Performances Magazine - Nutcracker at the Music Center - December 2018

DEC 2018 Glorya Kaufman Presents Dance at The Music Center

Miami City Ballet

Miami City Ballet’s production of George Balanchine’s The Nutcracker®.

Choreography by George Balanchine© The George Balanchine Trust. Photo by Alexander Iziliaev.

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⁄⁄⁄⁄ DECEMBER 2018

CONTENTS 16 GOOD ADVICE

Advisory boards and individuals help arts companies improve performances and community ties.

22 SANCTUARY OF SWEET

The Bob Baker Marionette Theater vacates its downtown home, presents The Nutcracker in Pasadena.

P1 PROGRAM

Cast, who’s who, director’s notes, chairman’s letter and donors.

Los Angeles Ballet’s The Nutcracker is set in 1912 L.A.; Meat Loaf-inspired Bat Out of Hell is at the Ahmanson.

12 DATELINE Musical The Prom in New York; Agatha Christie’s Witness For the Prosecution at London’s County Hall.

76

62 SHOPPING A.L.C. boutique at new Palisades Village blends “the attitude of New York with the ease of L.A.”

70

70 HOME

80 TRAVEL

Projects by Santa Monica-based interior designer Sarah Barnard reflect her clients’ values.

The number of U.S. visitors to South Korea has soared this year; there are lots of good reasons to join them.

76 DINING

88 BACK PAGE

Another highly regarded chef arrives downtown: Jessica Largey, with Simone in the Arts District.

Lantern Art Festival, Los Angeles Arboretum in Arcadia.

P. 76, ROSE DERBY AT SIMONE, ROB STARK. P. 70, COURTESY SARAH BARNARD

8 IN THE WINGS

2 PERFORMANCES MAGAZINE

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EVENTS ⁄⁄⁄⁄ EXHIBITS ⁄⁄⁄⁄ PERFORMANCES

INTHEWINGS

LOS ANGELES BALLET stays true to the traditions of Tchaikovsky’s The Nutcracker: Clara and her Nutcracker battle a memorable Mouse King, encounter dancing Snowflakes and travel to the Palace of the Dolls. But it all unfolds in Los Angeles circa 1912; local touches include a Spanish-style home, calla lilies and bougainvillea, Venice archways and a moonlit Pacific Ocean. Performances takes place Dec. 1-2 at Alex Theatre (216 N. Brand Blvd., Glendale, 818.243.2539, alextheatre.org); Dec. 8-9, with Los Angeles Ballet Orchestra, at Dolby Theatre (6801 Hollywood Blvd., Hollywood, 323.308.6300, dolbytheatre.com); Dec. 15-16 at Redondo Beach Performing Arts Center (1935 Manhattan Beach Blvd., Redondo Beach, 310.937.6607, redondo.org); and Dec. 22-24 at UCLA Royce Hall (340 Royce Drive, L.A., 310.825.4403, roycehall.org). More information: losangelesballet.org

REED HUTCHINSON / LOS ANGELES BALLET

Los Angeles Ballet, Snowflakes in Tchaikovsky’s The Nutcracker.

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GET T Y, M. BERTOL A / MUSEE DES BEAUX-ARTS, STR ASBOURG. SKIRBALL COURTESY JULIE SAUL GALLERY, NEW YORK

DRAWING ON inspiration from ART classical sculpture and the study of the live model, Renaissance artists made the nude central to their art, creating lifelike, vibrant, and varied representations of the human body. This transformative moment would shape the course of European art history and resonate through to the present day. On view at the J. Paul Getty Museum through Jan. 27, The Renaissance Nude traces the rise of the genre over the course

of a century with more than 100 works in various media; they’re made in Italy, France, Germany and the Netherlands, from the early 15th to the early 16th century. “Since the Renaissance, the nude has been a central preoccupation of European Art,” says Timothy Potts, director of the J. Paul Getty Museum. “Yet until now, no museum has undertaken a comprehensive examination of where and how the nude obtained its preeminent place in art practice and history.” 1200 Getty Center Drive, L.A, 310.440.7300, getty.edu

Maira Kalman, In The River “My Favorite Things” (2014)

Cima da Conegliano, Saint Sebastian (1500-1502)

THE SKIRBALL CULTURAL Center presents Sara CULTURE Berman’s Closet, an exhibition by illustrator-author Maira Kalman and curator-artist Alex Kalman inspired by their mother and grandmother, respectively. The display, Dec. 4-Mar. 10, recreates Berman’s humble, meticulously organized closet of all-white apparel and accessories.

Sara Berman’s Closet was first recreated for Mmuseumm in a lower Manhattan alleyway, then presented last year at the Metropolitan Museum of Art. It’s complemented here by 12 paintings by Maira Kalman depicting scenes from her mother’s life. Born in Belarus and married in Tel Aviv, Jewish émigré Berman and her husband settled in the Bronx in the 1950s to raise a family. They eventually went back to Israel, but in 1980, after 38 years of marriage, Sara returned alone to a small apartment in Greenwich Village—and decided to wear only white. 2701 N. Sepulveda Blvd., L.A., 310.440.4500, skirball.org PERFORMANCES MAGAZINE 9

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EVENTS ⁄⁄⁄⁄ EXHIBITS ⁄⁄⁄⁄ PERFORMANCES

Isabella Rossellini, Link Link Circus

Andrew Polec in Bat Out of Hell the Musical

in love with Falco’s daughter. Songs include “Two Out of Three Ain’t Bad” “Dead Ringer for Love,” and “I’d Do Anything for Love (But I Won’t

Do That).” Sexuality, rebellion and motorcycles abound. 135 N. Grand Ave., downtown, 213.628.2772, centertheatregroup.com

THE WHIMSICAL Link Link Circus, THEATER starring Isabella Rossellini Jan. 25-27 at the Broad Stage, is quirky, scientifically informed and illustrated with Rossellini’s short comic films, home movies and animation.

Transforming herself into Aristotle, René Descartes, a medieval theologian, Harvard professor F.S. Skinner and Charles Darwin, Rossellini addresses recent discoveries about animal intelligence and emotions, and what distinguishes humans from “brutes,” while her dog Pan

plays various animals assisted by puppeteer and animal handler Schuyler Beeman. The Italian actress has appeared in American films including Blue Velvet and Death Becomes Her and worked with directors such as Robert Zemeckis and David Lynch. She is herself a filmmaker, runs an organic farm and is author of My Chickens and I (Abrams Books). Jan. 24, Rossellini joins David Bridel, dean of the USC School of Dramatic Arts, in a free conversation on life, art, animals and age. 1310 11th St., Santa Monica, 310.434.3200, thebroadstage.org

AHMANSON, SPECUL AR. ROSSELLINI , BRIGIT TE LECONBE

THE MUSICAL Bat Out of Hell, MUSICAL Jan. 8-Feb 3 at the Ahmanson Theatre, follows in the wake of We Will Rock You in its telling of a dystopian romance to a soundtrack of iconic songs.

Meat Loaf’s original Bat Out Of Hell album sold more than 43 million copies—making it one of the bestselling albums of all time—and inspired multiplatinum-selling sequels. Conceived as a rock opera based loosely on the Peter Pan story, it took songwriter-producer Jim Steinman four decades to bring the work to the stage. Steinman has set it in a future Manhattan known as Obsidian ruled by the tyrannical Falco. It centers on the Lost, a group of teens permanently stuck at age 18, whose leader falls

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⁄⁄⁄⁄ SHOWS ELSEWHERE

DATELINE

WHEN YOU’RE A TEEN, nothing is more exciting than prom night. Not even New Year’s Eve. But what if you’re a Midwestern high-school girl who wants to take NEW YORK her girlfriend to the dance and can’t? The Prom, a musical comedy at the Longacre Theatre, has the answer: Send in the clowns, or in this case, four larger-than-life Broadway actors who step in, save the day and set the disco ball twirling. In Choir Boy, beginning previews Dec. 12 at the Samuel J. Friedman Theatre, coming out and coming of age play out within an elite African-American boys gospel choir. Life lessons also abound in Harper Lee’s To Kill a Mockingbird. Aaron Sorkin’s stage adaptation of America’s recently named favorite novel, opening Dec. 13 at the Shubert Theatre, bids to become Broadway’s favorite play.

DEEN VAN MEER

The Prom at the Longacre Theatre.

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FROM

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⁄⁄⁄⁄ SHOWS ELSEWHERE

FANCY BEING PART of a jury?

The audience sits in the round, witnessing the legal drama unfold as if in a courtroom, at Agatha Christie’s Witness for the Prosecution. Originally slated through March, its run at County Hall, on the embankment of the River Thames, has been extended through September. The play is jam-packed with the plot twists typical of a Christie thriller.

Hadestown, at the National,

Rehearsal for Hadestown at the National Theatre

dazzles with its New Orleans jazz and contemporary American folk music. Hadestown is a retelling of the Greek myth of Orpheus and Eurydice, in which Orpheus travels to the underworld to retrieve his beloved Eurydice.

Dawn French plays the Wicked Queen in Snow White, Dec. 8Jan. 13 at the London Palladium.

Nigel Havers and Julian Clary also star in the comedic version of the fairytale.

Aaron C. Finley and Kaylin Hedges, Looking for Christmas

SAN DIEGO IS AGLOW with holiday offerTHE WEST ings and nowhere so much as the Old Globe.

Following deployment in Afghanistan, a military officer returns home to his family in Looking for Christmas. Kent Nicholson directs the world premiere of the musical, inspired by country star Clint Black’s 1995 album of the same name. It’s family-friendly, laced with ballads including “ ’Til Santa’s Gone” and “The Kid” and runs through December. Dr. Seuss’ How the Grinch Stole Christmas is at the Globe through Dec. 29. Tchaikovsky’s The Nutcracker is proliferating like snowflakes! City Ballet of San Diego is at Spreckels Theatre Dec. 7-23, San Diego Civic Youth Ballet at Casa del Prado Theatre Dec. 12-23, and California Ballet Company and a cast of 150 at Civic Theatre Dec. 14-23. Offering the work at Copley Symphony Hall are the Moscow Ballet on Dec. 20 and San Diego Ballet Dec. 29-30.

LONDON, COURTESY THE NATIONAL. THE WEST, KEN JACQUES

LONDON

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GOOD ADVICE ADVISORY BOARDS AND INDIVIDUALS HELP ARTS COMPANIES IMPROVE PERFORMANCES AND CONNECT TO THE GREATER COMMUNITY. by LIBBY SLATE Whether with an individual such as Graham or a collective body known as the advisory board or council, performingarts companies call upon advisers for their knowledge and often their connections in other milieus. Among the latter, the Los Angeles Chamber Orchestra’s Advisory Council includes prominent members from the civic, business and educational realms as well as the performing arts.

For 10 weeks a season, Graham works one on one with the program’s 11 singers on vocal technique, stage deportment and other performance elements and when in town watches them in L.A. Opera productions.

“I’ll notice things: OK, I’ve got to work on this, or, She’s doing that again; I have to address that,” says Graham, who was recruited for the position by L.A. Opera president and CEO Christopher Koelsch. “It could be a little vocal habit, like scooping [beginning a note Mezzo-soprano Susan Graham works with 11 members of L.A. Opera’s DomingoColburn-Stein Young Artist Program on vocal technique, stage deportment and other performance elements.

LARRY HO

T

O A YOUTHFUL OPERA SINGER INTENT ON building a career, the voice is obviously a primary concern. But to star mezzo-soprano Susan Graham, other not-so-obvious body parts need attention along with the vocal cords.

“I’ve always believed that a character is defined by how they put their feet on the ground,” says Graham, who plays the witch in L.A. Opera’s Hansel and Gretel, through Dec. 15 at the Dorothy Chandler Pavilion. “The feet are part of your storytelling. A lot of singers will do things with their feet subconsciously. And when women get on stage, their hands are never relaxed— they’re bent at a 90-degree angle with their fingers out.”

Three of Graham’s castmates—Liv Redpath (Gretel), Taylor Raven and Sarah Vantour—will presumably use those appendages properly in the production.

As members of the opera’s Domingo-Colburn-Stein Young Artist Program, they all study with Graham, who since September 2017 has been the program’s artistic adviser.

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once upon a

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on a lower pitch] or something with the language.”

Her performing experience informs her teaching, but, says Graham, “my teaching informs my performing. Any time you break down a process to the fundamentals, it makes you aware of your own process. One thing I emphasize is artistic expression. In giving them permission to be more expressive, I find myself going farther in my own artistic expression.”

Her work has been gratifying, she says. “I love seeing that you’ve helped them unlock something. That’s your fulfillment.”

Los Angeles Chamber Orchestra (LACO) Advisory Council member Alan Arkatov serves partly to honor his parents while they are still alive: His father, cellist James Arkatov, founded the orchestra in 1968. The younger Arkatov, the chair for Educational Entrepreneurship, Technology and Innovation at USC, joined the council last year.

“The council is a way to bridge a wider range of perspectives and expertise; it brings together all sorts of business and social networks to help the orchestra be impactful and relevant,” says Arkatov, who attended the very first LACO concert; the current schedule includes performances at several Southern California venues Dec. 11-14 and Jan. 26-27.

In May, Arkatov invited LACO concertmaster Margaret Batjer to speak on a USC panel about helping youths feel engaged in their education; other panelists came from the gaming and sports worlds as well as education.

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“Margaret cares about the neuroscience of music,” he notes.

“Music is central and core to engagement.”

LACO Advisory Council members attend an annual meeting in January and are invited to the board of directors’ yearly June meeting. They attend concerts, advocate on behalf of the orchestra and offer counsel and expertise in order to help develop new initiatives.

“When we ask someone to join and they say, ‘I’m so busy,’ we say, ‘That’s exactly the reason we want you,’ ” says LACO executive director Scott Harrison. The term “council” is used in part because “board” suggests a more timeconsuming, formal commitment; also, Harrison says, “It’s an infusion of personalities, about ideas and connections; ‘council’ seemed a better way to describe it.”

A number of council members were helpful in implementing a fellowship program for string players from underrepresented communities, as well as developing Session, a series of concerts held in unusual locales staged with site-specific visual concepts.

Council member and longtime KUSC host Gail Eichenthal served on the search committee for a new music director; Arkatov looks for roles the orchestra can fill in social justice programs.

“It’s often this fluid and organic stew of ideas about how to go about involving this institution,” Harrison says. “The council gives us the permission and freedom to imagine what the possibilities can be, and to stake out the outcome.”

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SANCTUARY OF SWEET THE BELOVED BOB BAKER MARIONETTE THEATER VACATES ITS DOWNTOWN HOME AND PRESENTS THE NUTCRACKER IN PASADENA. by LIBBY SLATE been struggling financially for a decade but is regrouping as a nonprofit. In the next several months, it will move to a new location, undisclosed at press time, and a fundraising campaign is in the works.

“It’s bittersweet,” acknowledges Alex Evans, the company’s executive director and head puppeteer, who, like most of the staff, began as a volunteer. “The theater was Bob’s everything. Now that we’re a nonprofit, we’ll have a board that can make [more of] Bob’s ideas happen.”

Evans intends to retain the theater’s charm; its former home was replete with a red velvet stage curtain, chandeliers and a party room serving free post-show ice cream. The shows conjured an era long gone. Many puppets date to the 1940s, clad in sparkly costumes refreshed as needed with pieces cut from the original bolts of fabric.

The Bob Baker Marionette Theater's Nutcracker uses 100 puppets operated by seven puppeteers including, left, the company’s executive director and head puppeteer, Alex Evans.

LEFT, TODD SELBY. PHOTOS RIGHT, MARK LIPSKI

I

N BOB BAKER’S NUTCRACKER, AT THE PASADENA Playhouse’s Carrie Hamilton Theatre through December, flowers still waltz, sugarplum fairies dance and the Nutcracker battles the Mouse King.

But in this production by the Bob Baker Marionette Theater, parts of the familiar Tchaikovsky score are apt to be a remix or a rapid-patter song; there are even lyrics from a Captain Kangaroo album.

And the main difference, of course, is that little girl Clara—who here has a younger brother, Fred—and the rest of the characters aren’t dancers, but rather marionettes and other puppets.

The engagement, which uses 100 puppets operated by seven puppeteers, marks the first time the Bob Baker Marionette Theater has presented the show anywhere other than its longtime headquarters near downtown Los Angeles.

In November, the company left its home of 55 years, four years after Baker’s death at age 90. The theater had

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An Irish Celebration

Irish poetry, humor, and music

Mar 16-17

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Musical arrangements evoked impressions of old-time choruses and radio crooners. There was not a trademarked superhero in sight.

Depending on the show, the marionette cast includes barnyard animals, space aliens, ball-gowned ladies and circus performers, culled from Baker’s collection of almost 3,000 puppets.

“The theater is a sanctuary of sweet,” Evans said before its closing. “The outside world doesn’t exist here.” The kids in the audience seemed to agree, reaching out to touch the marionettes.

Adults aren’t immune, either.

“It’s a conscious suspension of disbelief,” Evans notes. “You see the strings. But when you see the puppets sing and dance, the willful suspension of disbelief makes it even more magical. You’ve stepped into an emotional connection. You want to dive into your imagination.”

The strings are made of fishing line. The puppets are crafted from materials including papiermâché, carved wood, foam, rubber ... and even spatulas and other kitchen tools.

“The work of making a convincing puppet performance is in designing the function as close to real life as possible,” says theater technical director Kevin Beltz. “A human’s leg wouldn’t bend backwards naturally, so we design into our puppets’ legs a hard stop that mimics the same natural limitations. The wonder of a marionette often isn’t what it can do, but what you can keep it from doing.”

The costumes also use various materials, often metallic-looking, such as lamé. “It’s about having

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texture, and luster,” says Christine Casaus, a television costumer who is the theater’s costume restoration and textiles director.

“There’s a lot of felt, synthetic furs and gorgeous metallic velvets.”

The costumes, designed decades ago, allow for ease of movement.

Puppeteering takes dexterity.

“We usually practice in front of a mirror,” says Cain Carias, a 17-year puppeteer veteran. “The hardest part is walking. You’re acting, too.

And you have to learn the songs.”

And, says six-year puppeteer Ginger Duncan, who first saw a Bob Baker show when she was 8, “you have to understand the style of puppetry we do. It’s a musical revue, so you have to have a good understanding of rhythm. And a lot of heart. Otherwise, it’s just mechanics, which looks nice but isn’t storytelling.”

Duncan operates Clara in The Nutcracker; Carias is responsible for Fred and the Mouse King. The show, which premiered in 1969 and is about an hour long, also features hand, shadow and rod puppets; unseen puppeteers helm its “orchestra” in silhouette.

“It’s very hard work but incredibly rewarding,” Duncan says.

“You’re getting people to connect with you. It’s so rewarding to see their faces when they respond.”

The duo and fellow puppeteers will have more connection opportunities in the theater’s new, larger home, as hundreds of puppets had been in storage due to lack of space. The theater will use Baker’s original, unrealized design concepts.

“There’s a new, bright future,” Evans says. “We’ll grow as large as Los Angeles wants us to grow.”

26 PERFORMANCES MAGAZINE

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Note from the

PRESIDENT

& CEO 2018/2019

BOARD OF DIRECTORS OFFICERS Lisa Specht Board Chair

Diane G. Medina Secretary

Robert J. Abernethy Cindy Miscikowski Vice Chairs

Susan M. Wegleitner Treasurer William Taylor Assistant Treasurer and Chief Financial Officer

Rachel S. Moore President and Chief Executive Officer ith this 16th season of Glorya Kaufman Presents Dance at The Music Center, we are presenting companies that are dancing physically challenging choreography across multiple genres, from contemporary to story ballet. This engagement of George Balanchine’s The Nutcracker® by Miami City Ballet is no exception. While many consider The Nutcracker ballet to be simply magical, which indeed it is, the George Balanchine version features stunningly powerful and complex choreography, which is much more than a mere spectacle. You will witness that in these beautiful yet technical performances, made even more magical with the fanciful costumes and set designs by fashion and artistic power-couple Ruben and Isabel Toledo who have reimagined the production.

How fortunate we are to be able to bring this company and this rich choreography back to The Music Center’s Dorothy Chandler Pavilion stage for what I hope is becoming a cherished holiday tradition for many in Los Angeles County.

Many of us grew up loving Tchaikovsky’s score for The Nutcracker ballet, which we are presenting in this engagement with live orchestra. Yet, with Mr. Balanchine’s choreography, the ballet itself plays a central role as it is the visual expression of the music. He advises both the audience and the dancers to, “see the music, hear the dance.” That is indeed the case with his The Nutcracker as the choreography gives a voice to the dance, which itself is incredibly musical. All who grace the stage for this presentation must dance, even the youngest performers, and none of the steps are easy. In fact, it takes 97 hours of rehearsal for each child to learn his or her role! So, as we sit in the audience and “hear” the dance, we are guaranteed an incomparable experience, transported to another world where the timeless “Dance of the Sugarplum Fairy” becomes a visual and aural treat.

After our presentation of The Nutcracker, we take a short break in our dance series until April 2019 when Alvin Ailey American Dance Theater returns to The Music Center’s Dorothy Chandler Pavilion. The Ailey company, which is celebrating its 60 th anniversary, will perform three different programs of mixed repertory with classic Ailey works, contemporary masterworks and West Coast premieres, along with the American masterpiece Revelations.

This celebratory performance, which runs from April 3-7, 2019, is not to be missed!

I hope you will also join us for more holiday experiences as we light up the night with Grand Park’s Winter Glow, a new month-long, 12-acre immersive nighttime art experience, taking place each night from now through December 25, 2018; the L.A. County Holiday Celebration live at the Dorothy Chandler Pavilion on December 24, 2018, from 3:00 p.m. – 6:00 p.m.; and Grand Park + The Music Center’s N.Y.E.L.A. on New Year’s Eve. You can find more information about these free events at musiccenter.org and grandparkla.org My warmest wishes to you and your family for a wonderful holiday season and a happy, healthy New Year.

As always, I value your support and welcome your ideas.

Warmly,

MEMBERS AT LARGE Charles F. Adams

Shelby Notkin

William H. Ahmanson

Michael Pagano

Wallis Annenberg

Cynthia M. Patton

Jill Baldauf

Karen Kay Platt

Phoebe Beasley

Rory Pullens

Darrell Brown

Max Ramberg †

Kimaada M. Brown

Jay Rasulo

Dannielle Campos

Joseph Rice

Greg T. Geyer

Richard K. Roeder

Lisa Gilford

Lisa See

Kiki Ramos Gindler

Catharine Soros

Maria Rosario Jackson

Marc I. Stern

Glenn Kaino

Philip A. Swan

Cary J. Lefton

Cary H. Thompson

David Lippman

Walter F. Ulloa

Richard Lynn Martinez

Timothy S. Wahl

Bowen “Buzz” H. McCoy Mattie McFaddenLawson

Alyce Williamson Rollin A. Ransom General Counsel

Elizabeth Michelson

†

Darrell D. Miller

DIRECTORS EMERITI

Leave of Absence

Peter K. Barker

Robert F. Maguire, III

Judith Beckmen

Ginny Mancini

Eli Broad

Edward J. McAniff

Ronald W. Burkle

Walter M. Mirisch

Amb. (ret.) John B. Emerson*

Fredric M. Roberts

Lois Erburu

Joni J. Smith

Richard M. Ferry

Claire L. Rothman Cynthia A. Telles

Brindell Gottlieb Bernard A. Greenberg Stephen F. Hinchliffe, Jr.

James A. Thomas Andrea L. Van de Kamp*

Amb. (ret.) Glen A. Holden

Paul M. Watson

Stuart M. Ketchum

Rosalind W. Wyman

Amb. (ret.) Lester B. Korn

RACHEL S. MOORE PRESIDENT AND CEO THE MUSIC CENTER

Jay Wintrob

Thomas R. Weinberger * Chairman Emeritus

Kent Kresa

PERFORMANCES MAGAZINE P1

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A PER FOR MING ARTS CENTER FOR THE 21ST CENTURY The Music Center is a cultural anchor in Los Angeles and home to the world's greatest and most highly regarded artistic programs and events.

In addition to its four renowned resident companies — Center Theatre Group, the Los Angeles Master Chorale, LA Opera and LA Phil — The Music Center presents an international dance series — Glorya Kaufman Presents Dance at The Music Center — imaginative public programming and special events and activities for all ages. With The Music Center On Location™, the non-profit performing arts organization activates spaces

and places beyond its Downtown Los Angeles campus. The Music Center provides lifelong learning opportunities that benefit students in grades K-12 and their teachers, both in schools throughout the County of Los Angeles and at The Music Center, cultivating the next generation of artists and arts leaders.

The Music Center also manages Grand Park, a 12-acre adjacent greenspace, and provides year-round free programming.

The Music Center is truly a performing arts center for the 21st century, continually pushing the boundaries to further inspire and contribute to the artistic voice of Los Angeles.

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THE MUSIC CENTER STAFF Rachel S. Moore President & CEO

Howard Sherman Executive Vice President & Chief Operating Officer The Music Center Ops

Josephine Ramirez Executive Vice President The Music Center Arts

William Taylor Senior Vice President, Finance / CFO Valentine Gelman Senior Vice President, Advancement Bonnie Goodman Senior Vice President, Marketing & Communications

Ming Ng Vice President, Community Engagement

Michael Solomon Vice President, Presentations & Education

Carolyn Van Brunt Vice President, Guest Services Jörn Weisbrodt Artistic Advisor

ACCOUNTING

Andrew Kayano Manager, General Accounting and Financial Systems Jasmin Lozano Accounts Receivable Clerk Mayra Medina Clerk, Donor Records David Modisett Manager, Financial Planning Sandor Otott Controller Lisa Quang Senior Accounting Clerk Cindy Rauch Manager, Accounts Payable / Accounts Receivable Lisa Sloot Administrator, Donor Records

ADVANCEMENT

Bennett Anderson Coordinator Sara Boretz Prospect Researcher Cheryl Brown Assistant Vice President Katie Colbert Executive Assistant to Senior Vice President of Advancement Elise Embry Annual Giving Officer Maclaine Fiori Coordinator Amanda Hallman Director, Events and Special Projects Cindy McHale Director, Institutional Giving Lorena Panfilo Coordinator Pamela Perkins Dwyer Assistant Vice President Laura Recchi Major Gifts Officer Lucie Russo Senior Coordinator, Special Events Aysha Siddique Director, Membership and Leadership Gifts Melanye Taylor Assistant Director, Database

Dasha Thomas Planned Giving Officer Jonathan Vaughn Assistant Vice President

BUILDING SERVICES

Carlos Acosta Engineer Eric Amaya Engineer Sonia Amezcua Coordinator Ramon DeLeon Lead Engineer Erik Ekserjyan Mailroom Clerk Ruben Enriquez Mailroom Clerk Nick Garcia Engineer Jose Godinez Engineer Damon Joseph Apprentice Engineer Francisco Loayza Lead Engineer Delia Martin Office Services Manager Keith McTague Director & Chief Engineer Michael Muñoz Mailroom Clerk Adrian Padilla Engineer Jose Quintero Landscaping Ismael Rodriguez Engineer Alex Romero Engineer Jeff Rowland Assistant Chief Engineer Jose Santillan Engineer Gerard Silva Lead Engineer Brandon Villalobos Engineer

COMMUNITY ENGAGEMENT

Gerlie Collado Program Director Michelle Moro Coordinator, Program Operations Daniel Soto Program Manager Lucy Zepeda Assistant Manager, Community Relations and Partnerships

EDUCATION

Patrice Cantarelli Associate Director, School Programs Rada Jovicic Program and Events Manager Maya Mackrandilal Coordinator, School Programs Ebony Ruffin Manager, Professional Development Juan Sanchez Coordinator, School Programs Monk Turner Manager, Music Center On Tour Belinda Vong Younis Manager, School Programs Keith Wyffels Associate Vice President

FOUNDERS

Rosa Bautista Administrator Jane Jackson Director, Founders Elia Ortega Reservation Coordinator Michael Tanner Coordinator

GRAND PARK

Azul Amaral Programming and Production Manager Kat Carrido Bonds Marketing Manager Julia Diamond Interim Director Derek Glover Production Manager Robert Gonzalez Operations Manager Nicole Mauricio Rental Coordinator Cailin Nolte Programming & Production Coordinator Angela Tsai Business Manager

GUEST SERVICES

Peggy Alvarez Head Usher David Bolanos Head Usher Alvin Broussard Senior Manager, Special Services Christine Cox House Manager, Ahmanson Theatre Robert Devis House Manager, Dorothy Chandler Pavilion Greg Flusty House Manager,

Walt Disney Concert Hall Omar Garcia Head Usher Jose Agustin Garibaldi Head Usher Linda Lawton Event Services Attendant Ruben Lopez Special Services Coordnator Jenna Loredo Head Usher Seng Neth Head Usher Steve Olear Manager, Guest Services Santa Roman-Garcia Head Usher Kyle Smith Head Usher Linda Walker House Manager, Mark Taper Forum Jeanice Williams Coordinator, Tours & Special Events Demetra Willis Head Usher

HUMAN RESOURCES

Cynthia Covarrubias Manager Gloria Schaffer Senior Director

INFORMATION TECHNOLOGY Ken Dickinson IT Manager John Mejia IT Specialist

MARKETING & COMMUNICATIONS

Austin Carroll Manager, Digital Media Lisa Ducore Director, Public Relations Stephanie Kao Manager, Web Content and Digital Analytics Paul Mercado Coordinator Marielle Shrock Coordinator Melissa Tan Director, Ticketing & Sales

OPERATIONS

Carol Zamora Executive Assistant

PAYROLL SERVICES

Silvia Canales Payroll Clerk Ferdinand Ramos Manager

PRESENTATIONS

Rebecca Baillie Associate Director, Presentations Cody Kopp Coordinator, Presentations Sean Samimi Senior Administrative Assistant Nick Schwartz-Hall Senior Producer

PRESIDENT’S OFFICE

Celeste Goblowsky Director of the President's Office and Board Relations Ieisha Howell Executive Assistant & Scheduler

PRODUCTION

Shawn Anderson Head Carpenter, Ahmanson Theatre Shane Anderson Head Flyman, Ahmanson Theatre Jason Clark Director, Production Timothy Conroy Head Carpenter, Dorothy Chandler Pavilion Katie Friesen Production Coordinator Ronald Galbraith Head Carpenter, Walt Disney Concert Hall Dennis Holbrook Head Properties, Dorothy Chandler Pavilion Emmet Kaiser Head Carpenter, Mark Taper Forum Terry Klein Head Electric, Walt Disney Concert Hall Ryan Lebetsamer Head Electric, Dorothy Chandler Pavilion Bones Malone Head Audio, Mark Taper Forum Katie Miller Production Manager John Phillips Head Property,

Walt Disney Concert Hall Todd Reynolds Head Audio/Video, Dorothy Chandler Pavilion Mary Romero Head Property, Mark Taper Forum Lee Smilek Head Wardrobe Robert Smith Head Audio, Ahmanson Theatre Aaron Staubach Head Electrician, Ahmanson Theatre Kevin Wapner Head Audio, Walt Disney Concert Hall James Wright Head Electric, Ahmanson Theatre

SAFETY

Edward Hennings Manager

SCHEDULING & EVENTS

Liliana Gonzalez Coordinator Lisa King Coordinator Joie Lopez Booking Manager Marisol Moro Scheduling Administrator Sharon Stewart Director Ken Talley Scheduling Administrator Ismael Tenorio Coordinator Bill Williams Administrator

SECURITY MANAGEMENT & ADMINISTRATION

William Back Lieutenant, A.M. Abraham Barba Sergeant Adjutant Ramon Blas Sergeant, Event Operations Group Carlos Foyain Lieutenant, Event Operations Group Veronica Garcia Sergeant Joe Martinez Evening Watch Commander Catalina Mejia Sergeant Mark Miller Commander, Administration Edna Montijo Sergeant Sean Murphy Sergeant Jonathan Ng Commander, Field Services Division Bedros Ohanian Director Johnny Perreira IT Security Specialist Jonathan Pitacua Lieutenant, Early Morning Scott Pollack Commander, Event Operations Group Adrian Rodriguez Sergeant, Logistics and SOCC Gonzalo Silva Captain, Event Operations Group Marcell Stuart Johnson Sergeant, Security Badges & Keys Edward Too Captain, Administration

SPOTLIGHT

Monique Carroll Program Manager Jeri Gaile Director

TELECOMMUNICATIONS Rona Compton Manager

THE BLUE RIBBON

Suzy Boyett Associate Director Sarah Malone Senior Coordinator

CREATIVE SUPPORT

Keith & Co. Graphic Design The stage crew, wardrobe crew and box office staff are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States of America and Canada, AFL-CIO, CKC, Local Numbers 33, 768 and 857, respectively.

The House Managers employed by The Music Center are represented by the Association of Theatrical Press Agents and Managers.

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RAISE THE PLAZA Thanks to a unique public-private partnership between the County of Los Angeles and visionary arts philanthropists, The Music Center is managing a major renovation of The Music Center Plaza.

In addition to the generous contributions of $30 million from the County of Los Angeles, The Music Center in turn seeks to raise $10 million in capital gifts and $5 million to fund free and low-cost community programs that will bring the new plaza to life and further its mission to deepen the cultural life of every resident of Los Angeles County.

This project will quite literally raise the plaza to one level, connecting The Music Center’s iconic venues — Dorothy Chandler Pavilion, Mark Taper Forum and Ahmanson Theatre — in a meaningful way by providing a lively cultural destination that is befitting for Los Angeles, which is already known as the “creative capital” of the world. This improved infrastructure will create a fifth venue for The Music Center and its resident companies, providing opportunities to expand public programming and serve significantly greater numbers of people.

With the new design, The Music Center will have a true front door on Grand Avenue to welcome visitors, with an open invitation to the community to enjoy this beautiful public space. A welcome center will heighten the guest experience by providing an inviting point of contact where guest information on The Music Center, performances and activities and the downtown landscape will be offered. In addition, The Music Center will be introducing dining options at a variety of price points, with dining spaces that offer uniquely expansive views of Grand Avenue and Grand Park.

The newly renovated plaza will be a warm, inviting public space that is vibrant and alive with activity.

From encountering pop up experiential art, to seeing the pride on school children’s faces as they perform during an arts education festival and joining family and friends for an evening of dancing to the melodic rhythms of Cumbia — the possibilities for this important civic space are endless.

We look forward to welcoming you to the new plaza in fall 2019!

There are still many opportunities available to support The Music Center Plaza project. For additional information, please contact Cheryl Brown at (213) 972-3316.

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THE MUSIC CENTER IS GRATEFUL TO OUR GENEROUS DONORS WHO HAVE MADE COMMITMENTS TO THE PLAZA PROJECT $1 MILLION OR MORE

$500,000 – $999,999

$100,000 – $499,999

$25,000 – $99,999

County of Los Angeles

The Ralph M. Parsons Foundation, Artisanal Coffee Café

Kiki and David Gindler

Jane Centofante,

Bench in honor of Howard Sherman

Robert J. Abernethy, Restaurant The Ahmanson Foundation The Blue Ribbon, Garden Patio Cindy Miscikowski / Ring-Miscikowski Foundation / The Ring Foundation Merle and Peter Mullin, Wine Bar

Fredric M. Roberts, Garden Patio Lisa Specht, Welcome Center

David and Jody Lippman, Escalator Barbara and Joel Marcus Lloyd E. Rigler and Lawrence E. Deutsch, Foundation, Peace on Earth by Jacques Lipchitz Given as a symbol of peace to the people of the world

Charlotte and Leslie Moore Foundation, Bench

Eva and Marc Stern

The Rose Hills Foundation, Courtyard

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MEET THE NEW MEMBERS OF THE MUSIC CENTER BOARD OF DIRECTORS The Music Center Board of Directors welcomes four new esteemed members of the community to the board.

CHARLES “CHUCK” F. ADAMS Partner, Goldman Sachs Charles Adams is responsible for Goldman Sachs’ West Region Advisory business, which includes healthcare investment banking. Prior to joining the firm, Adams was a managing director at Morgan Stanley and a senior member of the firm's healthcare investment banking group.

He joined Goldman Sachs in 2005 as a managing director and was named partner in 2010. He works with many of the firm’s largest healthcare clients in the medical technology, biopharmaceutical, life science tools and diagnostics sectors.

President Barack Obama. A strong advocate for the arts and recipient of numerous awards, Beasley was honored in 2013 by the California African American Museum with the Lifetime Achievement Award for Visual Arts & Arts Advocacy at their CAAM Gala. Beasley served on the Board of the Savannah College of Art and Design and devoted 15 years as a commissioner on the Los Angeles County Arts Commission.

In February 2015, Governor Brown appointed Beasley to the California Arts Council. In November 2017, she was elected chair, board of trustees, of the California State Summer School for the Arts. She is also a member of the board of directors of The Bernard and Shirley Kinsey Foundation for Arts and Education.

PHILIP A. SWAN Phil Swan Five, LLC LISA SEE Author

PHOEBE BEASLEY Artist Phoebe Beasley is an acclaimed collage artist who has had numerous solo and group exhibitions in the United States and abroad and was honored by the State Department for her participation in the Art in Embassies program. Her art has been accorded the Presidential Seal twice, in 1989 and 1993. In 2012, Beasley was one of 44 artists commissioned to create a collage on a life-size bust of the 44th

the companion guidebook for Angels Walk L.A. She was honored as National Woman of the Year by the Organization of Chinese American Women in 2001, was the recipient of the Chinese American Museum’s History Makers Award in 2003 and received the Golden Spike Award from the Chinese Historical Society of Southern California in 2017. She sits on the boards of the LA Opera and the National Historic Preservation Trust. See is a member of The Trusteeship, an organization comprised of preeminent women of achievement and influence in diverse fields.

Lisa See is the The New York Times bestselling author of Snow Flower and the Secret Fan, On Gold Mountain, Peony in Love, Shanghai Girls, Dreams of Joy, China Dolls, and The Tea Girl of Hummingbird Lane for which she has won numerous awards domestically and internationally.

She wrote the libretto for the LA Opera based on On Gold Mountain, which premiered in June 2000 at the Japan American Theatre. See also served as guest curator for an exhibit on the ChineseAmerican experience at the Autry Museum of Western Heritage and helped develop and curate the Family Discovery Gallery at the Autry Museum. She designed a walking tour of Los Angeles' Chinatown and wrote

Philip Swan is a Los Angeles and Pasadena native. He has had a career in the investment management industry as a sales and client service executive including 27 years with the Capital Group and five years with the private equity real estate firm Griffis Residential. In 2017, Swan established PHIL SWAN FIVE, LLC, which represents several artists, assisting them with the sales and marketing of their work. He has varied outside interests and serves on a number of nonprofit boards, including the Los Angeles Master Chorale, his alma mater Colorado College, the National Audubon Society, the Board of Overseers of the Huntington Library and the Della Martin and Ann Peppers Foundations.

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Glorya Kaufman Presents Dance at The Music Center Presents

November 29 – December 2, 2018 Performed by Miami City Ballet

Support for this presentation is provided, in part, by: Glorya Kaufman Dance Foundation • Center Dance Arts • Dorothy Buffum Chandler Program Fund • Elisabeth Katte Harris • The Music Center Foundation • The Music Center Annual Fund Miami City Ballet’s production of George Balanchine’s The Nutcracker®. Choreography by George Balanchine© The George Balanchine Trust. Photo by Alexander Iziliaev.

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A Ballet in Two Acts, Four Scenes and a Prologue Based on E.T.A. Hoffmann's The Nutcracker and The Mouse King (1816)

Photos © Alexander Iziliaev.

SYNOPSIS Act I Scene i ▸ A holiday party at the Stahlbaum home Scene ii ▸ The battle scene; Marie's dreamland Scene iii ▸ A winter wonderland Act II The Land of the Sweets

ACT I Scene i It is Christmas Eve. A blanket of snow covers the city of Nuremberg, and a bright Christmas star glows in the sky.

As George Balanchine's The Nutcracker® opens, Dr. and Frau Stahlbaum add last minute decorations to the magnificent tree in their living room. Their children, Marie and Fritz, are in the drawing room, playing and waiting for family and friends to arrive. When they do, the parents are the first to gather in the living room. They call the children in and watch their excited reactions to the tree and the fancy wrapped gifts surrounding it. The tree is a marvel, with branches full of sugar plum candies, wooden toys, sparkling candles and marzipan animals.

The children have to wait for Fritz and Marie's grandparents to arrive before gifts will be distributed, so they go back to play. Dr. Stahlbaum starts them off, leading the boys in a military march around the room. That turns into a dance for the children and Frau Stahlbaum, with the fathers joining in.

When the Stahlbaum grandparents arrive, the adults toast the elders and then — finally — give the children their gifts. The presents are traditional and very much appreciated: beautiful dolls for the girls and toy bugles and drums for the boys.

In the midst of the excitement, the grandfather clock begins to chime and startles the children.

A mysterious-looking man enters the room, cloaked in an enormous black cape and top hat, and wearing a black patch over one eye.

Oh, it's only Herr Drosselmeier! He's an inventor, a magician and Marie's godfather.

Tonight, he has brought more than his usual array of strange gadgets — with him is his handsome young nephew. Marie seems bashful when they are introduced, but she keeps her eye on the princely boy after she runs back to her mother.

Noticing her shyness, Herr Drosselmeier pulls a fascinating little watch from his pocket (besides inventing gadgets and toys, Drosselmeier also fixes clocks). He leads Marie to the Stahlbaum's grandfather clock, which he synchronizes to the watch. Marie grabs the watch out of his hands and runs to show it to her friends, who then pester the inventor.

The children eventually quiet down after Drosselmeier performs a magic trick for them, which is just the beginning of his "show." To the party he has brought three large gift boxes, tied with satin bows. From the first two, he and his nephew remove life-sized dancing dolls, Harlequin and Columbine. The third box yields a toy soldier, who thrills everyone with his military maneuvers.

Once the dolls are returned to their boxes, Drosselmeier brings out more gifts for Marie.

The first is a hobby horse, which becomes the center of a struggle between Marie and her brother, won by Fritz. Drosselmeier organizes a tug-of-war to try to smooth things over (silly Drosselmeier!), and then unveils his final gift for Marie.

The gift is a charming wooden doll with big expressive eyes, a fuzzy white beard and a special talent for cracking nuts. Drosselmeier demonstrates its abilities before giving the

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Nutcracker to Marie. As she admires the Nutcracker's dashing uniform, the very jealous Fritz pulls the wooden figure away. He runs across the room, throws the Nutcracker to the floor and stomps on it!

Drosselmeier scolds Fritz and then tries to comfort Marie. He carefully wraps the Nutcracker's now-broken jaw with his handkerchief and returns the doll to the heartbroken little girl. Her friends cluster around her, and Drosselmeier's nephew presents Marie with a special bed for the injured Nutcracker.

The boys return one last time to disrupt the girls, but their play ends when Dr. Stahlbaum invites everyone to dance a final dance of the evening, in tribute to Fritz and Marie's grandparents.

When the dance ends, the guests bid farewell and the children reluctantly leave. Marie and the nephew are the last to say goodbye: they reach toward each other, but Herr Drosselmeier and Frau Stahlbaum separate the pair. Her mother sends Marie upstairs and turns out the lights. As midnight draws near, only the sweet sounds of a violin are heard, floating through the darkened house.

ACT I Scene ii The excitement of the evening has been too much for Marie, who is unable to fall asleep.

She sneaks downstairs to visit her beloved Nutcracker and finally falls asleep on the couch with the doll clutched to her heart.

Within moments, a dark shadow — Drosselmeier — crosses the room. He looks for the Nutcracker in the special bed, but it's not there. He notices Marie on the couch and moves to her side. Drosselmeier loosens the Nutcracker from her grasp, waves his hands as if performing more magic to repair the doll, then carefully replaces the Nutcracker beside her.

rabbit drummer, the soldiers look to Marie for a command. She points them toward the mice, then wakes the Nutcracker so he can assume command of his troops. The Nutcracker leads charge after charge. He orders his troops to fire the cannon, but it doesn't shoot a cannonball...it shoots cheese, and the mice grab the food and return to the fight. The Nutcracker organizes one last charge into the heart of the army, but the mice surround the soldiers and carry them all away — all but the Nutcracker and the rabbit.

Without warning, the King of the Mice appears, jumping toward Marie. He's an ugly fellow with a crown on his head and seven smaller heads all around. Drawing his saber, the Nutcracker protects Marie, but the Mouse King returns the attack, swinging a gigantic sword of his own.

The Nutcracker jumps on the creature's back but is thrown off and trapped on the ground by the Mouse King's sword. From behind, the rabbit pulls the Mouse King's tail, causing the royal mouse to about-face. The Mouse King draws his sword but misses the rabbit.

Thankful for the rabbit's diversion and back on his feet, the Nutcracker returns to battle the Mouse King but is again driven down. In desperation, Marie throws her slipper at the evil rodent. He turns and chases her to the Nutcracker's bed where she faints. Her brave act has saved the Nutcracker, who plunges his sword through the Mouse King's heart. As the wicked brute lies dead on the floor, the Nutcracker cuts off the King's crown and walks to the bed where Marie is sleeping.

ACT I Scene iii The Nutcracker beckons Marie's bed to follow him on a journey. Moving on its own, the bed transports the sleeping Marie into another world, where the Nutcracker is magically transformed into a prince. He wakes Marie and presents her with the crown he captured in battle.

All of a sudden, the lights flicker and wake a startled Marie. She sees Drosselmeier, perched on top of the grandfather clock! She runs to hide behind the Christmas tree but a huge, ragged-looking mouse enters the room and frightens her terribly! Marie dodges the mouse, but another mouse follows, jumping past Marie's head. A third comes and a fourth!

Together, they behold a breathtaking scene — a winter forest come to life in a sparkling dance of snowflakes. They pass through the flurry and begin their journey to the Land of the Sweets. As they walk, Marie notices that the Prince bears a striking resemblance to Drosselmeier's nephew.

As she backs away, the room starts to spin.

The Christmas tree trembles and starts to grow. Life-sized soldiers appear, and then a rabbit, a sentry and a bugler emerge from the shadows. Marie runs to protect her Nutcracker and manages to place him safely in his bed at the foot of the tree. She looks up to the tree for reassurance, but it, too, continues to change, growing bigger and bigger. Glancing back, she sees that the Nutcracker's toy bed has been replaced by one that is human-sized, and the Nutcracker in it is larger than she is!

INTERMISSION — 20 MINUTES

An entire army of mice soon appears. With a toot on his horn, the bugler calls the toy soldiers to war. Led by the sentry and the

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PROGRAM for Marie's safety. Finally, he demonstrates how Marie saved his life.

The Sugarplum Fairy praises the Prince and his Princess and then leads them to a throne specially positioned to give them the best view of the celebration which is about to begin.

It's a celebration of all things delicious!

Sumptuous Spanish Hot Chocolate heat up in a spicy fandango...Arabian Coffee moves languidly through a Middle Eastern dance... three Chinese Teas leap acrobatically around a lacquer box. Candy Canes exuberantly prance before their royal guests, led by an athletic Peppermint Stick who jumps through a whirling hoop. Marzipan Shepherdesses remind Marie of the decorations on her Christmas tree and, with great fanfare, Mother Ginger reveals miniature Italian polichinelles who dart out from under her huge skirt and dance in pairs.

Next, a beautiful group of dancing flowers make their entrance. Marie and the Prince taste sugar petals while the honey Dewdrop spins through the blooms in the Waltz of the Flowers.

Now comes the time when the Sugarplum Fairy, in a mint-green tutu, is escorted by her Cavalier to perform for her guests, begining their classical pas de deux with soft adagio movements and building to an exciting crescendo. Holding hands, Marie and the Prince are overwhelmed, hoping someday to dance as magically as that. Everyone joins in for a lively finale, a blaze of color and celebration.

As the time to leave draws near, the Sugarplum Fairy leads her guests to a magic air balloon.

The Prince and Princess wave goodbye and are flown to where the moon meets the sun.

Daybreak awaits and Marie will soon wake. It is Christmas Day. — Adapted from a note by Madeline Pober The performance of George Balanchine’s The Nutcracker®, a Balanchine® Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style® and Balanchine Technique® Service Standards established and provided

by The Trust.

ACT II Golden-winged angels await the arrival of the Sugarplum Fairy, who reigns over the Land of the Sweets. She soon enters and, bearing her magic wand, sweetly dances with the little angels before summoning the other members of her kingdom to join her.

The Sugarplum Fairy welcomes Marie and the Price to the Land of the Sweets and invites him to tell his tale. He describes the battle: how the toy soldiers fought the mice, and how he accepted the Mouse King's challenge to fight

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ARTISTIC TEAM

Lourdes Lopez ARTISTIC DIRECTOR Lourdes Lopez has become one of the ballet world’s most prominent and accomplished contributors. Dance Magazine named her a 2018 recipient of its prestigious Dance Magazine Awards, choosing Lopez for her “…admirable stewardship of Miami City Ballet, building upon the company's Balanchine legacy while also embracing the local culture and community of Miami,” and as “…an exemplary leader, someone whom dancers look up to and are inspired by.” In 2017, the magazine also named her one of “The Most Influential People in Dance Today.”

She became artist director of Miami City Ballet in 2012, bringing with her a nearly 40-year career in dance, television, teaching and arts management. As a soloist and principal dancer with New York City Ballet, Lopez danced for two legends of the art form, George Balanchine and Jerome Robbins.

Under Lopez’s direction, Miami City Ballet has become one of the country’s premier ballet companies. According to The New York Times, “This troupe [is] at the forefront of all those dancing choreography

by George Balanchine today….

Bold, light, immediate, intensely musical, the dancing of Miami City Ballet flies straight to the heart.”

Born in Havana, Cuba in 1958 and raised in Miami, Lopez began taking ballet lessons at the age of five, on the recommendation of a doctor.

At the age of 11, she received a full scholarship to the School of American Ballet (SAB), the official school of New York City Ballet, splitting the year between Miami and New York City. At 14, she moved to New York permanently to devote herself to full-time studies at SAB, and shortly after her sixteenth birthday, joined the corps de ballet of New York City Ballet.

Under the direction of George Balanchine and Jerome Robbins, her star rose quickly at New York City Ballet. In 1984, she was promoted to soloist, performing countless featured roles including Balanchine’s Violin Concerto, Liebeslieder Walzer, Firebird, Serenade, Symphony in C, Agon, The Four Temperaments; and Robbins’ Dances at a Gathering, Glass Pieces, Fancy Free, In the Night, Four Seasons and Brandenburg.

Upon retirement, Lopez joined WNBC-TV in New York as a cultural arts reporter, writing and producing feature segments on the arts, artists and arts education. She was also a full-time senior faculty member and director of student placement, student evaluation and curriculum planning at New York’s Ballet Academy East. She served on the dance faculty of Barnard College and guest taught at numerous dance institutions and festivals in the United States.

In 2002, Lopez became the executive director of The George Balanchine Foundation, which works to educate the public about dance and to further the art of ballet, with a special emphasis on the work and achievements of George Balanchine. In this position, she oversaw the 2004 Balanchine Centennial Celebration, a worldwide festival honoring the choreographer and his legacy.

Lopez co-founded The Cuban Artists Fund, which supports Cuban and Cuban-American artists in their endeavors.

In 2007, she received an award from the American

Immigration Law Foundation honoring Cuban Americans for their accomplishments and contributions to American society.

She also co-founded Morphoses with Christopher Wheeldon in 2007 — a New Yorkbased dance company aiming to revitalize dance through innovative collaborations with important artists from the worlds of music, visual arts, design, film and fashion; and by inviting younger and broader audiences to engage in and actively experience dance.

In 2014, Lopez was elected to serve on the Ford Foundation’s Board of Trustees, marking the first time an artist was elected to serve on its board, and, in 2011, she received the prestigious Jerome Robbins Award for her years in dance.

She has served as a dance panelist for the National Endowment for the Arts. Lopez is married to investment banker George Skouras. They are the parents of two daughters: Adriel and Calliste.

Tania Castroverde Moskalenko EXECUTIVE DIRECTOR Tania Castroverde Moskalenko joined Miami City Ballet as executive director in August 2018, bringing with her more than 20 years of experience leading successful performing arts institutions. Most recently serving as chief executive officer of Chicago’s Auditorium Theatre, Castroverde Moskalenko worked to revitalize the organization’s financial health and oversaw a dramatic increase in programming, ticket sales and philanthropic support. In 2017, she was named “Chicagoan of the Year for Dance” by the Chicago Tribune.

Prior to her tenure at Auditorium Theatre, Castroverde Moskalenko spent four years as the president and CEO of the Center for the Performing Arts and the Great American Songbook Foundation in Indiana, where she provided both the artistic vision and the strategic direction for the organization. She created and implemented a strategic plan resulting in new programming that expanded the Center's reach, engaged a broader audience, increased board membership and engaged new partners.

Before that, she spent seven years as the executive director of the Germantown Performing Arts Centre in Tennessee, where she erased an operating deficit, created a reserve fund, completed a strategic plan, and increased individual and institutional philanthropic support. She successfully implemented strategies to diversify programming and audiences, and increased community programs by 279%.

She also established a youth symphony orchestra, which she led on an educational and cultural tour of China.

Castroverde Moskalenko holds a BFA from the University of Memphis and is currently finishing a master’s degree in philanthropic studies from Indiana University. In October 2013, she was honored with a Women of Influence award by the Indiana Business Journal.

She serves on the board of directors of the Auditorium Theatre in Chicago.

Castroverde Moskalenko returns to Miami after 30 years where she and her family arrived as political refugees from Cuba when she was six years old. She grew up in the city and her parents and extended family continue to live here.

She studied classical ballet in Miami and is married to former Russian ballet dancer, Alexei Moskalenko, who is assistant artistic director of the Youth America Grand Prix.

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John Hall PRODUCTION & LIGHTING DIRECTOR John Hall joined Miami City Ballet in 1995 and is responsible for coordinating all production, lighting and scenic design elements for the Company. Some of his lighting design highlights since joining the Company include George Balanchine’s A Midsummer Night’s Dream, Jewels and Slaughter on Tenth Avenue, Giselle, Coppélia, Edward Villella’s The Neighborhood Ballroom, Twyla Tharp-Elvis Costello’s NIGHTSPOT, and Liam Scarlett’s Viscera and Euphotic.

Hall and his wife Shannon have two sons, John and William.

Gary Sheldon PRINCIPAL CONDUCTOR Gary Sheldon returns for his ninth season as principal conductor for Miami City Ballet. He previously held positions with San Francisco Ballet, Atlanta Ballet and Ballet Met. He has guest conducted for numerous ballet companies throughout the United States, Canada and Europe, as well as at the Aspen Festival, Artpark, Grant Park Concerts, Spoleto Festival, Meadowbrook Festival and Tanglewood.

Sheldon was a prizewinner in the BBC's Rupert Competition and the American Symphony Orchestra's Stokowski Competition, and he recently

won top prize in the American Prize for Orchestral Conducting Competition. Sheldon currently holds positions with the Lancaster Festival in Ohio (artistic director) and the Festival at Sandpoint in Idaho (principal conductor). He is a native of Bay Shore, N.Y., and a graduate of the Juilliard School and Institut de Hautes Etudes Musicales in Montreux, Switzerland.

Roma Sosenko PRINCIPAL BALLET MASTER Roma Sosenko is a former soloist with New York City Ballet, with whom she performed for 18 years. During her dancing career there she was featured in Jerome Robbins’ The Four Seasons, The Goldberg Variations and Interplay, as well as George Balanchine’s Ballo della Regina, Symphony in C, Chaconne, Coppélia, Jewels, and Scotch Symphony. In all these roles, and many others, she consistently stood out with the clarity of her dancing and her piquant charm. She has been seen on PBS in several productions: Balanchine’s L’Enfant et les Sortiléges, A Lincoln Center Special: A Tribute to George Balanchine and Jerome Robbins, Live From Studio 8H and as “Columbine” in the film of George Balanchine’s The Nutcracker ®.

Since 2001, she has been a key member of Miami City Ballet, teaching class, re-staging ballets and supervising almost the entire repertory. She and her husband — Miami City Ballet Principal Dancer Renato Penteado — share their lives with Cruiser and Beamer, their much loved golden retrievers.

Francisco Rennó COMPANY PIANIST Francisco Rennó is the winner of several major piano competitions and has appeared as a soloist with orchestras in North and South America. He has given solo and chamber-music recitals throughout the two continents, including appearances at Carnegie Recital Hall and The Phillips Collection. For ballet performances, he has performed as a soloist with the symphony orchestras of Kansas City, St. Louis, Berkeley, Naples, and on tour with Miami City Ballet at The Kennedy Center, Torino Danza in Torino, Italy and at Les Étés de la Danse in Paris. Rennó was company pianist for the Kansas City Ballet from its inception in 1981, joining Miami City Ballet in 1999. He composed the music to Edward Villella’s THE WALTZ: Our Lady of Oblivion.

Joan Latham BALLET MASTER Joan Latham joined Miami City Ballet in 1992 as a dancer and now serves as ballet master, responsible for re-staging and rehearsing the dancers in much of the Company’s repertoire. She began her dance training with Damara Bennett at City Ballet School in her native city of San Francisco. She also studied at the Pacific Northwest Ballet School, where she performed

and toured with their company.

As a soloist with Miami City Ballet, she performed soloist and principal roles in much of the Balanchine repertory including Apollo, Symphony in C, Agon, Divertimento No. 15, Scotch Symphony, Valse Fantasie, the “Sugarplum Fairy” in George Balanchine’s The Nutcracker®, and others. She was also featured in works

by Paul Taylor, Twyla Tharp, and Edward Villella, as well as classics such as Swan Lake, Giselle, and Coppélia. Latham and her husband Arnold Quintane have three children: Emma, Olivia and Arthur.

Arnold Quintane BALLET MASTER Arnold Quintane is a native of France, former principal dancer for Miami City Ballet and is now responsible for directing the dancers during rehearsals.

Quintane was trained at the Paris Opera Ballet School under the direction of Claude Bessy. After graduating he went on to dance with Belgium’s Royal Ballet of Wallonia, under the direction of Afro Cuban choreographer Jorge Lefebvre, where he gained prominence as a principal dancer. In 1991, he was invited by Edward Villella to join Miami City Ballet, where he danced principal roles in most of the company’s repertory.

After retiring from the stage in 2001, he earned his BFA from New World School of the Arts/ University of Florida and an MFA from Hollins University. During this time, he was a teacher at The New World School of the Arts, where he was a rehearsal director on pieces by choreographers such as Garth Fagan, Merce Cunningham and Paul Taylor, as well as creating several new works of his own.

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WHO'S WHO

PRINCIPALS

TRICIA ALBERTSON

Santa Cruz, Calif.

Joined Miami City Ballet as a member of the Corps in 1997.

Promoted to principal in 2006.

KATIA CARRANZA

Monterrey, Mexico Joined Miami City Ballet as a member of the Corps in 1998.

Promoted to principal in 2004.

Rejoined the Company in 2017.

RENAN CERDEIRO

Rio de Janeiro, Brazil Joined Miami City Ballet as school apprentice in 2009. Promoted to principal in 2013.*

JEANETTE DELGADO*

Miami, Fla. Joined Miami City Ballet as a company apprentice in 2003.

Promoted to principal in 2008.*

JOVANI FURLAN

Joinville, Brazil Joined Miami City Ballet as school apprentice in 2011. Promoted to principal in 2017.

— Toby Lerner Ansin Scholarship Award Recipient — Company Representative

RAINER KRENSTETTER

Vienna, Austria Danced with Vienna State Opera Ballet and Staatsballett Berlin.

Joined Miami City Ballet as a principal in 2014.

JENNIFER LAUREN

Tuscaloosa, Ala. Danced with Alabama Ballet.

Joined Miami City Ballet as member of the Corps in 2007.

Promoted to principal in 2017.

SIMONE MESSMER

Minneapolis, Minn.

Danced with American Ballet Theatre and San Francisco Ballet.

Joined Miami City Ballet as a principal in 2015.

KLEBER REBELLO

Rio de Janeiro, Brazil Joined Miami City Ballet as company apprentice in 2010.

Promoted to principal in 2013.*

REYNERIS REYES

Pinar del Rio, Cuba Danced with the National Ballet of Cuba, Royal Winnipeg Ballet and Boston Ballet. Joined Miami City Ballet as principal in 2010.

RENATO PENTEADO

Sao Paulo, Brazil Joined Miami City Ballet as member of the Corps in 1999.

Promoted to principal in 2004.

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WHO'S WHO

PRINCIPAL SOLOISTS

NATHALIA ARJA

Rio de Janeiro, Brazil Joined Miami City Ballet as school apprentice in 2009. Promoted to principal soloist in 2016.*

DIDIER BRAMAZ

Geneva, Switzerland Danced with American Ballet Theatre. Joined Miami City Ballet as member of the Corps in 1996.

Promoted to principal soloist in 2008.

LAUREN FADELEY

Orlando, Fla. Danced with New York City Ballet and Pennsylvania Ballet.

Joined Miami City Ballet as a soloist in 2016. Promoted to principal soloist in 2017.

ALEXANDER PETERS

State College, Pa. Danced with Kansas City Ballet and Pennsylvania Ballet.

Joined Miami City Ballet as a principal soloist in 2017.

SOLOISTS

EMILY BROMBERG

Boston, Mass.

Danced with Festival Ballet Providence, Colorado Ballet and Ballet San Jose.

Joined Miami City Ballet as member of the Corps in 2010.

Promoted to soloist in 2015.

SAMANTHA HOPE GALLER

Bedford, Mass.

Danced with Boston Ballet, Cincinnati Ballet and Alabama Ballet. Joined Miami City Ballet as Corps de Ballet in 2014.

Promoted to soloist in 2018.

SHIMON ITO

New York, N.Y. Danced with Ballet San Jose. Joined Miami City Ballet as Corps de Ballet in 2011. Promoted to soloist in 2016.

ASHLEY KNOX

Shelby Township, Mich.

Joined Miami City Ballet as company apprentice in 2002.

Promoted to soloist in 2017.*

JORDAN-ELIZABETH LONG

Blacksburg, Va. Danced with Dutch National Ballet and Royal Swedish Ballet. Joined Miami City Ballet as soloist in 2014.

CHASE SWATOSH

Westlake Village, Calif.

Joined Miami City Ballet as company apprentice in 2010.

Promoted to soloist in 2016.

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WHO'S WHO

CORPS DE BALLET

ALAINA ANDERSEN

Milwaukee, Wis. Joined Miami City Ballet as an apprentice in 2014.

Promoted to Corps de Ballet in 2016.*

JULIA CINQUEMANI

Dallas, Texas Danced with Los Angeles Ballet. Joined Miami City Ballet as Corps de Ballet in 2017.

NINA FERNANDES

Rio de Janerio, Brazil Danced with Houston Ballet. Joined Miami City Ballet as Corps de Ballet in 2018.

AARON HILTON

Washington, D.C. Danced with Boston Ballet II. Joined Miami City Ballet as Corps de Ballet in 2017.

ALEX MANNING

State College, Penn.

Joined Miami City Ballet as an apprentice in 2013.

Promoted to Corps de Ballet in 2014.*

— Toby Lerner Ansin Scholarship Award Recipient

ERIC BECKHAM

Columbia, S.C. Danced with The National Ballet of Canada. Joined Miami City Ballet as Corps de Ballet in 2017.

ADRIENNE CARTER

Kennesaw, Ga. Joined Miami City Ballet as company apprentice in 2010. Promoted to member of the Corps de Ballet in 2011.*

BRADLEY DUNLAP

ELLEN GROCKI

Cleveland, Ohio Joined Miami City Ballet as school apprentice in 2005.

Promoted to Corps de Ballet in 2008.*

Damascus, Md. Joined Miami City Ballet as an apprentice in 2013.

Promoted to Corps de Ballet in 2014.*

— Company Representative

— Toby Lerner Ansin Scholarship Award Recipient

MAYUMI ENOKIBARA

Rio de Janerio, Brazil Joined Miami City Ballet as an apprentice in 2013.

Promoted to Corps de Ballet in 2015.*

SATOKI HABUCHI

Osaka, Japan Joined Miami City Ballet as Corps de Ballet in 2018.*

SUZETTE LOGUE

Sarasota, Fla. Danced with Pennsylvania Ballet and Boston Ballet.

Joined Miami City Ballet as a company apprentice in 2010. Promoted to Corps de Ballet in 2011.*

PETRA LOVE

New York, N.Y. Joined Miami City Ballet as Corps de Ballet in 2018.*

MADISON MCDONOUGH

Miami Beach, Fla. Danced with Los Angeles Ballet. Joined Miami City Ballet as Corps de Ballet in 2018.*

HARRISON MONACO

New Berlin, Wis. Danced with Pennsylvania Ballet. Joined Miami City Ballet as Corps de Ballet in 2017.

— Toby Lerner Ansin Scholarship Award Recipient

Miami City Ballet’s Apprentice Program 2018/19 season has been made possible with a generous gift from Patricia McKay Verbeeck in memory of Hope Eric Verbeeck. *Miami City Ballet School Alumni The Toby Lerner Scholarship Award is given every year to one of Miami City Ballet School’s most promising dancers to help underwrite the cost of their training.

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WHO'S WHO

GUSTAVO RIBEIRO

Vitoria, Brazil Danced with Washington Ballet II, Alberta Ballet and Kansas City Ballet. Joined Miami City Ballet as Corps de Ballet in 2018.

LEANNA RINALDI

Frisco, Texas Joined Miami City Ballet as company apprentice in 2013. Promoted to member of the Corps de Ballet in 2014.*

ÉMILIEN RIVOIRE

Lille, France Joined Miami City Ballet as an apprentice in 2013.

Promoted to Corps de Ballet in 2014.*

ARIEL ROSE

New York, N.Y. Danced with Boston Ballet, Ballet Municipal de Lima and Richmond Ballet.

Joined Miami City Ballet as Corps de Ballet in 2013.

HELEN RUIZ

San Juan, Puerto Rico Joined Miami City Ballet as company apprentice in 2007. Promoted to Corps de Ballet in 2009.

ALYSSA SCHROEDER

Portland, Ore. Joined Miami City Ballet as Corps de Ballet in 2017.

CHRISTIE SCITURRO

Sterling Heights, Mich.

Joined Miami City Ballet as a school apprentice in 2006. Promoted to Corps de Ballet in 2008.*

CHRISTINA SPIGNER

Paradise Valley, Ariz.

Joined Miami City Ballet as company apprentice in 2012. Promoted to Corps de Ballet in 2013.*

ERIC TROPE

Poolesville, Md. Danced with Pennsylvania Ballet. Joined Miami City Ballet as Corps de Ballet in 2013.

— Company Representative

LUIZ SILVA

Barra Mansa, Brazil Joined Miami City Ballet as an apprentice in 2015.

Promoted to Corps de Ballet in 2016.*

RAECHEL SPARREO

Buffalo Grove, Ill. Joined Miami City Ballet as an apprentice in 2013.

Promoted to Corps de Ballet in 2014.*

NICOLE STALKER

St. Petersburg, Fla. Joined Miami City Ballet as a company apprentice in 2008. Promoted to Corps de Ballet in 2009.*

ELLA TITUS

Clearwater, Fla. Joined Miami City Ballet as an apprentice in 2013.

Promoted to Corps de Ballet in 2015.*

AO WANG

Beijing, China Danced with The Washington Ballet Studio Company. Joined Miami City Ballet as Corps de Ballet in 2016.

AMIR YOGEV

Kibbutz, Israel Danced with Pennsylvania Ballet. Joined Miami City Ballet as Corps de Ballet in 2016.

DAMIAN ZAMORANO

Havana, Cuba Danced with Compañia Nacional De Danza.

Joined Miami City Ballet as Corps de Ballet in 2013.* — Toby Lerner Scholarship Award Dancer and Staff Headshots: Photos © Alberto Oviedo and Alexander Iziliaev.

Recipient

PERFORMANCES MAGAZINE P15

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MIAMI CITY BALLET STAFF Lourdes Lopez Artistic Director Tania Castroverde Moskalenko Executive Director ARTISTIC Director of Artistic Administration Anne-Camille Hersh Principal Ballet Master Roma Sosenko Ballet Master Joan Latham Ballet Master Arnold Quintane Company Manager Michael Sebesto

Wardrobe Mistress Jennifer Conrad Costume Shop Coordinator Pamela Tarantino School Wardrobe Mistress Ibis Hernandez Seamstresses Julia Villalobos Carmen Wilson Make-up Artist Carol Raskin ADMINISTRATION Associate Executive Director Alfredo Garcia Human Resources Director Lina Aguirre

MUSIC Principal Conductor Gary Sheldon

Office Manager and Executive Assistant Joy Stanfield

Company Pianist Francisco Rennó

FINANCE Director of Finance John J. Shumaker, C.P.A

PRODUCTION Production and Lighting Director John Hall Production Stage Manager Kelly Brown

Senior Accountant Jesus Valdes Payroll Coordinator Margarita Porta

Assistant Stage Manager Gabe Friend-Jones

Staff Accountant Francisco Albornoz

Head Carpenter Brian Harris

DEVELOPMENT Interim Director of Development Peter Hansen

Assistant Carpenter/Flyman James Sampedro Property Master Marc Stoudt Assistant Property Master Gary Darling Head Electrician William Schwendel Assistant Electrician Apon Nichols

Senior Gifts Officer Orene Tross-Harris Grants Development Director Michele Scanlan Grants Writer Melissa Rosko Director of Events Lisa Pollack

Sound Engineer Sean M. Deceunick

Annual Giving and Membership Manager Gradon Hadaway

Projection Operator Steve Covey

Donor Relations Manager Christine Peters

In Memorium Richard Carter

Development Assistant Desiree Arauz

WARDROBE Director of Costume Department Eleanor Wolfe Wardrobe Master Ricardo Asturias

Development Consultant Ruth Robinson Development Consultant Susan Galler Development Consultant Glenn Kaufhold

MARKETING AND COMMUNICATIONS Chief Marketing Officer Julii Oh Assistant Director of Marketing: Caroline Murray Graphic Designer Stefanie López Marketing Coordinator Maggie Adler Digital Marketing Specialist Amelia Arce Box Office Manager Matt Saurusaitis Box Office Supervisor Mariajose Bodden-Miranda Assistant Box Office Manager Maritza Castro Outbound Sales Manager James Perez MCB Store Manager Susan Black Olson Customer Service Representatives Raul Isturiz Roger Mejia Kaaren Mils Sergio Rodriguez Karen Silva COMMUNITY ENGAGEMENT Senior Director of Community Engagement AnaMaria Correa Community Engagement Programs Manager Tharesa Z. Perry Ballet Bus Group Leaders Leigh Ann Carracio Blaire Andrews MIAMI CITY BALLET SCHOOL Chair Lourdes Lopez Director of Faculty and Curriculum Arantxa Ochoa School Operations Manager Jessica Bork School Programs and International Relations Manager Stella Ford School Administrative Coordinator Tainisel Rodriguez Psychologist Dr. Migdalia Figueredo

Principal Faculty Alexander Iziliaev Faculty Mariana Alvarez Brake Kris Arias Kareen Pauld Camargo Claudia Lezcano Rafi Maldonado-López Maribel Modrono Herman Payne DeAnn Petruschke Reyneris Reyes Emily Ricca Francis Veyette Antonella Vichidomini Pianists Freda Afonin Marianela Castro Juvenal Correa-Salas Maria Eugenia Del Frade Gladys Fariñas Vivian Gonzalez Yraima Menendez Teresa Valdivia Egusquiza PROFESSIONAL CONSULTANTS Employment and Labor Law Lisa Berg, Esq. – Stearns Weaver Miller, et al, P.A. Immigration Law Glenn Rissman, Esq. – Stearns Weaver Miller, et al, P.A. Public Relations Tadpole Communications WOW MKTG HR Consultants Belinda Turner Lawrence Lisa Nass Photographers Alexander Iziliaev Daniel Azoulay Auditor Robbins and Moroney, P.A. MEDICAL PROVIDERS Company Physician Kathleen Davenport MD Director of Dance Medicine Kathleen Bower PT, DPT, MTC Physical Therapist Elizabeth Maples PT, DPT Massage Therapist Alexis Somoano LMT

Student Life and Housing Manager Roslyn Ruiz

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Photo by Alexander Iziliaev.

GIFTS

GEORGE BALANCHINE'S THE NUTCR ACKER® GIFTS Miami City Ballet’s production of George Balanchine’s The Nutcracker ® is made possible by the extraordinary philanthropic investment of the following individuals, foundations and community leaders. Thank you.

George Balanchine’s The Nutcracker® Choreography by George Balanchine © The George Balanchine Trust Music by Peter Ilyich Tchaikovsky* Children staged by Sandra Jennings Costume Design by Isabel Toledo Set and Properties Design by Ruben Toledo Lighting Design by James F. Ingalls Projection Design by Wendall K. Harrington *The Nutcracker, Opus 71 Costume Credits: Costume Construction by Arnold Levine, Betzabé Pujaico, Caryn Wells, Catafagno Productions, Cygnet Studio, Euro Co Costumes, Inc., Isabel Toledo Entreprise, Inc., Joe Scafati, Lynne Mackey Studio, and Miami City Ballet Wardrobe Consulting by Andrea Spiridonakos Scenic Credits: Scenic Design Assistant Robert John Andrusko Projection Programming by Paul Vershbow Lighting Design Assistant Heather Graff Scenery Construction by I. Weiss Theatrical Solutions Scenic Painting by Scenic Art Studios Properties construction General Scenery, Orlando, Fla. The performance of George Balanchine’s The Nutcracker ®, a Balanchine® Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style® and Balanchine Technique® Service standards established and provided by the Trust.

Miami City Ballet would like to acknowledge the Colburn School students who appear in this production.

LEAD BENEFACTORS $500,000

PARTNERS $15,000 – $24,999

Claudia and Steven Perles Mary Spencer

Funding Arts Network Miami-Dade County Tourist Development Council, the Miami-Dade County Department of Cultural Affairs, the Cultural Affairs Council, the Mayor, and the Miami-Dade County Board of County Commissioners

SUGARPLUM FAIRY $100,000 – $249,999 Deborah and Charles Adelman B Carlin Foundation • Judy Werner, Trustee Trish and Dan Bell Margarita and Armando Codina Jeffrey Davis and Michael Miller Kathy and Steven Guttman Kristi and Dean Jernigan John S. and James L. Knight Foundation Susan D. Kronick and Edward Manno Shumsky The Music Center ANGELS $50,000 – $99,999 Olga and Alex Blavatnik Aaron Lieber and Bruce Horten SOLDIER $25,000 - $49,999 James Ansin Stephanie Ansin and Spencer Stewart Tatiana and Andrew Ansin Toby Lerner Ansin and Sanford Evans Broward Cultural Council The Charlesmead Foundation CMC Group • Sara and Ugo Colombo Swanee and Paul DiMare Dunspaugh-Dalton Foundation • Tina and William Lane Janice and Emma Feirstein Lawrence Herbert Michele Herbert Raymond James The Kirk Foundation • Pamela J. Garrison and R. Kirk Landon* Kinga and Edward Lampert Dominick and Meike Miniaci Rose Miniaci Christy and Earl Powell Terra • David and Christina Martin Wells Fargo Private Bank

COSTUME UNDERWRITING SUPPORT $10,000 – $14,999 Jill Braufman and Daniel Nir • Sugar Plum Fairy Dr. Margaret and Mike Eidson offee Arabian and •C Hot Chocolate Lead Jamie and Asha Elias • Soldiers Margot and Allen London • Flowers Toni and Martin Sosnoff ngels, Dewdrop, •A Sugar Plum Fairy $5,000 – $9,999 The Adler Family • Angel & Party Girl Fern G. Rose* • Harlequin $1,000 to $2,500 Winston Lett and Frank Benoit • Marie (Nightgown) The Cooper Family • Angel Jo Ann Engelhardt • Hot Chocolate Mamie and Tarmo Jõeveer • Polichinelles Ana Martin-Lavielle • Chinese Tea Alfred A. Lewis • Marie (Nightgown) Dr. Elisabeth A. McKeen • Angel Judith and Marvin Weinstein • Bunny Child *Deceased

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Photo by Alexander Iziliaev.

ORCHESTRA

VIOLIN I

Diana Wade

OBOES

TROMBONES

Roberto Cani Concertmaster

Karie Prescott Kate Vincent

Leslie Reed Principal

William Booth Principal

Armen Anassian Associate Concertmaster

Carolyn Riley

Jennifer Cullinan

Alvin Veeh

Aaron Oltman

Sarah Beck

Marisa Sorajja Assistant Concertmaster

Karolina Naziemiec

English horn

Terry Cravens Bass trombone

Margaret Wooten

CELLOS

CLARINETS

TUBA

Olivia Tsui

John Walz Principal

Stuart Clark Principal

James Self Principal

Helen Z. Altenbach

Laura Stoutenborough

Associate Principal

Josh Ranz Bass clarinet

Hana Won Kim Dongfang Ouyang Lucinda Chiu Radu Pieptea Heather Powell Nina Evtuhov Tamara Hatwan

Nadine Hall Ira Glansbeek Maggie Edmunson Roger Lebow

VIOLIN II

BASSES

Ana Landauer

Nathan Farrington Principal

Principal Kathleen Sloan Associate Principal Florence Titmus Leslie Katz Michele Kikuchi Cynthia Moussas

Frances Liu Wu Assoc. Principal Don Ferrone Tim Eckert James Bergman

Tina Chang Qu

FLUTES

Lorรกnd Lokuszta Ina Veli

Ben Smolen Principal

Irina Voloshina

Angela Wiegand

VIOLAS

Sarah Weisz Piccolo

Shawn Mann Principal

BASSOONS William May Principal

HARP JoAnn Turovsky Principal CELESTE

Judith Farmer

Jeremy Frank Principal

HORNS

TIMPANI

Jenny Kim Principal

Gregory Goodall Principal

Katie Faurado Kristy Morrell Associate Principal James Atkinson TRUMPETS

PERCUSSION Theresa Dimond Principal John Wakefield

Ryan Darke Principal

ORCHESTRA PERSONNEL MANAGER

Steve O'Connor

Brady Steel LIBRARIAN KT Somero

Andrew Picken Associate Principal

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Photo by Alexander Iziliaev.

THE GABRIELLA FOUNDATION / THE COLBURN SCHOOL STUDENT DANCERS Addison Molly Moss Agnes Aju Huskey Alex C. Cronin Alexa Dollar Alexis Escuadro Allison Hidalgo Angélica Zamora Reyes Ashley Dietrich

Madeleine Li

Mercedes Angulo

Ayne Kim Bear Larsen-Gill Bethany E. Laluces Bridget Duffy

Mia Escobar Michelle Lopez Miku Moore Mila Dahm

Caitlin Berry

Naya Sevilla

Chloe Dahm

Olivia Ben-Ari

Chloë Hunter

Opal Rierson

Chloë Liskey Dagmar Ayoung Huskey Grace Fayette

Colburn’s robust community engagement initiative delivers performing arts education to low-income students, and each season, the school presents over 300 concerts and performances at its Downtown Los Angeles home and throughout Southern California.

Mackenzie Nicole Younker

Matthew Angulo

Ava Grossi

The Colburn School comprises four academic units united by a single philosophy that all who desire to study music and dance should have access to top-level instruction. The degree granting conservatory of music, a preeminent training ground for professional musicians; the Community School of Performing Arts, a vital entry point for the study of music and drama; the Music Academy, which prepares pre-college musicians to study at top conservatories; and the Trudl Zipper Dance Institute, which includes the elite Dance Academy pre-professional program, all provide performing arts instruction to over 2,000 students from around the world. The renowned teachers and scholars that make up Colburn’s faculty serve as invaluable mentors to guide students’ artistic development.

Lila Morgan

Mars Engel Dixon

Audrey Bovet

A program of The Gabriella Foundation, everybody dance! provides high-quality daytime and after-school dance training to underserved youth ages 4 to 19. During the school day, everybody dance! offers a creative outlet for students, using dance as a tool for learning by incorporating movement into academic curriculum. everybody dance! after-school provides youth a safe space at the most vulnerable time of day, and teaches discipline, teamwork and a focus on technical mastery of dance forms. In both models, our professional dance instructors inspire students to achieve their very best by teaching life skills and instilling selfconfidence, creative exploration, and a commitment to dance. Tina Banchero, artistic director, is delighted for everybody dance! students, "This is such an extraordinary opportunity for our dancers.

They are so excited to be a part of The Nutcracker and we are truly grateful to the Colburn School and The Music Center for making this possible!"

Josephine Kim

Marlo E. Cronin

Aubry Deetjen

THE COLBURN SCHOOL

Isabella Barajas Garcia

Lou Davidson

Amy Sierra

THE GABRIELLA FOUNDATION

Isabella Anaya Taglioli

Greta Lippmann Hailey Montano Hannah Chae Harper Madeleine Powell Haylie Sarahí Rivera Hiver Von Johnston

Reila Post Rhianna Cohen Roen Helena Magni Scott Sky Yordan Sophia Nguyen Huynh Stella Keyes Tulia Temple Yosef De Leon Zi Kala Diaz

THE COLBURN SCHOOL AND THE GABRIELLA FOUNDATION'S everybody dance! PROGRAM INSTRUCTORS Jenifer Ringer, Dean Kelly Ann Sloan, Chair Katherine Cowgill, Faculty Genevieve Labean, Faculty Trudl Zipper Dance Institute at The Colburn School

DANCE COACH Jenifer Ringer, Dean Trudl Zipper Dance

PERFORMANCES MAGAZINE P19

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Photo by Alexander Iziliaev.

Give The Gift Of The Arts This Holiday Season Give a loved one the gift of a membership with The Music Center, and they may receive benefits such as: Invitations to technical rehearsals of world-class dance companies, like The Royal Ballet. pportunities to attend special matinee dance performances O for Los Angeles County students.

Priority access to tickets for community programming, like Sleepless: The Music Center After Hours.

P20  PERFORMANCES MAGAZINE

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Give The Gift Of The Arts This Holiday Season YOUR IMPACT 49,038 patrons attended performances by world-renowned dance companies as part of the 2017–2018 season of Glorya Kaufman Presents Dance at The Music Center.

165,000 students, teachers, parents, children, youth and families participated in The Music Center education and community programs in 2017.

50,000 community members enjoyed a free and fun New Year’s 2017 celebration at Grand Park + The Music Center’s N.Y.E.L.A.

Please consider giving the gift of the arts by making a contribution to The Music Center before the year ends on December 31, 2018.

For more information, contact Elise Embry The Music Center Membership Office (213) 972-4349 membership@musiccenter.org musiccenter.org/membership PERFORMANCES MAGAZINE P21

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Upcoming Engagements Alvin Ailey® American Dance Theater April 3 – 7, 2019 The Royal Ballet Mayerling July 5 – 7, 2019 Adès & McGregor: A Dance Collaboration July 12 – 13, 2019

Fearless Dynamic Dance musiccenter.org | (213) 972-0711

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Alvin Ailey American Dance Theater’s Jacqueline Green. Photo by Andrew Eccles.

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STUDENT DANCE MATINEE As part of championing arts education, The Music Center welcomes thousands of students from throughout Los Angeles County every year to experience live professional dance performances and to empower teachers to incorporate dance into their curriculum.

The organization engages students, educators and the community through all its programs, including The Music Center's Very Special Arts Festival, The Music Center's Spotlight program, The Blue Ribbon Children’s Festival, The Music Center on Tour, Arts Integration Partnerships, Professional Development for Educators and the Student Dance Matinee program.

This year third, fourth and fifth grade students from across the county were brought to The Music Center as part of the Student Dance Matinee program for a performance of Act II of George Balanchine’s The Nutcracker®. This program encourages students to engage with dance and movement, visual storytelling, diverse perspectives and cultures, self-expression and the creative process.

Prior to students attending the performance, their teachers attended an orientation session to help prepare their students to have the best possible experience. The teachers came to The Music Center and spent an afternoon with Music Center master teaching artist Madeleine Dahm, who worked with them to learn more about George Balanchine’s The Nutcracker©, Miami City Ballet and The Music Center; and to actively build skills in dance and gain strategies for using dance in their classrooms. As Dahm explains, “classical ballet is theatrical storytelling at its best. Driven by

wonderful characters, themes and glorious music, ballet is an ageless classic that celebrates imagination.” The orientation not only focused on learning and teaching dance, but also the importance of experiencing it for oneself.

The partnership between The Music Center and teachers continues even after the performance is over. All teachers are provided a comprehensive study guides to share with their students both to learn about the dance company, style, and choreography, and to explore the meaning of the experience and its relevance to students' own lives.

Last year, The Music Center partnered with more than 750 schools and served over 165,000 students, educators and community members across its many educational offerings. Thank you to all of our donors who make it possible to share the love of dance and the arts with the children of Los Angeles!

Special thanks to Anita Mann Kohl and Allen D Kohl for support of the student matinees.

STUDY GUIDE EXAMPLE Hey kids of every age! Here are questions we give students and teachers to get the most out of the show. Answer them after the show and share them with your friends and family.

1. What did I know about The Nutcracker before coming to the performance?

2. What did I learn from watching the performance?

3. H ow did movement without dialogue tell the story in a different way than reading or watching the story?

4. What was most memorable or inspiring?

Interested in partnering with The Music Center?

Visit musiccenter.org and explore our education section for more information.

PERFORMANCES MAGAZINE P23

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CENTER DANCE ARTS Center Dance Arts members play a vital role in bringing the world’s most illustrious dance companies to Los Angeles and inspiring thousands of children through student performances.

WOULD YOU ENJOY… meeting dancers and choreographers in intimate settings? enriching Los Angeles arts and culture with world-class dance performances? travelling with fellow members to dance-inspired destinations? attending local dance events and performances with fellow members? inspiring thousands of Los Angeles youth this season through student matinees performances

…THEN JOIN THE MOVEMENT! Support The Music Center Become a member today. musiccenter.org/centerdancearts (213) 972-3359

The Music Center

WELCOMES

the Dance Resource Center, our new community partner in residence.

#lamovesus

To learn more about DRC programs serving the Los Angeles dance community, visit danceresourcecenter.org or on Instagram @drc_la P24 PERFORMANCES MAGAZINE

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Diavolo previews Voyage at their studio

Diavolo hosted Center Dance Arts members at their studio on October 2 in Downtown Los Angeles for an up-close-and-personal preview of Voyage. Jacques Heim, Diavolo's artistic director offered attendees insight on the full program that would take the stage at The Music Center's Ahmanson Theatre the weekend of October 12. Members also learned about The Veterans Project — Diavolo’s program that uses movement to give veterans a sense of belonging and purpose.

CENTER DANCE ARTS 2018-19 BOARD OF DIRECTORS Catharine Soros Chair JoAnne Bourne Vice President Treasurer Diane Wittenberg Vice President Joan Herman Secretary Jane Jelenko† Founding President Liane Weintraub† Founding Chair Jane Arnault-Factor, Ph.D† Susan Baumgarten Homeira Goldstein Hany Haddad Liz Levitt Hirsch† Patrick Kinsella Nigel Lythgoe Steven Neu Judith Reichman, MD Dominique Shelton Julia Strickland Bradley Tabach-Bank Sue Tsao

CENTER DANCE ARTS 2018-19 MEMBERS DANCE AMBASSADORS ($10,000+) Jane Arnault-Factor Susan Baumgarten JoAnn Bourne Dwight Broadneax and Greg Moesser Walter Chameides Helen Funai Erickson Richard E. Fiock and Diego Castrejón Joan A. Friedman, Ph.D and Robert N. Braun, M.D. Homeira and Arnold Goldstein Hany G. Haddad / U.S. Bank Joan Herman and Richard Rasiej Liz Levitt Hirsch† Freya and Mark Ivener Jane Jelenko† Carol and Patrick Kinsella Anita Mann Kohl and Allen D Kohl Nigel Lythgoe MaddocksBrown Foundation Olivia and Anthony Neece Steven Neu Judith Reichman, M.D. Marie H. Song Catharine and Jeffrey Soros Julia Strickland and Timothy Wahl Bradley Tabach-Bank and Dee Dee Dorskind Sue Tsao Ron Watson Alyce Williamson Diane Wittenberg and David Minning

DANCE PACESETTER ($5,000 – $9,999) Charlene Achki-Repko Libbie Agran Richard and Karla Chernick Christopher Combs and Charlotte Hughes Patricia Devin Elizabeth and Brack Duker Lisa Field Gerald D. Friedman June Li Anita Lorber Sherry Martin LEAD DANCE PATRON ($2,500 – $4,999) Donna M. Altmann Barry Baker Irene and Stuart Boyd Elizabeth and Otis Chandler Catherine Cristall Lynne and James DeWitt Jennifer Diener Judith Douglas Susan Friedman Frederick and Leslie Gaylord Beth and Leslie Michelson Renae Willaims Niles and Greg Niles Jerry Rosenstock Helene Rosenzweig, M.D. Mpambo and David Shaw I.H. Sutnick Allan and Roslyn Holt Swartz

DANCE PATRON ($1,000 – $2,499) Shirley Ashkenas Paul N. Barkopoulos, M.D. Lillian Chin Allison Clago Sharon Darnov Rafael de Marchena-Huyke Elisabeth Familian Martin Freedman Genevieve and Lewis Geyser Anne Grausam Marcy Gross Claire and Robert Heron Christine M. Hessler Barbara and Richard Kernochan Jerry Luedders and Joseph Gilbert Carla Malden and Normal Beil Patrick Morrow Ellen Pansky David Richard Pullman Hadley and Lee Rierson Maxine Savitz Sherie and Alan Schneider Laurie Vender and Stephen Halper Daniel and Janice Wallace Susan and Stuart Warren †

Charter Member

PERFORMANCES MAGAZINE P25

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18/19 CENTER DANCE ARTS MEMBER EVENTS CALENDAR January 2019* Dance Salon Dance salon with choreographer Ryan Heffington March 2019* Dance Salon “Sports and Dance” salon

Remembering

Arthur Mitchell

(1934 – 2018)

By Karen Ballenger

In the early 60s as a young soloist with the San Diego Ballet, I was invited by Jillana, principal dancer with the New York City Ballet (NYCB) and, at that time, a friend, mentor and teacher for the San Diego Ballet, to see a performance of Balanchine’s A Midsummer Night’s Dream at the Hollywood Bowl. In the cast that night was Arthur Mitchell performing the role of “Puck.” The evening was wondrous, inspiring and memorable.

Thursday, April 4, 2019 Student Matinee Alvin Ailey American Dance Theater student matinee performance

Then years later in January 2005, to my great delight, my husband Bruce and I attended a Center Dance Arts Meet the Artists reception at the lovely home of Catherine Paura honoring Arthur Mitchell. Mitchell was in Los Angeles to receive a Lifetime Achievement Award by the International Association of Blacks in Dance.

Saturday, April 6, 2019 Meet the Artists Post-performance reception with Alvin Ailey American Dance Theater

Arthur Mitchell was the first African-American man to become a permanent member of a major ballet company when he joined NYCB in 1955; he was the first black man to reach principal dancer status at NYCB. In 1968, with Balanchine’s support and encouragement, Mitchell left NYCB to start a troupe of his own, dedicated to offering opportunities in ballet to disadvantaged youth. Like Balanchine, Mitchell opened a school. Dance Theatre of Harlem was founded in 1968. Its school opened in 1969.

The company’s first professional performances began in 1971.

Friday, July 5, 2019 Rehearsal Technical rehearsal for The Royal Ballet’s Mayerling Saturday, July 6, 2019 Meet the Artists Reception with The Royal Ballet For event details, contact the membership office: cda@musiccenter.org (213) 972-3359 *Dates to be determined.

All events and artists are subject to change.

During the evening of the Center Dance Arts reception, I had a much anticipated opportunity to talk with this legend of dance who, in his wonderful humor and memory, recalled that 60s Hollywood Bowl performance of A Midsummer Night’s Dream with me. Jimmy Doolittle was at that time an important dance presenter in Los Angeles, and he produced this run at the Hollywood Bowl. Mitchell recalled that Doolittle kept wanting him to do the splits, and, that it was warm and sunny while rehearsing “Puck” on stage during the daytime — but, when the sun went down, it was really cold and the “Puck” costume did not provide much warmth!

Dancers always have the memory of the dance, but it is surely the interesting tidbits of the classes, rehearsals and performers that fuel the merriment of the dancer’s life.

Having had the opportunity to meet and talk with the artists is truly priceless. I’ll never forget meeting Arthur Mitchell more than 13 years ago. He was then, and will continue to be, priceless!

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Introducing THE MUSIC CENTER ARTS This past October, The Music Center made an unprecedented move in its history with the launch of The Music Center Arts, a new division designed to propel its artistic work as it seeks to achieve its vision of deepening the cultural lives of all in Los Angeles County. The Music Center Arts, which will complement the organization’s operations division, known as The Music Center Ops, validates the organization’s commitment to excellence in dance, public programming and arts education and its work to ensure its programming is relevant and accessible to all.

The Music Center named nonprofit arts sector trailblazer Josephine Ramirez as executive vice president to lead The Music Center Arts, where she will be responsible for guaranteeing The Music Center’s artistic staff will curate, commission and create programs of the highest caliber with a comprehensive and strategic focus on engagement.

Ramirez contributes an extensive understanding of arts engagement that fosters greater relevance and access, not only through program production and presentation, but also as a central organizational commitment. She will supervise The Music Center’s artistic presentations and productions, public programming, arts education, government relations and work in programming and operating Grand Park, and will also oversee The Music Center’s Glorya Kaufman Presents Dance at The Music Center series alongside The Music Center President & CEO Rachel Moore.

A long-time arts administrator and strategic consultant with experience in arts leadership, philanthropy and production, Ramirez is no stranger to The Music Center. Most recently she was the former arts program director for the James Irvine Foundation, where she conceived and implemented a new strategic direction for Irvine’s arts investments: supporting organizations to undergo programmatic, organizational and business model change that sustains their engagement with/by/for low-income and diverse communities.

Prior to that, Ramirez served as vice president of programming and planning for The Music Center, where she led the creation and launch of Active Arts, a major initiative that animated underused spaces at The Music Center with participatory arts experiences such as The Music Center’s Dance Downtown. She initiated the first Grand Avenue Festival and launched a groundbreaking concert series in The Music Center’s Walt Disney Concert Hall that profiled pop music reflecting Los Angeles’ immigrant communities. Previously, Ramirez was with the Getty Foundation, managing funding in the areas of arts leadership development, Los Angeles cultural organizations, arts education research and arts policy.

She has also consulted for numerous cultural organizations around the country, including the National Endowment for the Arts, and has been as a producer of both large- and smallscale performance events. She has extensive experience in local and regional government, including serving as the community arts coordinator for the King County Arts Commission in Seattle, as vice president of the City of Los Angeles Cultural Affairs Commission, as chair of the city’s Cultural Master Plan Advisory Committee, and as a founding commissioner of the El Pueblo de Los Angeles Historic Monument.

Under Ramirez’s direction, The Music Center Arts will play an important role in the launch of and ongoing programming of The Music Center’s renovated plaza, which is anticipated in open in late summer/early fall of 2019.

PERFORMANCES MAGAZINE P27

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CREATE YOUR

LASTING LEGACY The Dorothy B. Chandler Legacy Society honors and recognizes the generous individuals who have made a legacy commitment to furthering the arts in Los Angeles through The Music Center.

When the Dorothy Chandler Pavilion opened in 1964, Dorothy Chandler knew she was taking the first step in harnessing the transformative power of the arts to impact generations of Los Angeles County residents. The arts campus has since expanded to four world-renowned resident companies — Center Theatre Group, LA Phil, LA Opera, and the Los Angeles Master Chorale — as well as Glorya Kaufman Presents Dance at The Music Center. Today, each company performs across all of our venues and not only serves tens of thousands of residents annually, but reaches even more each year through arts education and free to low-cost community programs.

Whether you are a dance season subscriber, a school teacher who has benefitted from our arts education professional development program, or your child was entertained and educated by one of our many free school assemblies, you support the arts because you know it made a difference in your life.

Imagine the impact your legacy gift can make on others! By becoming a member of the Dorothy B. Chandler Legacy Society, you are furthering the arts in Los Angeles and the arts impact on generations to come.

To become a member of the Dorothy B. Chandler Legacy Society, or to request more information, please visit musiccenterlegacy.org or contact Dasha Thomas at (213) 972-3353 or dthomas@musiccenter.org.

P28 PERFORMANCES MAGAZINE

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The Music Center Thanks Its Supporters Donors listed as of October 31, 2018

INDIVIDUALS AND FAMILY FOUNDATIONS $1,000,000 and above Robert J. Abernethy Wallis Annenberg Glorya Kaufman Dance Foundation Merle and Peter Mullin Ring-Miscikowski Foundation / The Ring Foundation / Cindy Miscikowski $250,000–$999,999 Fredric M. Roberts Lisa Specht $100,000–$249,999 Helen and Peter Bing The Blue Ribbon Dorothy B. Chandler Program Fund Edgerton Foundation Helen Funai Erickson Kiki and David Gindler Gerry Ibañez / The See Change Foundation Freya and Mark Ivener Jerry & Terri Kohl Family Foundation Anita Mann Kohl and Allen D Kohl David and Jody Lippman Marc and Eva Stern Foundation Barbara and Joel Marcus Jeffrey S. Saikhon Julia Strickland and Timothy Wahl $50,000–$99,999 Field Family Foundation Lauren Leichtman & Arthur E. Levine Family Foundation Marcia Israel Foundation Charlotte and Leslie Moore Foundation Jerry Moss Teresita and Shelby Notkin Barbara and Jay Rasulo Allison and Richard Roeder Alyce Williamson $25,000–$49,999 Pamela and Dennis Beck Jane Centofante Elizabeth and Kirk Day / Norman F. Sprague Jr. Foundation

Lisa and Andrew Gilford Nancy and Michael Harahan Gloria and Glen Holden Tylie Jones and John Towey Lee Graff Foundation Marla and Cary Lefton LSMK Investments Maddocks Brown Foundation Diane G. Medina Beth and Leslie Michelson Cynthia M. Patton Karen Kay Platt and Lawrence B. Platt Max Ramberg Laura and James Rosenwald Lisa See and Richard Kendall Marie H. Song Catharine and Jeffrey Soros $10,000–$24,999 Gay and Harry Abrams Stevie Ellison and Lawrence Adamo Alfred E Mann Family Foundation Jane Arnault-Factor Beverly and Frank Arnstein Susan Baumgarten Lynn A. Booth JoAnn and Wayland Bourne Claire and Brad Brian Maynard and Linda Brittan / Traub-Brittan Family Foundation Dwight Broadneax and Greg Moesser Tony and Cindy Canzoneri Walter and Ruth Chameides Christopher Combs and Charlotte Hughes Ana and Robert Cook Mark H. Dalzell and James Dao-Dalzell Jennifer Diener Dorskind Family Foundation Michael Dreyer Maxine Dunitz Dr. Annette Ermshar and Mr. Dan Monahan Maude and Richard Ferry Richard E. Fiock and Diego Castrejón Joan A. Friedman, Ph.D and Robert N. Braun, M.D.

Michael Gendler and Jessica Teich Vera and Paul Guerin Ariella Herman Joan Herman and Richard Rasiej Liz Levitt Hirsch Darryl Holter and Carole Shammas Jane Jelenko Randi and Richard Jones Carol and Patrick Kinsella Kent Kresa James D. Laur LLWW Foundation Anita Lorber Cathy and Mark Louchheim Nigel Lythgoe Malouf Foundation Rao Makineni Maria V. Altmann Foundation Linda May and Jack Suzar Barbara and Buzz McCoy Ann and Greg Myer Olivia and Anthony Neece Steven Neu The Estate of Robert W. Olsen Amy B. Ortner Otis and Elizabeth Chandler Foundation Rose and Michael Pagano Anne and Arnold Porath Judith Reichman, M.D. Rosemary Ringwald Marna and Rockwell Schnabel Simms/Mann Family Foundation Gayle Stettler Bradley Tabach-Bank and Dee Dee Dorskind Sally and James Thomas Sue Tsao Ron Watson Thomas Weinberger and Leslie Vermut The Wetsman Foundation / Janis and William Wetsman Wendy and Jay Wintrob Diane Wittenberg and David Minning Orna and Keenan Wolens Family Foundation $5,000–$9,999 Charlene Achki-Repko

Libbie Agran Dean V. Ambrose Barry Baker Maralee Beck and Andrew Safir Ben/Joyce Eisenberg Foundation Rosanna Hirshon Bogart Sonia Boyajian Joan and Allan Burns Richard and Karla Chernick Patricia Devin Lynne and James DeWitt Erica and Vin Di Bona Elizabeth and Brack Duker Roni and Ethan Eller Joan and Larry Flax Ruth Flinkman-Marandy and Ben Marandy Gerald D. Friedman Clifford and Leslie Gilbert-Lurie Homeira and Arnold Goldstein Louis Goren Cornelia Haag-Molkenteller, M.D. Betty Hayman Barbara and Dan Horwitz Joan and John F. Hotchkis Stanley Iezman and Nancy Stark Suzanne and Richard Kayne Ellie Kitta and Ron Goldie Rini and Arthur Kraus Carl W. Large June Li Dr. Debra Luftman and Mr. Harlan Gibbs Bill Maldonado and Charles P. Souw Sherry Martin Nancy and Patrick McCabe Irene Mecchi Darrell Douglas Miller Molly Munger and Stephen English Ellen Pansky The Albert Parvin Foundation Phyllis Parvin Travis Powers & Jeanne McDonald-Powers Phyllis and Henry Present The Rauch Family Foundation Carol Saikhon Loren Schlachet and Brooke Elliott Fredric Rosen and Nadine Schiff Joni J. Smith PERFORMANCES MAGAZINE P29

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THE MUSIC CENTER SUPPORTERS $5,000–$9,999 cont.

Clare Phillips Tayback and Christopher Tayback $1,000–$4,999 Keith and Ingrid Agre Alice and Julius Kantor Charitable Trust Donna M. Altmann Sasha and William Anawalt Vivian Irene Anderson Avi and Joyce Arad Shirley Ashkenas Howard Banchik Sandy and Dan Bane Roy Manning Barber Mary Jane Boggs Barger Paul N. Barkopoulos, M.D. Laurel Beebe Barrack Margaret and David Barry Avery and Andrew Barth Josephine Baurac Paul M. Beigelman, M.D. Joni and Miles Benickes James E. Berliner Lanie Bernhard Katherine Beyda and Michael Amundson Lucas and Alexander Bierlein-George June and Paul Bilgore Debra and Norris Bishton Yvonne Bogdanovich David C. Bohnett Mary Lou Boone Irene and Stuart Boyd Geri Brawerman Debbie and Jim Burrows C&R Newman Family Foundation Marcia Caden Reynolds Cafferata Anthony T. Campagnoni, Ph.D. Catherine Carlile Judy Carroll Fanya Carter Constance Chesnut and Sheldon Benjamin Lillian Chin Allison Clago Pamela and V. Shannon Clyne Jane and Lawrence Cohen Ann and Philip Colburn Eleanor Congdon David Conney, M.D. Catherine Cristall Alison Bryan Crowell and Richard Crowell Sharon Darnov Suzanne and Robert Davidow Nadine and Harold Davidson Nancy and Donald de Brier

Rafael de Marchena-Huyke Paulette and Audney DePaulo Laura Donnelley Elizabeth and Ken Doran Dody Dorn Judith Douglas Betty J. Dranow Phyllis and Jim Easton Jerrold Eberhardt Elisabeth Familian Leah and Sam Fischer Nanette and Burton Forester Harold Frankl Martin Freedman Susan Friedman Diane Futterman Hilary D. Garland Frederick and Leslie Gaylord Susan and David Gersh Genevieve and Lewis Geyser Gladys Turk Foundation Doris Gold Ilene and Stanley Gold Elaine Goldsmith Marjorie Goodson Gary Gordon Anne Grausam Tricia and Richard Grey Marcy Gross Madeline Gussman Penny Haberman Maria Hall-Brown Roberta and Bruce Hammer Donna Handel Kevin Patrick Hanley Lisa and Steven Hansen Jeanne and Michael Harris Drs. Vikki and Sidney Helperin Diane J. Henderson Phyllis and Michael Hennigan Claire and Robert Heron Gail Hershowitz Christine M. Hessler Anita Hirsh Linda Joyce Hodge AC Hoffing Valerie Foster Hoffman Ann and Robert Holder Katinka and Eugene Holt Katie and Philip Holthouse The Estate of Rubi Hori William H. Isacoff, M.D. Nancy Israel Maria Rosario Jackson, Ph.D. Daniel Jaffe and Cynthia Monaco Ruth M. Jones Janet & Marvin Jubas Mary Ann Rosenfeld Kadish and Sheldon Kadish Gerald Katell Don Kates

Anita and Fred Kemmerling Barbara and Richard Kernochan Bettina Korek Greg Korman Joanne Kozberg Sandra Krause and William Fitzgerald Kathleen and John Lacey Ellen and David Li Lee Mee Mong Lee Aliza and Mike Lesser Linda Levie Barbara Levinson Leigh Lindsey and Andrew Blaine Joanne and Ethan Lipsig Chris Lloyd and Arleen Sorkin LLWW Foundation Marlene and Sandy Louchheim Lillian Lovelace Elizabeth and Robert Lowe Jerry Luedders and Joseph Gilbert Kirk Luetkehans Dr. Thomas and Marie Maclennan Carla Malden and Normal Beil Pauline Marks Ilene and J. Howard Marshall III Mary and David Martin Jane and Edward McAniff Janis B. McEldowney Beth McGlynn and James Zapp Linda and Sheldon Mehr Vibiana Molina Haydee and Carlos Mollura Morris A. Hazan Family Foundation Patrick Morrow Diane Morton Carol and Jerome Muchin Muriel F. Siebert Foundation The Muriel Pollia Foundation Diane Naegele David Drew Neer Chris and Richard Newman Renae Williams Niles and Greg Niles Philip J. Nuxhall Myrna Oken Alan Oppenheimer Hedy Orden Nina and Leo Pircher Lori and Kenneth Polin Laura Pope CC Pulitzer-Lemann and Monte Lemann II David Richard Pullman Pun'kin's Feiman Family Foundation Joyce Rey Hadley and Lee Rierson Sharon and Nelson Rising Ann and Robert Ronus Ropolo Charitable Trust

Donna and Harvey Rosen Jerry Rosenstock Beverly and Melvin Rosenthal Helene Rosenzweig, M.D. Richard S. Roth Susan and Marvin Rothenberg Linda and Tony Rubin Peggy and Harvey Saferstein Thomas Safran Ariane & Lionel Sauvage Maxine Savitz Mariette and Alexander Sawchuk Alexandra Scharff and Tom Pierson Linda and Peter Schlesinger The Schlum Charitable Trust Kim Schneider Sherie and Alan Schneider Lynne & Barry Scholer Sandra and Vin Scully Joan and Arnold Seidel Stanley E. Sellers, Jr. Jane Semel Dr. and Mrs. P.K. Shah Mpambo and David Shaw Margarete Sikand Rosemary Simmons Maggy and John Simon Lucerne Snipes Terry and Dennis Stanfill Richard Stone and Marjorie Bender I.H. Sutnick Allan and Roslyn Holt Swartz Traci Takahara Slacum Brad and George Takei Elinor and Rubin Turner Mary Lu Tuthill Catherine and Leonard Unger Gretchen Garrett Valentine Laurie Vender and Stephen Halper Meredith and Jan Voboril Selina and Brian Boxer Wachler Ann Wagner Daniel and Janice Wallace Susan and Stuart Warren Hope Warschaw Dennis Wasser and Ruth Roberts Wasser Marcia and Charles Wasserman Ph.D. Aviva Weiner and Paulino Fontes Sheila and Wally Weisman Wells Family Charitable Foundation Luanne Wells Robert Willett Patty and Richard Wilson Barbara and Stanley Zax Ellen and Arnold Zetcher And those who wish to remain anonymous

The Music Center strives to acknowledge all of our supporters appropriately. If your name has been misspelled or omitted from this list in error, please contact the Advancement Office at (213) 972-3362.

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The Music Center Thanks Its Supporters Donors listed as of October 31, 2018

CORPORATIONS, FOUNDATIONS AND GOVERNMENTS

$1,000,000 and above The Ahmanson Foundation The Annenberg Foundation County of Los Angeles The James Irvine Foundation Ring-Miscikowski Foundation / The Ring Foundation / Cindy Miscikowski The Rose Hills Foundation

$250,000–$999,999 The Getty Foundation The Ralph M. Parsons Foundation $100,000–$249,999 Bank of America / Cary H. Thompson / Dannielle Campos J.P. Morgan Chase / Susan M. Wegleitner Wells Fargo Bank / Joseph Rice $50,000–$99,999 CC Capital Entravision Communications Corporation / Walter F. Ulloa Los Angeles County Arts Commission Moss Foundation The Music Center Foundation Porsche Cars North America, Inc. Stroock & Stroock & Lavan LLP U.S. Bank / Darrell Brown $25,000–$49,999 Amgen Foundation / Cynthia M. Patton The Eli and Edythe Broad Foundation California Arts Council The Capital Group Companies / Kimaada Brown City National Bank / Michael Pagano City of L.A. Department of Cultural Affairs Consulate General of Canada in Los Angeles Costa de Oro Television David Geffen Foundation Dizzy Feet Foundation Dwight Stuart Youth Fund Fox Rothschild LLP / Darrell D. Miller Grand Park Foundation The Greenbrier Companies Guggenheim Partners Hearst Foundation HUB International Insurance Services, Inc. James A. Doolittle Foundation

KPMG LLP / Greg Geyer The Liberty Company Insurance Brokers Macy's Manatt, Phelps & Phillips, LLP National Endowment for the Arts The Rosalinde & Arthur Gilbert Foundation Superior Grocers Union Bank $10,000–$24,999 Ann and Gordon Getty Foundation D&B Audiotechnik Corp Edison International Hollywood Foreign Press Association I.N. and Susanna H. Van Nuys Foundation The Kenneth T. and Eileen L. Norris Foundation The Louis and Harold Price Foundation The Lucille Ellis Simon Foundation Munger, Tolles & Olson LLP The Sidley Austin Foundation $5,000–$9,999 Chevron Corporation Colburn Foundation Gladys Turk Foundation Kaiser Permanente The Private Bank at Union Bank Socius Group, LLC Stanford University Thelma Pearl Howard Foundation $1,000–$4,999 Alphonse Burnand & Charles Partridge Scholarship Trust Buchalter Nemer David & Sylvia Weisz Family Foundation Deloitte, LLP Discovery Management Farwest Insulation Contracting Fauci Companies, Inc. Hathaway Dinwiddie Construction Co. IATSE Local 33 Library Foundation of Los Angeles KPMG Community Giving M.A.C. Cosmetics Morris A. Hazan Family Foundation Morrison & Foerster Foundation Ruth and Vernon Taylor Foundation See's Candies, Inc. St. Nick's Christmas Lighting Service

PERFORMANCES MAGAZINE P31

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BOARD OF SUPERVISORS COUNTY OF LOS ANGELES Support from the Los Angeles County Board of Supervisors plays an invaluable role in the successful operation of The Music Center.

FROM LEFT TO RIGHT: JANICE HAHN, Fourth District; KATHRYN BARGER, Fifth District; SHEILA J. KUEHL, Third District, Chair; HILDA L. SOLIS, First District; and MARK RIDLEY-THOMAS, Second District P32 PERFORMANCES MAGAZINE

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INTERNATIONAL CURTAIN CALL

2019 Deluxe Opera & Music Tours BERLIN & HAMBURG May 6 – 19, 2019

BERLIN: TOSCA (Yoncheva; Ilincai, Dobber); BARBIERE DI SIVIGLIA (Crebassa; Mironov, Orendt); RIENZI (Teige,Kerl); TANNHAUSER (Bell; Seiffert, Keelyside); LOHENGRIN (Nylund, Smirnova; Johansson, Bauer,Lundgren); BARENBOIM/ RACHVELISHVILI CONCERT (Mozart Piano Concerto#27; Prokofiev Alexander Nevsky).

Guided Tours of East and West Berlin, Museum Island, Jewish Quarter; Excursion to Postdam.

HAMBURG: LA BELLE HÉLÈNE (Aldrich); FANCIULLA DEL WEST (Kampe;Beri,Sgura); ILLUSIONS–LIKE SWAN LAKE (Neumeier); THERESE Opera Premiere (Elbphilharmonie) Guided Tour of Hamburg, Fine Arts Museum; Harbor Canal River Cruise.

– 5-Star Deluxe Hotels – Kempinski Adlon Berlin & Marriott Hamburg

VIENNA & MUNICH June 18 – July 1, 2019

VIENNA: AIDA (Guseva,Gubanova; Kunde, Piazzola); TOSCA (Stemme; Beczala, Alvarez); OTELLO (Bezsmertna; Antonenko,Sumlinsky); L'ELISIR D'AMORE (Carroll; Pirgu,Maestri); ORPHEUS IN THE UNDERWORLD; Custom Guided Tour of Schönbrunn, Fine Arts Museums & Belvedere; Excursion to the lovely Vienna Woods.

MUNICH: SALOME (Petersen, Schuster; Koch, Ablinger-Sperrhacke); LA TRAVIATA (Perez; Domingo, Ayan); NORMA (Yoncheva, Brower; Massi); BALLET: PORTRAIT WAYNE MCGREGOR (Kairos, Creation, Borderlands) Guided Tours of Munich Highlights, Alte & Neue Pinakotek; Schloss Nymphenburg.

– 5-Star Hotels – Grand Vienna & Bayerischer Hof Munich

MILAN - VERONA & PUCCINI FESTIVALS July 1 – 15, 2019

MILAN: BALLET: THE SLEEPING BEAUTY; Verdi: I MASNADIERI (Oropesa; Pertussi); Salieri: PRIMA LA MUSICA POI LE PAROLE/ Puccini: GIANNI SCHICCHI (Maestri) VERONA: IL TROVATORE (Netrebko; Eyvasov) AIDA; CARMEN & LA TRAVIATA [Casts to be announced] PUCCINI FESTIVAL: LA FANCIULLA DEL WEST & TURANDOT [Casts to be announced] Custom Guided Tours: Milan, Verona, Lucca; Puccini Home & Villa; Excursions to Lake Maggiore & Lake Garda.

– 5-Star Hotels – Palace Milan & Due Torri Verona – 4-Star Villa La Principessa, Lucca –

SALZBURG FESTIVAL August 2019

PERFORMANCES To Be Announced – 5-Star Hotel –Sheraton Grand Salzburg –

LIMITED SPACE AVAILABLE Contact International Curtain Call 3313 Patricia Avenue Los Angeles, CA 90064 Ph: (310) 204-4934; (800) 669-9070 E-Mail: Icctours1@aol.com www.IccOperaTours.com

VILLAGE FASHION  A.L.C. boutique at new Palisades Village in Pacific Palisades.

FOUNDED IN LOS ANGELES BY A New Yorker, A.L.C. is a women’s fashion brand inspired by our city’s openness, a hip-hop heritage and an international pioneering spirit. “Our clothes incorporate the attitude of New York with the ease of L.A.,” says founder Andrea Lieberman, who just opened A.L.C.’s first West Coast boutique in buzzworthy new development Palisades Village.

Lieberman was a celebrity stylist before creating her own collection of clothing; she dressed Sean Combs, Jennifer Lopez— including the memorable “green dress” worn at the 2000 Grammy Awards—Gwen Stefani, Cameron

Diaz and Drew Barrymore.

Although the A.L.C. brand was launched in L.A., Lieberman’s first store was in SoHo, where the label earned a cult following.

Palisades Village provided an irresistible excuse to expand to the very region where the brand was conceived.

With Elyse Walker in town for nearly 20 years—she is also present in this development with a new store called Towne— Pacific Palisades always had fashion cred. Now Palisades Village presents an impressive lineup of designers, including Tamara Mellon, Jennifer Meyer and Cynthia Rowley.

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Capturing your imagination

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Theatre has the ability to tell stories in new and creative ways that capture our imagination and whisk us far, far away.

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The Village is the most intimate of the projects from developer Rick Caruso, whose Grove and Americana at Brand are helping to make the enclosed mall obsolete.

With its human scale, the Village transforms the vintagedowntown area of Pacific Palisades into a shopping center for those who loathe the mall.

With its generously landscaped paseos, thoughtfully curated boutiques and wide selection of dining and snacking options, Palisades Village provides exactly the kind of experience that is the secret to the survival of brick-andmortar retailing.

The aesthetics of the A.L.C. boutique, from New York’s Janson Goldstein Architecture + Interior Design, combine an elegant minimalism with splashes of color and a subtle, welcoming residential vibe.

“Our goal and mission at A.L.C. is to create clothes that make women feel the best versions of themselves,” Lieberman says. “My experience as a stylist enabled me to find clothes that flattered and

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empowered the women I dressed to feel unstoppable.” Lieberman applies that philosophy to collections that redefine the concept of “power dressing.”

The turtleneck-inspired black and gold Maeve top ($325), suggesting the glamorous ’80s era of fashion, features slightly padded shoulders. It works incredibly well with a pair of jeans for a casual party, and a blazer makes it just as suitable for work. Equally versatile is the Addison sweater ($295), which also incorporates padded shoulders and a structured silhouette.

The sophisticated Marin mini-dress ($595) shimmers in deep navy, and its draped high neckline and dolman sleeves are juxtaposed with an aggressive hemline. The silk-wrap Cora dress ($595), which ties at the waist, features a pattern of black irises on hot pink and an asymmetric hem below the knee. The Avi dress ($645), with a V-neck and slightly longer sleeves, displays

COURTESY A.L.C.

A.L.C. founder Andrea Lieberman

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LA MIRADA THEATRE

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JOIN US FOR OUR 2018-19 SEASON

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black irises over ochre.

A.L.C. offers a diverse line of handbags. The diminutive Baby Charlie ($575), available in black or a grayish “vintage blue,” exudes elegance; it’s on a long chain strap that can be worn cross-body or over the shoulder. The bag is also offered in patterned snakeskin ($695) in a wide variety of colors that makes the design far more daring than the black or gray leather version.

For functionality and attitude, the vibrant gold tote-like Suede Sadie ($595) features a crossover construction that creates two discreet outer pockets.

For fashionable athletic apparel, a rapidly growing segment of the industry, Lieberman reintroduces the Cortez ($100), Nike’s original running shoe, transformed by the A.L.C. culture. The sneak’s upper body is wrapped in a rich “midnight spruce” green suede, accented by a contrasting snakeskin back tab and brushed brass hardware.

“This store really feels like home,” says Lieberman. “It’s so meaningful to me personally to open here in Palisades Village and to be connected to this amazing community of women,” she adds, citing the unusually high percentage of female entrepreneurs represented there.

—Joseph LeMoyne

A.L.C. Palisades Village 15227 Palisades Village Lane Pacific Palisades 424.644.6546, alcltd.com

12121 W. Pico Blvd. WLA – Close to Freeways & MetroRail – On Site Parking 68 PERFORMANCES MAGAZINE

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Unparalleled Performing Arts Education

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West Hollywood bungalow by Sarah Barnard

CONSCIOUS DESIGN  Santa Monica-based interior designer Sarah Barnard.

Bachelor of Fine Arts and Conservatory Programs

The American Musical and Dramatic Academy AMDA College and Conservatory of the Performing Arts

800.367.7908 amda.edu

FOR THOSE WHO BELIEVE THAT interior designers, like personal assistants or stylists, are best reserved for celebrities, it should be remembered that redecorating provides a unique opportunity for self-expression. Among the city’s most versatile interior designers is Santa Monica-based Sarah Barnard, whose projects reflect her clients’ values.

“My design projects paint the home as a self-portrait of sorts,” says Barnard, who believes the residence is a safe space to reveal one’s personal style, family history, beliefs and state of mind. “It’s a collection of who we are, where we’ve been and all the people we

care about.” Describing her style as “heathy and happy,” Barnard adds, “I consider my clients’ unique personalities, lifestyle needs and long-term goals to craft customized spaces that contribute to their overall health and happiness.

“The homes I design are often described as embodying a California style,” Barnard continues; she views that style as natural, luxurious and comfortable. “It’s approachable, enduring and connected to the landscape: mountains, valleys, sea, desert and the shore.” She believes that a connection with the outdoors, at least visually, improves mood and productivity. “Our mental, physical

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Interior designer Sarah Barnard

and emotional health are deeply and immediately impacted by our surroundings,” she says.

When Barnard receives a commission, she finds it valuable to see where and how the clients are currently living, intent on observing their possessions, collections and lifestyle. “I like to have the opportunity to chat about what they love and what they don’t,” she says. The designer also has begun utilizing a detailed survey that encourages clients to share as much information about their lifestyles and preferences as they feel comfortable with.

Barnard’s portfolio is as diverse and eclectic as her clientele. In an Ocean Avenue penthouse in Santa Monica, she applied a monochromatic effect to showcase the stunning ocean views, framed by floor-to-ceiling windows, without distraction. The whitewashed palette is gently enhanced by natural maple, including a live-edge coffee table in the living room and cabinetry in the kitchen. A creative space in the penthouse features a sleek maple desk and chair designed by Mauro Lipparini, a contemporary painting by Ruben

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Vincent and vintage German pottery. Above a sofa bed is a hand-woven wall sculpture by artist Renae Barnard.

The designer displays an equally deft hand in traditional environments; as the daughter of a historic preservationist she developed an early appreciation for vintage homes. That passion is demonstrated in a stone-clad Pacific Palisades estate restored to its original grandeur by Barnard together with Carlee Construction. Here she inherited leaded glass windows, the home’s original wood wainscoting and a grand oak staircase, all sensitively updated for modern living.

The designer indulged the Palisades estate owners’ love of Victorian-era antiques while importing modern accents such as abstract Brian Johnson paintings that lighten the classic foyer.

Traditional elements need not always be erased; the dining room includes walls clad in a rich tapestry of forest green and chartreuse, a hand-carved dining table and a refurbished crystal chandelier that was original to the home.

“A recent remodeling project for a charming screenwriter’s West Hollywood bungalow features handmade elements reflecting the homeowner’s love of nature and commitment to sustainable materials,” Barnard says of a much more intimate project. In the kitchen, she installed countertops incorporating recycled Heineken bottles whose specks of color are reflected in a handmade green ceramic tile backsplash. Stylish pendant lamps above the counter are artfully crafted from cardboard, a material

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Santa Monica penthouse

Frank Gehry pioneered. Not a particularly label-conscious designer, Barnard appreciates small-batch, one-off products and is constantly nurturing relationships with innovative artisans.

“As interior designers, we create spaces that help our clients express their values and passions,” says Barnard, who adds that her vegan clients often insist their physical environments be consistent with their values. “This is a natural progression for people who care about animals, their health and environmental responsibility,” she explains.

“My clients are the 1 percent with a conscience,” reflects Barnard, noting that she attracts homeowners committed to environmentally responsible living.

“My studio specializes in personalized design, creating unique spaces for the wonderful people who inhabit them,” she says.

—Roger Grody

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DI N I N G

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1910 Ocean Way, Santa Monica, CA 90405 hotelcasadelmar.com

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PRACTICALLY EVERY MONTH, IT seems, one of the nation’s most prominent chefs arrives in downtown L.A. to bolster the culinary reputation of an area once dismissed by serious diners. Not long after reporting on David Chang bringing his Majordomo to a forgotten corner of Chinatown, chef Jessica Largey, formerly chef de cuisine of Los Gatos’ Michelin three-starred Manresa, has opened Simone in the Arts District.

Largey is no stranger to L.A. She is, in fact, a native Southern Californian; she honed her skills at Providence and Bastide earlier in her career, before heading to Northern California.

Simone, a project that has been in the works for several years, is in a turn-of-the-century building previously used as a photography studio and next to the stunning Arts District edition of Urth Caffé.

As with most of the neighborhood’s establishments, there is an industrial vibe to Simone—spaces are largely defined by the building’s original brick walls—but a distinct art deco flavor has been injected into the setting.

One enters into a self-contained lounge called Duello, anchored by an inviting 25-seat marble bar dispensing cocktails created by acclaimed Edinburgh mixologist Iain McPherson.

PHOTOS ROB STARK

 Chef Jessica Largey is back in L.A. with Simone downtown.

10/29/18 2:37 PM

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Black cod in hoja santa with blistered shishito peppers and roasted corn at Simone

A barrel-ceilinged corridor leads to the main dining area where wispy modern light fixtures hang from the ceiling above candlelit, brass-trimmed wood tables. A variety of intimate spaces are provided, including a six-seat chef’s counter with views into the kitchen. Unlike some Arts District restaurants where the decibel level can be deafening, Simone is lively but still quiet enough to allow a conversation.

All of the plates at Simone are shareable. Among the best introductory dishes is creamy buratta dramatically plated over a tangy plum confit and topped with purslane, mint and a dusting of nigella seeds. Another excellent option is the spicy charred squash with nectarines, macadamias and salsa macha; pole beans are presented with a chile-infused creme fraiche, purple tomatillo and almonds.

Largey’s unique interpretation of a Caesar salad features grilled brassicas (think broccolini) with grapefruit and torn lemoninfused croutons. Its ingenuity will impress, but those who have an emotional attachment to a traditional Caesar should opt instead for buttery maitake mushrooms drizzled in a sensational shallot-miso sauce. With a nod to traditional Italian fare, the chef prepares ricotta gnudi coated with a sauce of tomato, basil and a hint of guanciale.

Joining an increasing number of L.A. restaurants with largeformat dishes, Simone offers a

Your community music school pasadenaconservatory.org

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with International Guest Stars Brooklyn Mack & Ashley Murphy “SPECTACLE OF THE SEASON” Los Angeles Beat

“FAIRY-TALE PERFECT....POPPING WITH COLOR AND SPARKLE” Culture Spot LA

Artists subject to change

Rces U an m O FPerfor LY ON Alex Theatre

Fri Dec 21 @ 7pm Sat Dec 22 @ 2pm & 7pm Sun Dec 23 @ 2pm

216 N. Brand Blvd Glendale

Tickets from $25 (818) 243 2539 www.alextheatre.org

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monster cut of meat designed for an entire table to share. The 36-ounce dry-aged rib-eye ($180) is served banchan-style, with a wide variety of condiments and sauces—anything the kitchen has created that day—accompanying the steak.

Satisfying a more modest appetite for beef is a hanger steak with roasted black radish; its Korean-inflected sides include a garlic-chive kimchi. Rosy-pink pork collar is plated with n’duja-olive tapenade; black cod or sturgeon with Mexican aromatic hoja santa are offered with blistered shishito peppers and roasted corn.

Beverage director Jordan Egan (formerly of New York’s NoMad) has assembled a wine list whose broad selections of riesling, grüner veltliner and pinot noir from across Europe and beyond complement Largey’s cooking well. The 2016 Granbazán Etiqueta Ámba Albariño from Galicia and 2015 Domaine Lafarge-Vial Fleurie (a biodynamic cru Beaujolais) represent exceptional values, while a 1989 Cos

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THE S. MARK TAPER FOUNDATION PRESENTS

A NOISE WITHIN’S REPERTORY THEATRE SEASON

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AS SOON AS THE LIGHTS COME UP!”

Pictured: Alan Blumenfeld. Photo by Craig Schwartz.

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California Calling cocktail at Simone

d’Estournel Bordeaux or 2015 Eisele cab from Napa Valley provide opportunities for serious splurging.

The desserts of pastry chef Nina Subhas lean toward the lighter side; they include a sunflower panna cotta with blueberries, Japanese cheesecake with umeboshi (pickled salt plums) and pluot, and a disk of chocolate ganache with blackberries and oat milk. Particularly satisfying are the ganache, which is vegan, and an almond cake with mezcalinfused sabayon.

If you go to Simone with the expectation that the restaurant is some kind of Manresa South, you will almost certainly be disappointed. Simone is not fine dining, but fun dining, with elements of fine dining executed in a personal style that suits the Arts District’s funky, eclectic vibe. —Roger Grody

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SOUTH KOREA HAS BEEN IN THE spotlight, what with the Winter Olympics this year at Pyeongchang and the incremental thawing of relations with North Korea. In fact, tourist arrivals from the United States have soared by more than 33 percent since the games. And bus tours to the heavily guarded Demilitarized Zone, including a tunnel believed to have been part of a planned North Korean invasion route, top many itineraries.

The fact is, South Korea has been in the spotlight for a while, its K-pop and K-dramas coalescing into a global Korean wave. Korean barbecue, bulgogi and bibimbap

are downright hip, nowhere more than in Southern California. The country remains the world capital of selfie sticks, the better to capture K-beauty radiance; South Koreans, male and female, follow an elaborate daily skin care ritual.

Wi-Fi is everywhere, even on hikes.

Virtually all itineraries center on Seoul, the world’s second-largest metropolis, a sea of skyscrapers dotted with ancient temples and palaces. The Seoul Capital Area— which includes Gyeonggi province and Incheon—is home to nearly half the country’s population.

Most visitors take it all in from the N Seoul Tower, aka Namsan Seoul Tower. The second-highest

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point in Seoul, it rises 777 feet from Mount Namsan’s summit, offering an observation deck, restaurants and countless lovelocks bearing romantic messages.

The highest point—at 1,821 feet—is the new Lotte World Tower and Mall, the fifth-tallest building in the world. Resembling a calligrapher’s brush, it houses restaurants, an aquarium and shopping on its 123 floors. The Signiel Seoul luxury hotel occupies floors 71 to 101, Seoul Sky floors 117 to 123. The glass-floored Sky Walk deck has you walking on clouds.

Signs in Seoul are often in Korean and English; Seoul millennials often speak passable English.

Many restaurants serve a set menu featuring one item at which they excel—e.g., fried chicken, grilled fish, barbecued pork, plus sides—making ordering easy. And most tours are offered in English.

Changdeokgung Palace, built in 1405, offers English tours three times daily. A parkful of splendid architecture deemed a UNESCO World Heritage site, it’s best known for the exquisite pavilions and ponds of its Secret Garden.

Performing-arts lovers head to Seoul Arts Center, marking its 30th year. Its opera house presents grand opera and ballet; its Music Hall is actually three halls. Sejong Center has several halls, too.

Visual-arts aficionados visit Seoul Museum of Art; National Museum of Modern and Contemporary Art, Seoul; and Leeum, Samsung Museum of Art for traditional and contemporary.

The modest-sounding Korea Furniture Museum, by reservation only, is not to be missed; exquisite

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traditional furniture is displayed in 10 traditional houses (hanoks) on immaculate grounds.

The Museum of Traditional Music (Gugak) features 50 Korean instruments and 100 from elsewhere. The illusions at the Alive Museum, in the Insadong district, are popular with families and Instagrammers.

Insadong is renowned for its galleries, antiques, teahouses and restaurants. Attend a Buddhist service at flower-laden Jogyesa Temple and enjoy, just opposite, a Michelin-starred multi-course Temple Food Experience at Balwoo Gongyang.

Dongdaemun Fashion Town, the largest shopping district in Korea, is near the Novotel Ambassador Seoul Dongdaemun Hotel & Residences, which opened in July.

As for older accommodations, consider 6-century-old hanoks.

The traditional houses are made with wood, stone and paper and not a single nail; contemporary beds are optional (rkj.co.kr).

Temple-stay programs allow a look at the lives of Buddhist monks and nuns (eng.templestay.com).

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Korea Train Express two hours east to Gangneung, in the province of Gangwon-do, known for its beaches and world-class skiing.

St. John’s Hotel opened in January for the Winter Games. A striking spot with 1,100 rooms, it fronts a strip of pine forest and the East Sea’s Gyeongpo Beach, where Koreans gather on New Year’s to watch the first sunrise of the year.

Koreans gather every day at Jeongdongjin beach to watch the sun rise. The new Jeongdongsimgok Badabuchae-gil Trail along the shore is a former military patrol route. Its fan-shaped rocks are a national monument.

What appears to be a cruise ship run aground atop the cliff at trail’s end is actually a re-creation of a Royal Caribbean vessel that serves as the Sun Cruise Resort & Yacht.

Thirty coffeehouses with ocean views line Coffee Street along Anmok Beach. The Charmsori Gramophone & Edison Science Museum displays 1,500 items.

Just up the coast, Sokcho has an impressive fish market and grilledfish eateries. Seoraksan National Park, a UNESCO biosphere, offers hiking amid granite peaks, a cable car and 903 metal stairs with views of three waterfalls.

Replenish nearby at tiny Seoji Chogatteul restaurant. Sit on the floor and enjoy a feast of more than a dozen dishes—with most ingredients grown on property— for about $20. —Benjamin Epstein

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