bertram Ross, who originated the role of Adam, “it started in rehearsal with sweet and gentle little primitive images of Adam and Eve.” Clearly, this did not last long. Both Ross and Glen Tetley, who danced the Stranger, recall how Graham quickly stripped the work-in-progress of any sentimentality, preferring to plunge directly into the violent passions which lurked just beneath the pastoral surface. The innocence of Adam and Eve was never to be restored; in one of the final tableaus of the dance a wiser but sadder Eve cradles Adam in a moment of tenderness, a comforting mother as well as an erotic playmate. —ELLEN GRAFF

ERRAND INTO THE MAZE (1947) Errand Into the Maze premiered in 1947 at the Ziegfield Theater in New York City. With a score by Gian Carlo Menotti, and set design by Isamu Noguchi, the dance was choreographed as a duet for Martha Graham and Mark Ryder. It is loosely derived from the myth of Theseus, who journeys into the labyrinth to confront the Minotaur, a creature who is half man and half beast. In Errand Into the Maze, Martha Graham retells the tale from the perspective of Ariadne, who descends into the labyrinth to conquer the Minotaur. Substituting a heroine for the hero of Greek mythology in her dance, Martha Graham created a female protagonist who would confront the beast of fear, not just once, but three times, before finally overpowering him. Noguchi designed a set that consisted of a v-shaped frame, like the crotch of a tree or the pelvic bones of a woman. A long rope curves its way through the performance space and ends at this symbolic doorway. Influenced by the theories of the great psychologist Carl Jung, Martha Graham was exploring the mythological journey into the self in this dance. —ELLEN GRAFF

CAVE OF THE HEART (1946) Premiered at Columbia University in 1946 and originally entitled Serpent Heart, this dance is a psychological study of the destructive powers of love, the dark passions that guard the human heart, coiled like a serpent ready to strike when attacked. Medea, princess of the kingdom of Colchis, was known as a sorceress. Pierced by Cupid’s bow, she fell in love with the adventurer Jason and used her magical powers to help him gain the Golden Fleece. Sacrificing all that was dear to her, she fled with him to his home in the kingdom of Corinth, where they lived as man and wife and had two small children. But Jason was ambitious, and when offered the Princess of Corinth in marriage, he abandoned Medea. This is the moment in which Martha Graham’s dance begins. Betrayed and exiled from her

home, Medea plots a course that will end with the death of her rival, the Princess, and the murder of her own two children. The Chorus, foreseeing the tragedy about to be enacted, tries to prevent it, and suffers its unfolding. Graham’s dance confronts us with the horror of a woman betrayed, so crazed by vengeance that she commits the unthinkable, the murder not only of her lover’s new wife, but of her own children. She is the most detestable of beings, but she is not alien to us. In her exploration of these dark and primal passions Graham reveals the full range of what it is to be human. Ultimately this is a dance of transformation, as the Sorceress (Medea), cleansed by flames, is returned to her father the Sun. —ELLEN GRAFF

About the Artists

MARTHA GRAHAM Martha Graham has had a deep and lasting impact on American art and culture. She single-handedly defined contemporary dance as a uniquely American art form, which the nation has in turn shared with the world. Crossing artistic boundaries, she collaborated with and commissioned work from the leading visual artists, musicians, and designers of her day, including sculptor Isamu Noguchi and composers Aaron Copland, Samuel Barber, and Gian Carlo Menotti. Graham’s groundbreaking style grew from her experimentation with the elemental movements of contraction and release. By focusing on the basic activities of the human form, she enlivened the body with raw, electric emotion. The sharp, angular, and direct movements of her technique were a dramatic departure from the predominant style of the time. Graham influenced generations of choreographers that included Merce Cunningham, Paul Taylor, and Twyla Tharp, altering the scope of dance. Classical ballet dancers Margot Fonteyn, Rudolf Nureyev, and Mikhail Baryshnikov sought her out to broaden their artistry. Artists of all genres were eager to study and work with Graham— she taught actors including Bette Davis, Kirk Douglas, Madonna, Liza Minelli, Gregory Peck, Tony Randall, Eli Wallach, Anne Jackson, and Joanne Woodward to utilize their bodies as expressive instruments. During her long and illustrious career, Graham created 181 dance compositions. During the Bicentennial she was granted the United States’ highest civilian honor, The Medal of 26

Freedom. In 1998, TIME Magazine named her the “Dancer of the Century.” The first dancer to perform at the White House and to act as a cultural ambassador abroad, she captured the spirit of a nation. “No artist is ahead of his time,” she said. “He is his time. It is just that the others are behind the time.” ABOUT THE COMPANY The Martha Graham Dance Company has been a leader in the development of contemporary dance since its founding in 1926. Informed by the expansive vision of its pioneering founder, the Company has expanded contemporary dance’s vocabulary with masterpieces such as Appalachian Spring, Lamentation, and Chronicle, rooted in social, political, psychological, and sexual contexts. Always a fertile ground for experimentation, the Martha Graham Dance Company has been an unparalleled resource in nurturing many of the leading choreographers and dancers of the 20th and 21st centuries. Graham’s groundbreaking technique and unmistakable style have earned the Company acclaim from audiences in more than 50 countries throughout North and South America, Europe, Africa, Asia, and the Middle East. Today, the Company continues to foster Graham’s spirit of ingenuity. It embraces a new vision that showcases classics by Graham, her contemporaries and their successors alongside newly commissioned works. The Company is actively working to create new platforms for contemporary dance and multiple points of access for audiences.

Janet Eilber

Denise Vale

Martha Graham Center Artistic Director

Senior Artistic Associate

Janet Eilber has been the Center’s artistic director since 2005. Her direction has focused on creating new forms of audience access to Martha Graham’s masterworks. These initiatives include designing contextual programming, educational and community partnerships, use of new media, commissions and creative events such as the Lamentation Variations and Prelude and Revolt. Earlier in her career, as a principal dancer with the Martha Graham Dance Company, Ms. Eilber worked closely with Martha Graham. She danced many of Graham’s greatest roles, had roles created for her by Graham, and was directed by Graham in most of the major roles of the repertory. She soloed at the White House, was partnered by Rudolf Nureyev, starred in three segments of Dance in America, and has since taught, lectured, and directed Graham ballets internationally. Apart from her work with Graham, Ms. Eilber has performed in films, on television, and on Broadway directed by such greats as Agnes deMille and Bob Fosse and has received four Lester Horton Awards for her reconstruction and performance of seminal American modern dance. She has served as Director of Arts Education for the Dana Foundation, guiding the Foundation’s support for Teaching Artist training and contributing regularly to its arts education publications. Ms. Eilber is a Trustee Emeritus of the Interlochen Center for the Arts. She is married to screenwriter/ director John Warren, with whom she has two daughters, Madeline and Eva.

Denise Vale joined the Martha Graham Dance Company in 1985, attaining the rank of principal dancer. Roles performed include the Pioneer Woman in Appalachian Spring, Woman in White in Diversion of Angels, Chorus Leader in Night Journey, Chorus in Cave of the Heart, the Attendant in Hérodiade, Leader in the 1980s reconstruction of “Steps in the Street”, and Night Chant, a ballet created for Ms. Vale by Martha Graham in 1989. Graham solos performed include Lamentation, Frontier, Satyric Festival Song, and Serenata Morisca. Elizabeth Auclair Artistic Associate

Elizabeth Auclair was a principal dancer with the Martha Graham Dance Company, with whom she danced for over 16 years, performing many of Ms. Graham’s seminal roles. She has taught at numerous universities and dance academies both internationally and throughout the US, and regularly acts as regisseur, setting the Graham ballets on professional companies and college students. She has served as Associate Director for Graham II, Rehearsal Director for Pearl Lang Dance Theater, 360 Dance, the Martha Graham Dance Company, and currently for Cercando Picasso, an Italian theatrical production involving Graham dancing in an evocative look at the life and work of Picasso.

About the Artists (cont'd)

Dancers Participating in the Graham-Noguchi Program: Tadej Brdnik Principal

Tadej Brdnik began his career in Slovenia, joining the Company in 1996. He danced with White Oak Dance Project, Robert Wilson, Battery Dance Company, and Moveopolis among others and in works by Maurice Béjart, Lucinda Childs, Yvonne Rainer, Susan Stroman, Anne Bogart, Larry Keigwin, and others. He teaches internationally, at the Graham School, and for “Dancing to Connect." Former director of Teens@Graham, Mr. Brdnik is Education Director for the Downtown Dance Festival and owner of smARTconcierge. He is a recipient of the Benetton Dance Award and the Eugene Loring Award.

Miki Orihara Principal

Miki Orihara joined the Company in 1987. She has performed with many companies and choreographers including the Broadway Production of The King and I, Elisa Monte, Dance Troup (Japan), Twyla Tharp, Robert Wilson, PierGroupDance, and Lotuslotus. Ms. Orihara was a special guest artist for Japan’s New National Theater, and has premiered her works internationally and nationally. She teaches often in Japan, Art International in Moscow, Peridance, the Ailey School, New York University, among many others and works as an assistant for Yuriko. She recently received a Bessie Award for her contributions to dance. Lloyd Knight Soloist

Katherine Crockett

Lloyd Knight was born in England, reared in Miami, and trained at the Miami Conservatory Katherine Crockett joined the company in of Ballet. He has a BFA from the New World 1993 becoming principal dancer in 1996 School of the Arts, where he worked with performing major roles such as Jocasta, many renowned choreographers, including Clytemnestra, Circe among many others. Donald McKayle, Robert Battle, and Michael She has been featured in works by Robert Uthoff. He received scholarships to the Wilson, Anne Bogart, Lucinda Childs, Martha Alvin Ailey Center, Dance Theatre of Harlem, Clarke, Susan Stroman, and Yvonne Rainer. and the Martha Graham School. Mr. Knight She dances as Cate Blanchett in The Curious joined the Martha Graham Company in Case of Benjamin Button, starred with 2005, was promoted to soloist in 2009, and Mikhail Baryshnikov in Richard Move’s The performs starring roles in Appalachian Spring, Show, performed Lamentation in Kosovo Embattled Garden, Errand into the Maze, by invitation of Vanessa Redgrave, at The and others. Most recently, Dance Magazine Cannes Film Festival Gala of the Stars, the named Mr. Knight as one of the “Top 25 Vogue Fashion Awards, and runways of Dancers to Watch” in 2010. Alexander McQueen and Victoria’s Secret. She recently played Helen in SITI Company’s production of Trojan Women. Principal

Samuel Pott

Iris Florentiny

Soloist

Dancer

Samuel Pott received his BA from the University of California, Berkeley, and has performed with American Repertory Ballet, Oakland Ballet and in works by Marius Petipa, Martha Graham, José Limón, Twyla Tharp, Charles Moulton, and Val Caniparoli. In 2005, Mr. Pott founded Nimbus Dance Works, a company dedicated to building meaningful connections between concert dance and community. He received a Fellowship in Choreography from the New Jersey State Council on the Arts and is a member artist of the Arts Council’s Arts in Education program. Mr. Pott has taught dance at Rutgers University and is a practitioner of the Feldenkrais Method.

Iris Florentiny started her dance training in the south of France at the age of five. Later, she moved to Paris where she joined the Rick Odums Dance Company and worked on the Black Dance Project. Ms. Florentiny was a scholarship student at the Martha Graham School, recently completing her Professional Training Program, and is a member of Graham II.

PeiJu Chien-Pott Dancer

Peiju Chien-Pott received her BFA in dance from Taipei National University of the Arts. She was a lead dancer and rehearsal assistant with Taipei Crossover Dance Company and also worked with Taipei Royal Ballet. She was awarded a Merce Cunningham Studio Scholarship in 2008, and has performed with Buglisi Dance Theatre and Turkish choreographer Korhan Basaran. Ms. ChienPott is a member of Nimbus Dance Works performing lead roles and serving as a teaching artist. She joined Martha Graham Dance Company in 2011.

Abdiel Jacobsen Apprentice

Abdiel Jacobsen at the age of 16 became a certified professional ballroom and Latin dance instructor and competed professionally. He received a B.F.A. in Modern Dance from the University of the Arts where he performed works by Zane Booker, Roni Koresh, Scott Jovovich, and Louis Johnson and was a company member of the Smoke Lilies and Jade Arts Initiative. He is currently a member of Graham II.

Martha Graham Center of Contemporary Dance

Staff LaRue Allen Executive Director

Janet Eilber Artistic Director

Aaron Sherber Music Director

Beverly Emmons Lighting Designer

Faye Rosenbaum General Manager

Denise Vale Senior Artistic Associate

Elizabeth Auclair Artistic Associate

Suzanne Flanagan Development Associate

Simona Ferrara Company Manager

Anne Posluszny Production Manager

Judith M. Daitsman Lighting Supervisor

Karen Young Costume Supervisor

Maria Garcia Wardrobe Supervisor

Tami Alesson Director of Education

Virginie MĂŠcĂ¨ne Director of School

Harlan Vaughn Marketing and Communications Associate

Susan Upton Resources Manager

Angela Wiele International Student Advisor

A. Apostol Assistant to the Executive Director

Tadej Brdnik Manager of Special Projects

Olga Alagiozidou School Administrator

Regisseurs Tadej Brdnik, Linda Hodes, Peggy Lyman, Miki Orihara, Marni Thomas, Denise Vale Board of Trustees Judith G. Schlosser Chairman

Inger K. Witter President

LaRue Allen Executive Director

Peter Allstrom Amy Blumenthal Audra D. Cohen Neila Fortino Beau Gage Inga Golay Laura J. Gordon Jon Gralnik John Hotta John Keller Adam Klein Lorraine Oler Paul Szilard Ronald Windisch

North American Representation Rena Shagan Associates, Inc. www.shaganarts.com International Representation Paul Szilard Productions, Inc. Attract Productions szilardpro@aol.com The ballets in this performance are presented with support from Board of Trustee members Francis Mason, Judith Schlosser, Delores Weaver, and Inger Witter. Â Certain works performed this season are available in part through the efforts of Marvin Preston.

Alumni Search If you or someone you know has ever performed with the Martha Graham Dance Company or attended classes at the Martha Graham School, please send us names, addresses, telephone numbers, and approximate dates of membership. We will add you to our alumni mailing list and keep you apprised of alumni events and benefits. Call 212.838.5886 or e-mail info@marthagraham.org. The Martha Graham Center of Contemporary Dance is a not-for-profit corporation, supported by contributions from individuals, corporations, foundations, and government agencies. Contributions in support of the Martha Graham Center will be gratefully received at the Martha Graham Center of Contemporary Dance, Inc., 316 East 63rd Street New York, NY 10065, or visit www.marthagraham.org/contribute. For more information, visit www.marthagraham.org

Board of Trustees The Performing Arts Center Foundation

Christopher T. Clark Secretary

Barbara B. Dixon Emily Grant Purchase College Foundation Chair Emerita

Donald LandisÂ Chair Emeritus

Harry McFadden Obie L. McKenzie Vivian Milstein David M. Mullane Dr. Betty B. Osman Dean Schaffer Thomas J. Schwarz Jeannine Starr Douglas B. Waggoner First Vice Chair

Lucille Werlinich

Staff The Performing Arts Center

Managing Director Harry McFadden Administration & Finance Karl Duchek Director of Finance, Campus Foundations

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Director of Production

Janice Kahl

Peter Specce

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Lisa Finger Josh Hernandez Kristen Kamsler Pete Polinski Ryan-Ashleigh Reid

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Arthur Civitella

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Programming & Education Jan Sillery

Education Director

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Carmen Carvajal Luis Duque Marie Williams Jorge Lara Juan Martinez

Production Coordinator

Stage Crew Gerard Bourcier Jim Chin Peter Cole Paul Copeland Jeff Gottesfeld Jon Hatton Rob Martin Paul Newman Tim Plummer Vinny Procker Itzy Ramos Lloyd Rothschild Andy Ryder Jason Tipa John Ward Ticket Office Tania Mather Ticket Office Manager

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Custodial Crew

Student Staff Administration Joseph Blanco Thomas Greco Alexa Kay Gabrielle Lipner Barbara Paulus Arts-in-Education Dominique Schwenner Molly Stulmaker Company Management Molly Aronson Development Morgan Anderson Christina Blankenship Peter Chang Caitlin Kenyon Shannon Licitra Anna McTiernan Sean McVerry Melissa Toomey Nattie Trogdon

Operations Ori Bensimhon Zachary Doe Kyle Ferguson Alison Ferreira Alexander Havard Zoe Hoarty Jesse Ortigas Natalie Price Sarah Testerman Ticket Office Rosanna Azzara Tara Bayat Zac Babcock Brittany Bush Jonelle Murdock Paige Riddering Joe Sabia Jacob Sachs-Mishalanie Alina Suriel Rachel Stanton Frank Virgintino House Captains Adrien Behn Alejandro Ceballos Michelle Charles Maria Hadge Leila Hegazy Derrick Hicks Lindsey Jones Elliott Perko Ariel Portalatin Tkeyah Robinson Maya Yoshida

Head Ushers Christian Cepeda Sean Hernandez Richard Liverano Tanya Neiman Anthony Oâ&#x20AC;&#x2122;Shea Ushers Jennifer Aleman Daniel Alfonso Peter Chang Scott Davis Caitlin DeRocker Alison Ferriera Sarah Ford Leianna Frazier Sarah Guzman Bethany Handzel Michael Hart Brittany Houlihan Lena Kasen Leah Kelemen Rachel Kodweis Peggy Marchi Rebecca Miner Gina Mingione Matthew Perez Julia Podpora Stephanie Rappa Paige Riddering Motomi Saito Collin Schulbaum Matthew Sekellick Brigid Slattery Isabel Umali Jonathan Weisgerber Karolina Wernek Emma Zeger Wan Zhao Sophia Zukowski *Intern

The Prompters We thank The Performing Arts Center’s volunteers for donating their time, energy and talent! Lila Roberts

Phyllis Canter

Beatrice Nadel

Hannah Shmerler

President

Secretary

Treasurer

President Emeritus

Arts-in-Education Rosalie Sauerhaft

Administration Adrienne Hickey

Vice President

Performing Arts Workshops for Secondary Students (PAWS) Ruth Kirshner

Community Outreach Sue Levy

Office Staff AiE Barbara Eckstein Roland Henderson Adrienne Hickey Marilyn Jablonski Nancy Matarese Luci Menin Vicki Resnick Marcia Sameth Laurel Woolf

Vice President

Crafts on Stage Theresa Capuana Laurel Woolf Vice Presidents, Co-Directors of COS

Ruth Marcus Director of Exhibitors

Staff Support Jane Dubin Usher

Gift Shop Kathleen Artese Vice President

Membership Liz Stadler Newsletter Adrienne Hickey Hospitality Helga Vernon

Bonnie Lempit Business Manager

Beatrice Nadel Ruth Marcus Buyers

Liz Stadler Scheduler

Sue Levy Display

Originated in 1980, The Prompters is the volunteer task force dedicated to supporting the mission of The Performing Arts Center, Purchase College, and to enhancing its activities. The volunteer program includes the following: • Supporting a prestigious Arts-In- • Operating a lobby gift shop Education outreach program serving • Producing Crafts on Stage, an annual school districts throughout the region crafts fair • Providing ushers for The Center’s theaters • Assisting Center staff with mailings • Providing guides for in-depth tours of The Center To volunteer or for further information about The Prompters program – including the crafts fair– please call the Prompters office at 914-251-6272. 35

Neuberger Museum of Art | The Performing Arts Center Gala 2011 2 Cultural Institutions: 1 Creative Evening Gala Co-Chairs

Ticket Sponsors

Gold Table Sponsors ($10,000)

Platinum ($1,250)

Susan & Jim Dubin Joan & Paul Ellis Lucy & Richard Glasebrook Emily & Eugene Grant Susan & David Mullane and Natalie & Obie McKenzie Mrs. Richard Jacobs and Mrs. Carl L. Kempner Helen Stambler Neuberger & Jim Neuberger Ann & Tom Scheuer Thomas J. Schwarz Monica & Rick Segal Rachel & Alex Stern Karin & Doug Waggoner Table Sponsors Platinum ($30,000)

Donna & Marvin Schwartz Gold ($10,000)

Arlene & Benedict Morelli Silver ($5,000)

Joseph S. Blank Marjorie & Tom Gilbert and Betty & Al Osman Martha & David Zornow

Hannah & Walter Shmerler Judith & Stanley Zabar Gold ($500)

Kathleen Artese Doreen & Gilbert Bassin Judith & Joel Bauer Blair Bennett & Robert F. Herrmann Deborah & David Boillot Ronni Rubin Bolger Angela Brock-Kyle & Bernard Kyle Jane & Donald Cecil Barbara T. Cowen Barbara & Paul Elliot Cecile Engel Roberta Franklin Monah & Alan Gettner Denyse & Marc Ginzberg Wendy & Jim Gold Carol & Arthur Goldberg Sandy & George Gottlieb Tamara Greeman Natalie & Don Handelman Dr. Susan Harris & Thomas Molnar Lenore & Michael Hyatt Marcella Kahn Marcia & David Kimmel Maryln Kimmel Ellen Kozak Natalie Lansburgh Francine & Dr. R. Richard Leinhardt Sue Levy Mr. & Mrs. Robert Linton Tony Maddalena

Carolyn & Lawrence Mandelker Sally & Jay Meltzer Harriet Miller Nancy & Morris Offit Marilyn & Hugh Price Nicholas Puro Diana & Charles Revson Elizabeth & Elihu Robertson Jennifer & Jim Sandling Annette Schehr Mr. & Mrs. Eugene B. Shanks, Jr. Deborah & Alan Simon Sylvia Smith & Steven Wortman Jacqueline Bellsey Starr & Lee Starr Karen & Doug Sweetbaum Sally K. Thomson Birgit & Dan Townley Jacqueline & Arthur Walker Cheryl & Glenn Zeitz Silver ($275)

Barbara & Dr. Harry Delany Abby Kohnstamm Bunny & Marvin Mitchneck Barbara Pollard & Mitchell Stein Claire & Richard Yaffa

Contributions Ann Neuberger Aceves Laurie & Peter Atkins Sondra & Paul Benowitz Maureen & Howard Blitman Laura & Richard Brounstein Mary & Robert Capaldi Lois Chiles & Richard Gilder Sandra & William Cordiano Giovannella & Edward Dunn Teri J. Edelstein Alfred Feinman Mr. & Mrs. Anthony Fingleton James Flood Helaine Friedman Paul Gardner Laurie & Stephen Girsky Sarah & Seth Glickenhaus Ruth S. Greer Lynn & Martin Halbfinger Ruth & Stephen Hendel Nancy Ann & Samuel Karetsky Pat & John Klingenstein Sharon & Frederick Klingenstein Ruth & Sidney Lapidus Marlin & Jeff Lewis Ellen Liman & Jeff Liebman Judith & Michael Margulies Alice Michaels Gertrude G. Michelson Hon. Sondra Miller Mr. & Mrs. Lester S. Morse, Jr. Paula Oppenheim Jane Orans & Marshall Taylor Ann Marie & Jeff Petach Mr. & Mrs. William A. Potter Peter Price

Nataly & Toby Ritter Joan Scheuer Robert Shapiro Susan & Jeffrey Stern Judy & Charles Temel Joan & Allen Thompson Mr. & Mrs. David Tookmanian Paul Williams Alison & Bob Wise Ava & Paul Zukowsky Underwriting Elizabeth Ebbert & Gil Ha Marcella Kahn Donna & Marvin Schwartz Deborah & Alan Simon Sara & Michelle Vance Waddell Jacqueline & Arthur Walker

As of February 6, 2012

Neuberger Museum of Art | The Performing Arts Center Gala 2011 2 Cultural Institutions: 1 Creative Evening

Al and Betty Osman, Audra McDonald

Joan and Paul Ellis, Karin and Doug Waggoner

Lucille Werlinich, Timothy Caldwell, Barbara Dixon

Susan Mullane, Wiley Hausam, Audra McDonald, David Mullane

President Thomas J. Schwarz, Audra McDonald

Chris Clark, Angela Brock-Kyle and Bernard Kyle

David Mullane, Michael Starr

Jeannine Starr, Charles Revson

Audra McDonald, Helen Stambler Neuberger and Jim Neuberger

Annual Fund Campaign Gifts made from July 1, 2010, through March 27, 2012

Leaders' Circle ($25,000 and above)

ArtsWestchester Vivian Milstein Benefactors' Circle ($10,000 - 24,999)

Sue Levy Mid Atlantic Arts Foundation David and Susan Mullane Dean and Linda Schaffer Tanaka Memorial Foundation Karin and Douglas Waggoner Mr. and Mrs. Alan G. Weiler Directors' Circle ($5,000 - 9,999)

Joan and Robert Arnow Fund Mr. and Mrs. Theodore Berk Mr. and Mrs. Christopher T. Clark Barbara and Richard Dannenberg Joan and Paul Ellis Roberta Franklin Estate of Margot I. Irish Mr. and Mrs. John Irwin III The Grateful Foundation, Inc. Karin and Mitchell Weisburgh Lucille Werlinich Patrons' Circle ($2,500 - 4,999)

Two Anonymous Shari and Jeffrey Aronson Richard and Eslyn Bassuk Froma and Andy Benerofe Fay and Norman Burger Estate of John Cittadino Thomas S. Murphy Betty and Al Osman

Amy and John Peckham Janice Rabinowitz Jennifer and Jim Sandling Hannah and Walter Shmerler Deborah and Alan Simon Nancy and Arthur Stampleman Carol and Daniel Strickberger Sally K. Thomson Donors' Circle ($1,000 - 2,499)

Kathleen N. Artese Michael and Margherita Baldwin Lee and Jacqueline Bellsey Starr Pamela Becker and James M. Roberts Ellen A. Bierman Phyllis Canter Cornelius L. King Charitable Foundation Thea Duell and Peter Cook Debra Fram and Eric Schwartz Arline and Paul Gardner Sarah and Seth Glickenhaus Barbara and Stanley Goldstein Joe and Joan Gorman Tom and Bonnie Grace Paul and Barbara Jenkel Mrs. Penelope D. Johnston-Foote Mrs. Carl Kempner Maryln Kimmel Phyllis Klass Nita and Stephen Lowey Ruth Norek Kathy O'Shaughnessy

Susan and Lewis Rapaport Erroll and Martha Rhodes Dr. and Mrs. Nathan E. Saint-Amand Ann and Tom Scheuer Peter W. Schweitzer Mr. and Mrs. Eugene B. Shanks, Jr. Isabelle Sherlock Dr. and Mrs. Ronald H. Spiro Margaret Sullivan and Rick Lawrence Carole and Frederick B. Taylor Lesley and Tom Todaro Lucy R. Waletzky, M.D. Mrs. J.P. Warburg Mr. James L. Weinberg Contributor ($500 - 999)

Mr. and Mrs. Per Arneberg Dr. M. Donald and Paulette Blaufox Fay and Norman Burger in honor of Wiley Hausam Dan and Karen Cooper Barbara and Richard Dannenberg Michelle and David Florence Mary and Michael Gellert Reva and Joshua Greenberg Marilyn and Gary Hellinger Joy Henshel Edward Herbster Patricia Jacobs Denise and Morton Joselson Marcella Kahn Barbara and Frank Klein Jill L. Leinbach Austin and Bonnie Lempit

Janis and Alan Menken Foundation The Netter Foundation, Inc. Dr. Barry and Joanne Reed Charles and Diana Revson Deborah and Chuck Royce Mr. Daniel Shefter Jill and Sam Sheppard Ellen F. Simon Barbara and Herbert St. Lifer Nancy and Roger L. Strong, Jr. Linnet Tse and John Forsyth Marin Cosman and George Vaida David and Martha Zornow Devotee ($250 - 499)

Louise Albin and Susan Cohen Mr. and Mrs. Seymour Askin Robert and Mary Capaldi Lawrence Carmel Stephen and Robin Constantine Gail C. Conway John and Nancy Dexter Cheryl and Daniel Dunson Richard and Anita Dye Dr. Lee Ehrman Mrs. Adrienne Eiseman Sheldon and Katherine Eisenman Robert and Elaine Erichson Dvora and Alfred Fields Dr. and Mrs. Roland Folter Richard and Nancy Goodman Gabriele and Max Greenstein Dorothy Haas Mr. and Mrs. Donald E. Handelman Fran and Bill Klingenstein

Robert and Lucy Krasnor Dick and Julie Leerburger Robert and Margot Linton Karen and Charlie Menduni Joan and Robert Meyer Laurie Nevin Essie and Jerome Newman Mr. and Mrs. Lawrence Nokes Eve Hart Rice, M.D. and Timothy D. Mattison, M.D. Daniel O'Day Judith and Donald Pinals Nataly and Toby Ritter Jill E. Rosen Brian and Ginny Ruder Laura J. Schachter Sherry Schwartz Arlene and Robert Sherwood Marilyn and Leon Silverman Maida Snapper Dr. Robert and Amy Sommer Carol Stix and Herbert Hochberg Mr. and Mrs. Sam Telzer Herb and Liz Tulchin Irma and Henri Van Dam Supporter ($100 - 249)

One Anonymous Allison Arvanitis and John Savage John K. Ayling Charles and Patricia Baker Dr. and Mrs. Bert Ballin Mrs. Luiza Balthazar William and Carolyn Banfield Peter and Emily Bauer Caroline G. Bauman, M.D.

Aileen Baumgartner and Thomas Gora Peggy and James Berman Peter N. Berns Ms. Leslie B. Rich Marilyn and Ira Birnbaum Mr. Richard Bobbe Peter Boehm - Dualities Antiques and Art, Inc. Stanley Boorman Lois and John Bregstein Stephen and Merle Brenner Hy and Eleanor Brot Joann Huitt Brown Robert and Leah Brown Mark Cannon Susan Carlson Marilyn Castaldi and Howard Singer Rosalie Catalfamo Barbara and Peter Clapman Margaret L.B. Collins Jane David and Jack Chachkes Ms. Barbara D. Deller Mr. Donald B. Derr Georgia M. Doran Anita and Anthony Dowding Gladys Dubin Ellen and Paul Dulberger William and Lisa Eckstein Susan H. and Arthur E. Eisman Mr. and Mrs. Albert Fenner David and Judith Fields Mr. and Mrs. Jim Fishbein Donald J. Fleishaker Rhoda and Avram Freedberg Bud and Jackie Freedman Judge Robert J. Friedman Jack and Joan Frishman Donna and Ed Fuhrman

Drs. Henry and Michele Gasiorowski Annette and Len Gilman Barbara Gluss Lila and Bob Goldberg Marcia and Bud Goldfinger Mrs. Mary G. Larkin Dr. and Mrs. James Golub Helen and Bill Gore George and Judy Graff Dr. and Mrs. Stephen Gray Sylvia Greenberg Dr. Ruth Greer Judy Gruenberger Patricia and Donald Hammalian Elizabeth and David Haron Jack and Adrienne Hickey Barbara and Paul Hicks Stanley and Miriam Hirsch Kenneth Hollister Steve and Peggy Holton Lisa and Lawrence Honigman Lori and Robert Horowitz Barbara Jackson Marcia and Harvey Jacobson William F. Jarvis Hilda Johnson Doris S. Judell Mr. Frank Kaiman and Ms. Laura Dann Joyce and Peter Kanyuk Jeff and Pat Karp Helene and Howard Katz Martin and Ruth Kest Dr. and Mrs. Robert M. Klein Barbara and Bart Klion Lynn Kotzen Angela Brock-Kyle and Bernard Kyle Catherine Lace Linda Lang Monica Lee Sally C. B. Lee Alice and Stanley Levin Dr. and Mrs. Jerome Levine

Debbie and David Levitt Jay and Barbara Levy Constance and Joseph Lewin Gerald F. Lewis Marian and Fred Lichtstein Helen and John LiMarzi Eleanor and Eugene Litwak Abbie Lovinger Dr. Jonathan Mardirossian Norma Massen Sally and Jay Meltzer Vivian and Norman Milefsky Seth Segall and Susan Mirialakis Ms. Maag Mitton Pamela and Roger Moyer Norman Nadel and Sandra Forster Eda L. Newhouse Dorothea and Ken O'Connor Harold and Ruth Ossher Janice F. Pachner Sharm and James Paley Susan and Barry Peretz Heather and Elliott Perla Joseph V. Personeni Joanne Peyser and Robert Bresler Dr. and Mrs. Norman C. Pfeiffer Harry and Marjorie Phillips Sharon and Irving Picard Virginia and Jonathan Powers Maria Razza Lawrence and Madeline Reich Uriel and Lorraine Reid Denise Rempe Vicki Resnick Charles and Fay Rice Christopher Robbins and Shelly Ross David Bruce Robbins Daniel and Betty Roberts Lila Roberts Mr. and Mrs. Irwin I. Rofman

Wendy and Alan D. Rosenberg Phillis H. Rosenthal Connie and Art Rosner Marcia Wallace and Martin Rubenstein Nancy Rubin Carole and Evin Rubin Rosemarie Ruggiero and Paul Martino Anne Marie Russillo Sandra and Harold Samuels Henrietta Sanford Mrs. Faith F. Saunders Lynnette and Richard Scherzer Risa M. Schifter and Edward A. Kirtman Mr. and Mrs. Jeffrey Schlein Pearl R. Schoenberg William and Debbie Schrag Mrs. Myra Schubin Mr. and Mrs. Sy Schulman Rhona Merkur and Paul Schupak Martin and Betty Schwab Foundation Judy and Ed Schwartz Warren and Thelma Serenbetz Lewis and Linda Shapiro Frederick and Carolyn Shulman Elliott and Barbara Skluth Idelle and Phil Skriloff Diane and Steven Solomon Martin and Grace Soloway Gloria and Gene Sosin Dr. and Mrs. Frank Steeg Ruth Stein Barbara Birshtein and Howard Steinman Eleanor and Abe Stenberg Leslie Sweedler Sheila and Richard Sweet Mrs. Francine Tancer

Ms. Alice J. Tenney and Mr. Bud Wiesenberg Marcia Teschner Mr. and Mrs. Thomas Townsend Inge Treser Patricia Truscelli and Bud Ellis H. G. Twitchell Mr. and Mrs. Gus Van Loveren Helga and Alan Vernon Charles Vietrogoski Judith Waksberg & Philip Genty Patricia H. Walsh Jennifer and Ralph Watts Mr. and Mrs. Robert Wax Emily Aber and Robert Wechsler Ruth and Marvin Weinstein Catherine and Dr. Melvin Weiss Barbara Whitman and David Carlyon Rose and Steven Witte in honor of Anne Harrington Delgado M. Cabell Woodward Diana and Lou Worby Benjamin Zelermyer and Dianne Selditch Marcel and Joan Zimetbaum Mr. and Mrs. Marc Zoldessy

Gifts In Kind Aquario Arcadia Floral Co. Doral Arrowwood Greenwich Magazine Hoff-Barthelson Music School Hyatt Summerfield Suites Serendipity Magazine The Wag Westchester Magazine Endowment Named Funds in Perpetuity PepsiCo, Inc. Hannah and Walter Shmerler Endowment Contributors The Bee Steinhaus Memorial Arts-In-Education Fund

The Performing Arts Center also wishes to thank the companies listed below for supporting cultural institutions through employee matching gift programs. We encourage you to inquire whether your company has such a program, and maximize your support of The Center. BlackRock ExxonMobil IBM Kraft Foods MasterCard PepsiCo Pfizer Reader's Digest

Useful Information About The Performing Arts Center • The use of recording equipment and the taking of photographs in the theatres is strictly forbidden. • As a courtesy to all patrons and performers, please turn off electronic devices during the performance … and kindly unwrap hard candies or lozenges before the performance begins. • Latecomers will be seated at the discretion of management. Patrons who leave a performance while it is in progress may be not readmitted until there is a break. • Smoking is not permitted in any area inside The Performing Arts Center. • Red EXIT signs are located above the exits from the theatres. Please take a moment to locate the exit nearest your seat location and use this to leave the building in an emergency.

Important Phone Numbers … Ticket Office 914-251-6200 Hours: Tuesday through Friday, noon to 6pm (and until intermission on performance nights); weekend hours vary by performance. Lost & Found House Management: 914-251-6209 General Information and to reach any staff member 914-251-6222 Theatre Rentals Dan Sedgwick, Director of Operations: 914-251-6180 Group Sales Coni Guhl: 914-251-6186 Any group of 15 or more can book great seats at low prices.

Play a Part …

•Like us on Facebook •Follow us on Twitter •Watch us on YouTube •Email us at center@purchase.edu •Visit us at www.artscenter.org 44

Program Design: Ronny Quevedo

Here are some of the ways that you can get involved behind the scenes: Join The Prompters Our loyal volunteers, The Prompters, provide invaluable support including ushering, operating the gift shop, assisting in the office and leading behind-the-scenes tours. Call The Prompters at 914-251-6272. Internships For information about opportunities, call Coni Guhl at 914-251-6186.

Donors to the Purchase College Foundation $1000+ (Fiscal Year 7/1/10 â&#x20AC;&#x201C; 6/30/11) Contributors provide the financial support that enables the College to enhance the creative and scholarly efforts of faculty and students, to develop special projects linking the College and the community, and to enrich the cultural, intellectual, and artistic life of the region. Dr. & Mrs. John R. Ambroseo

Mr. & Mrs. Reed Elfenbein

Dr. Robin Kaufman

Andrew R. Demar Family Foundation, Inc.

Mrs. Valerie Enders

Mrs. Carl Kempner

Entergy

Mr. Nizam Kettaneh

Anonymous Ms. Kathleen Artese

Fairfield County Community Foundation, Inc.

Key Bank National Association

Ms. Dina J. Artzt

Mrs. Jane Falk

Ms. Ellen Kiam

BASF Corporation

Mr. & Mrs. Robert Feder

Ms. Phyllis Klass

Mr. & Mrs. Richard Bassuk

Dr. Joshua Fink

Froma & Andrew Benerofe

Mr. & Mrs. Peter Fishbein

Mr. & Mrs. William Klingenstein

Mrs. Joan Birman

Ms. Lynne Koehler-Lewis

Ms. Ronni R. Bolger

Frances & Benjamin Benenson Foundation

Bossak Heilbron Charitable Foundation

Friars National Association Foundation, Inc.

Mr. Robert T. Lang

Mr. & Mrs. Daniel A. Burack

Furth Family Foundation

Ms. Deborah Slaner Larkin & Mr. John Larkin

Mr. & Mrs. Norman Burger

Dr. & Mrs. Howard S. Garson

Mr. & Mrs. Joseph Leff

The Carroll & Milton Petrie Foundation

Mrs. Nancy Gladstone

The Lents Foundation

Ms. Lynn Goodkin Hamlin

Mrs. Marion H. Levy

Mr. & Mrs. Donald Cecil

Mr. & Mrs. Stanley Goodman

Lewis G. Schaeneman, Jr. Memorial Scholarship Foundation

The Central NationalGottesman Foundation Chalfonte Realty Corp. Dana & Sunny Comfort Compass Group Con Edison Co. Ms. Elaine Wingate Conway & Mr. E. Virgil Conway Ms. Barbara Cowen Mr. Dennis Craig Ms. Corina Larkin & Mr. Nigel Dawn Mr. & Mrs. Jon DeMartin Ms. Nancy Durr Mr. Scott Dyer & Ms. Kathryn Ward The Edward John & Patricia Rosenwald Foundation

PAC_ProgramWrap11-12_Pages.indd 9

The Gordon Parks Foundation Ms. Pamela Thomas-Graham & Mr. Lawrence O. Graham

Mr. Irwin P. Labadorf

Mrs. Dolly Maass Ms. Rose Mack Mr. & Mrs. James Magruder

Mr. & Mrs. Eugene Grant

Ms. Jeanne Markel & Mr. Chris Wedge

Mrs. Phyllis C. Hyacinthe

Dr. Ronen Marmur

Ms. Marjorie S. Isaac

Ms. Leticia Martignon

Mrs. Richard Jacobs

Mr. & Mrs. Leonard Marx, Jr.

The Jerome Robbins Foundation

Mr. Bernard Mayrsohn

The Joe Williams Every Day Foundation Dr. Allen Joseph Joseph & Sophia Abeles Foundation

Morgan Stanley Mrs. Barbara Neale & Mr. Edwin Neale Mr. & Mrs. William Oppenheim

Ms. Doris Judell

The Peter Jay Sharp Foundation

Ms. Marcella Kahn

Mr. & Mrs. Carl Petrillo

9/28/2011 12:09:30 PM

Donors to the Purchase College Foundation

(contâ&#x20AC;&#x2122;d)

Mrs. Charles S. Port

Ms. Margaret Sheppe

Ms. Lucille Werlinich

Ms. Charmaine Portis

Mr. & Mrs. Walter Shmerler

The Presser Foundation

Dr. & Mrs. Alan Simon

The Westchester Community Foundation

Mr. Jeffrey Putman

Mr. Thomas E. White

Ms. Anne Rees

Dr. & Mrs. Jonathan Spanier

Mr. & Mrs. Charles Revson

Mrs. Myra Spitz

Mr. & Mrs. Elihu F. Robertson

Mr. & Mrs. Arthur Stampleman

Windgate Charitable Foundation

Mimi & Jim Rosenwald

Mrs. Renee Steinberg

Mr. Jose Zaragoza

Ms. Debra A. Roth

Mrs. Lynn Straus

Dr. Catherine Ziegler

Mrs. Gay Sachs

Strypemonde Foundation

Mr. Myles Sachs

Ms. Margaret Sullivan & Dr. Richard Lawrence

Mr. Lawrence Sachs Mr. & Mrs. Thomas Scheuer President Thomas J. Schwarz

Mr. & Mrs. Ralph Wyman

Mr. & Mrs. Charles Svenson

Dr. Carl Safina Ms. Amy Schwartzman

Mr. & Mrs. Robert Wiener

Dr. & Mrs. Richard Sweet Dr. & Mrs. Robert J. Timberger Mr. & Mrs. Robert F. Weinberg

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Guaranteed Discount Parking serving the Westchester County Airport

Drive your car to our spacious lot on the campus of Purchase College; we’ll valet park your car and provide a complimentary shuttle ride to the terminal gate! It’s easy, affordable, and with each reservation, you give back to the Purchase College Community!

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Rate includes complimentary shuttle ride to and from airport. Visit www.PP2F.org to reserve today, or call 1-855-FLY-PP2F.

We’re Not-for-Prooit. Your parking directly supports the Purchase College Community!

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COME JOIN US AFTER THE PERFORMANCE!

We have proudly been serving patrons in the New York City area for over three decades. Our flagship location is anchored at the corner of Arthur Avenue and 187th street in the heart of the Bronxâ&#x20AC;&#x2122;s Little Italy section. We look forward to catering to our newest customers and providing quality Italian cuisine in our convenient location in Purchase, New York. We are pleased to offer you an Arthur Avenue experience for all of your dining needs, including on premises catering for private parties and corporate events.

Full Moon Trattoria 632 Anderson Hill Road Purchase, New York 10577 tel. (914) 481-5811 | fax (914) 481-5815 email: FullMoonTrattoria@gmail.com www.FullMoonTrattoria.com Present Ticket Stub from Todayâ&#x20AC;&#x2122;s Performance and Receive 10% discount (limit one per party)

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578 Anderson Hill Road, Purchase NY 10577 eat out 914.437.9700 | take out 914.437.9701 authentic, organic Chinese cooking www.chinawhiteusa.com

Present your Performing Arts Center ticket stub at Present your Performing Arts Center ticket stub & receive 15% off your bill 578 Anderson Hill Road, Purchase NYChinawhite 10577 at Chinawhite & receive 15% off your bill eat out 914.437.9700 | take out 914.437.9701 authentic, organic Chinese cooking www.chinawhiteusa.com

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the arts Matter to Westchester?

â&#x20AC;&#x153;I have witnessed the very real healing power of the arts, as I have watched clients tap into their dreams and hopes, and discover their unique voices.â&#x20AC;? -Amy Kohn, Ph.D. CEO, Mental Health Association of Westchester

Why do the arts matter? Because the arts touch everyone.

PAC_ProgramWrap11-12_Pages.indd 14

9/28/2011 12:10:07 PM

The Gift

Shop

at The Performing Arts Center

Quality Arts Instruction by Artists & Musicians for Over 50 Years

The Gift Shop is operated by The Prompters, an all-volunteer organization dedicated to the success of The Performing Arts Center. All proceeds benefit The Center.

Receive $10 Off With This Ad

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