Performances Magazine | The Wallis, April 2023

Acoustic Rooster’s Barnyard Boogie: Starring Indigo Bloom

Hershey Felder as George Gershwin Alone

Ulysses Owens Jr., & J’Nai Bridges: Notes on Hope, USC Kaufman Returns to The Wallis

contents

P1 Program

Cast, performances, who’s who, director’s notes and donors

6 In the Wings

Pulitzer Prize winner A Soldier's Play at the Ahmanson; Art and the Essence of Food at the Norton Simon Museum; Camerata Pacifica and male soprano Samuel Mariño at the Huntington and Zipper Hall.

12 Broadway’s Biggest Fan

Variety and talk show creator, pianist, music director, radio host and author Seth Rudetsky brings his quick wit and his love of musical theater to the Wallis in Beverly Hills.

18 Modernism

Reimagined

Architectural design-build practice Marmol Radziner updates the concepts of the midentury-modern masters for 21st-century lifestyles.

22 The Greener Side

Kauai’s lush North Shore is known for Hanalei Bay and the Na Pali Coast, 17 miles of cliffs and waterfalls. It's also a beacon for the eco-aware.

32 Parting Thought

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ATTENTIONGETTING THRILLER

THE 1982 PULITZER Prize-winning A Soldier’s Play has been back in the spotlight, thanks to a run that earned the Roundabout Theatre Company a Tony Award in 2020 for best revival. The Charles Fuller thriller is on a national tour that stops at the Center Theatre Group’s Ahmanson Theatre May 23 through June 25. “This is a play that deserves to be staged regularly all over America—though it’s hard to imagine that it will ever be done better than this,” wrote The Wall Street Journal of the production. “It keeps you guessing all the way to the final curtain.”

Variety calls the show “a knock-your-socks-offdrama.” Two shots ring out on a Louisiana Army base in 1944; a Black sergeant is murdered, and the interrogations that follow trigger a barrage of questions about sacrifice, service and identity in America.

Broadway’s Norm Lewis leads a powerhouse cast; Tony Award winner Kenny Leon directs. 135 N. Grand Ave., downtown, 213.628.2772, centertheatregroup.org

Above: A Soldier’s Play national touring cast.

Left: William Connell, standing, and Norm Lewis.

Food and Drink for Thought

COMESTIBLES APPEAR nearly everywhere in the history of European art, notably in depictions of luscious fruits and vegetables, sumptuous feasts and bustling markets. The Norton Simon Museum’s All Consuming: Art and the Essence of Food explores how the artists responded to and shaped food cultures from 1500 to 1900. The images present the subject’s aesthetic appeal and reveal activities

that give them profound social meaning: indulging, abstaining, buying, selling, making, growing, craving and sharing. Sixty paintings, prints, photographs and sculptures examine the dynamics of eating and drinking, positive and negative. Assistant curator Maggie Bell presents them in sections titled “Hunger,” “Excess” and “Sustenance.” 411 W. Colorado Blvd., Pasadena, 626.449.6840, nortonsimon.org

Jacques Linard, Still Life: The Five Senses with Flowers (1639). Below: Francois-Hubert Drouais, Young Girl Holding a Basket of Fruit (mid-18th century)

Season High Note

CHAMBER ENSEMBLE Camerata

Pacifica caps its season with the U.S. debut of Venezuelan male soprano Samuel Mariño

Hailed as “a rarity in opera” by The New York Times, Mariño, 30, describes himself as a true male soprano whose voice at puberty only “partially broke.” He is not a countertenor and doesn’t sing in falsetto, he says: “My voice is a light lyric soprano with a bit of coloratura.” Mariño studied at the Paris Conservatory and with soprano Barbara Bonney. His first operatic experience was with Camerata Barroca in Caracas, where he worked with conductors including Gustavo Dudamel and Helmuth Rilling. Decca released his most recent recording, Sopranista, in 2022. Mariño will be soloist in Bach’s cantata Non sa che sia dolore and Pergolesi’s Salve Regina at concerts May 16 at the Huntington and May 18 at Colburn School’s Zipper Concert Hall; the programs also include John Adams’ Shaker Loops The Huntington, 1151 Oxford Road, San Marino, 626.405.2100; Zipper Hall, 200 S. Grand Ave., downtown, 213.621.4521. cameratapacifica.org

Venezuelan male soprano Samuel Mariño appears with Camerata Pacifica.

MELANIE MAYRON JOBETH WILLIAMS

BROADWAY’S BIGGEST FAN

Talk/variety show creator-pianist-music director-radio host-author Seth Rudetsky brings his love of musical theater and quick wit to the Wallis.

/ BY LIBBY SLATE /

THE ROLE OF green witch Elphaba in the Broadway blockbuster musical Wicked, which brought stardom and a Tony Award to Idina Menzel, was actually originated pre-Broadway by Stephanie J. Block, who later won her own Tony Award as Cher in The Cher Show

That’s but one of the fascinating facts audiences have learned in the presence of Seth Rudetsky, whether in person at a theater or via radio or the Internet livestream. Rudetsky’s passion for and encyclopedic knowledge of Broadway musical theater, not to mention his piano-playing skills, have brought him a multifaceted career on and off the stage.

He returns to the Wallis in Beverly Hills May 4 for the second of two evenings this season featuring a concert and conversation with a Broadway star. In March it was Lillias White; previous shows at the Wallis have starred Audra McDonald and Chita Rivera. This time it’s the aforementioned Block.

“People often don’t know that Stephanie was the original star of Wicked—she went

to all the workshops and readings, and then when it was going to come to Broadway they decided they needed someone established,” Rudetsky says. “So we’re going to tell a lot of really fun stories about Wicked, and how all those songs were first written for her. It will be a great night, because she’s funny, an amazing actress, and her voice is amazing, too.”

Some of each show is impromptu, in part because of Rudetsky’s penchant for pivoting to the unexpected should the occasion arise. When he discovered during their conversation that Sutton Foster had starred in a non-Broadway production of Annie, for instance, he made her sing “Tomorrow” on the spot.

“You just never know where it’s going to go,” he says. “They’re always going to sing the biggest hits from their biggest shows. But instead of scripted patter, which I can’t stand, between songs we talk about whatever I want to. It’s very inside, highly comedic, and different at every single show.”

Take it from Stephanie J. Block herself. “Seth is the mayor of Broadway,” says the performer, who stars in a revival of Into the Woods at the

Seth Rudetsky and, opposite, Tony Awardwinning guest Stephanie J. Block

Ahmanson Theatre downtown June 27-July 30. “His passion for, and knowledge of, sassiness and musicality make for an absolute in-the-moment experience. It’s like riding a musical-theater roller coaster—exhilarating, unexpected, joyful, hilarious and sometimes panic-inducing. You will want to attend, ride, his concerts again and again.“

That roller coaster includes Rudetsky’s rapid-fire, stream-of-consciousness cheeky delivery, sprinkled with favorite words “ah-mahh-zing” and “anyhoo,” and the wideranging musical-theater knowledge that can produce the perfect tidbit from his mental archive for any topic being discussed.

Added to that are his skills at the keyboard: He has a degree in piano performance from

Oberlin College and played in the orchestras of such Broadway shows as Ragtime, Les Misérables and Phantom of the Opera Rudetsky and guests also share songs and stories on the Broadway-themed shows he hosts on SiriusXM Radio, on cruises and on Stars in the House, the talk/variety web series he and husband James Wesley created during pandemic lockdown. The series livestreamed daily until Broadway re-opened and now livestreams sporadically; it has raised almost $1.2 million for Entertainment Community Fund (formerly the Actors Fund) and money for other organizations, too.

Why such a strong interest in informing audiences about the behind-the-scenes of Broadway? He’s so

/CONTINUED ON PAGE 30

Chita Rivera and Seth Rudetsky at the Wallis

THE WALLIS

BOARD OF DIRECTORS 2022/2023

Michael Nemeroff

CHAIRMAN, BOARD OF DIRECTORS

David C. Bohnett

CHAIRMAN, EXECUTIVE COMMITTEE

Arnold S. Rosenstein

EXECUTIVE VICE CHAIR & ASSISTANT TREASURER

Honorable Vicki Reynolds

VICE CHAIR, DEVELOPMENT

Ronald D. Rosen

VICE CHAIR, OPERATIONS & SECRETARY

Susan Strauss

VICE CHAIR, PLANNING & ASSISTANT SECRETARY

Jonathan A. Victor TREASURER

Arnon Adar

Ahsan Aijaz

Debbie Allen

Wallis Annenberg

Pamela Beck

John Bendheim

Thomas J. Blumenthal

MeraLee Goldman

Bruce Goldsmith

Carol Goldsmith

Halle Hammond

Chad Hummel

Cinny Kennard

Donald P. Kivowitz

Agnes Lew

Mark Louchheim

Sandra Barros Lowy

Linda May

Daphna Nazarian

Gretchen Pace

Arline Pepp

Ron Simms

Stephanie Vahn

Gregory Annenberg

Weingarten

Gr ant Withers

Richard S. Ziman

FOUNDING CHAIRMAN

Bram Goldsmith*

FOUNDING PRESIDENT

Paul Selwyn*

CHAIRMAN EMERITUS

Jerry Magnin

PRESIDENT EMERITUS

Richard Rosenzweig*

LIFETIME TRUSTEES

Les Bider | Eunice David

Max Salter* | Luanne Wells*

*IN MEMORIAM

Dear Friends,

On behalf of The Wallis’ Board of Directors, I am pleased to introduce our patrons and community to the new Executive Director and CEO of The Wallis, Robert van Leer.

Robert is an exceptionally accomplished arts leader with high level experience at renowned arts organizations in the United States and Europe. His most recent role was Senior Vice President of Artistic Planning for the John F. Kennedy Center for the Performing Arts in Washington, D.C. Robert began his arts administration career at Lincoln Center for the Performing Arts in New York and worked in London as an executive administrator at the Wigmore Hall, then as Head of Music and Arts Projects at the Barbican Centre. Subsequently, he became Managing Director of Nederlands Dans Theatre (NDT), where he re-envisioned the mission of the company as a leading international creative ensemble.

Robert is well positioned to lead The Wallis on our mission to be a hub of relevant, dynamic performing arts, education and civic life for the Beverly Hills and greater Los Angeles communities. With his world-class experience and expertise, we are confident that Robert will build upon the solid foundation that we have achieved over the past nine years.

The Wallis would like to extend its appreciation to our many patrons and donors; the City of Beverly Hills and its Councilmembers (Mayor Julian Gold, Lili Bosse, John Mirisch, Lester Friedman and Sharona Nazarian); and our dedicated Board of Directors for the contributions and feedback that informed our global search for The Wallis’ new leader. Many thanks to my fellow search committee members, David Bohnett, Cinny Kennard, Erin Mahan, Daphna Nazarian, Susan Strauss and Jonathan Victor, for their tireless efforts and keen focus, as well as to Wallis Annenberg and Debbie Allen for their insight.

Please join me in welcoming Robert to The Wallis and his new Beverly Hills/Los Angeles home, and turn the page to see Robert’s own message to you.

Enjoy the program and your time at Beverly Hills’ civic treasure, The Wallis.

Michael Nemeroff CHAIRMAN OF THE BOARD

Dear Friends,

Spring is here - and I am thrilled to have arrived in Los Angeles to work with the wonderful team here at The Wallis and to make my home in this world-class city.

The arts provide us all with common ground, a place to come together and share ideas and perspectives. As I have moved across the globe, from London to The Hague, and now from Washington, D.C. to L.A., my deep belief in the power of the arts to build bridges and foster dialogue and understanding has only grown stronger.

The vision of The Wallis speaks eloquently of the world to which we aspire, “in which sharing stories, creativity, and the arts are celebrated as core elements of the human experience.”

I am deeply committed to this vision and invite you to join in the journey. This month we have a wonderful and diverse line up of events from crowd-favorite Hershey Felder as George Gershwin Alone, to jazz trailblazer Ulysses Owens, Jr. and opera star J’Nai Bridges making their Wallis debut, and so much more. I am also very proud to see Acoustic Rooster’s Barnyard Boogie on the Bram Goldsmith stage, a production from the Kennedy Center, my own most recent professional home.

I invite you to try something which might be new to you; I have been fortunate to have worked across the spectrum of music, theater and dance, and this has taught me that the boundaries of form are increasingly fluid. The Wallis provides you the opportunity to explore new forms and creative languages. Be brave.

I look forward to meeting many of you at an upcoming performance, gathering or event, and to hear of your stories and experiences - we all have stories to share.

Robert van Leer EXECUTIVE DIRECTOR & CEO

& HERSHEY FELDER PRESENT

HERSHEY FELDER AS

A PLAY WITH MUSIC

MUSIC AND LYRICS BY George Gershwin & Ira Gershwin

LIGHTING DESIGN

Michael T. Gilliam

BOOK BY Hershey Felder

PRODUCTION MANAGER/SOUND DESIGN

Erik Carstensen

ASSOCIATE DIRECTOR Trevor Hay

DIRECTED BY Joel Zwick

APRIL 13 - 16, 2023

Bram Goldsmith Theater

Running Time: Approximately two hours, no intermission.

Originally developed at the Tiffany Theatre, Los Angeles

Produced on Broadway at the Helen Hayes Theatre

Produced in London’s West End at the Duchess Theatre

The worldwide copyright to the works of George and Ira Gershwin for this presentation are licensed by the Gershwin Family. The rights for the name, likeness, and life story of George Gershwin used in this presentation are licensed by the George Gershwin Family Trust. GERSHWIN ® and GEORGE GERSHWIN ® are the registered trademarks of Gershwin Enterprises.

WITH THANKS...

The Gershwin, Godowsky and Strunsky families; Roberta Korus, Elliot Brown, Ray White at the Library of Congress; Al and Kathy Checchi, Ken and Katrina Carlson, Skip and Jon Victor, Peg and Rick Golden, Jerry and Judy Weisfogel, the Cotsen families; Marty and Susan Jannol, Brian Novack, Matthew Walley; Susan Myerberg, Karen Racanelli and MJ Bogatin Esq.

Moses and Susan Libitzky, Josef and Margot Lakonishok, Stephen and Jacqueline Swire, Daniel and Phyllis Epstein, Tom Wirtshafter; Jeffrey Kallberg, Amy Carstensen, Maria and Byron Janis; Dr. Benjamin Salisbury, Natalie Niles, and Steinway & Sons; Kenneth and Maria Cole.

With thanks to the team at the Wallis Annenberg Center for the Performing Arts - Kurt Swanson, Joel Hile, Coy Middlebrook, Michelle Wiesel, Chandra Jackson, Vanessa Mejia, Samantha Else, Lauren Wemischner, the box office and house staff.

Baci e tanti abbracci a la nostra famiglia in Italia –Tomasso, Eva, Elena, Alice, Sergio et al.

An important thank you to Lee and Claire Kaufman for their continued support and friendship.

A heartfelt thank you to my team of devoted artists without whom none of our work would be possible, especially Erik Carstensen, Michael Gilliam, Tammy Globerman, Trevor Hay, Annette Nixon, Samantha Voxakis and the entire Greek Family.

A special thank you to Candice and Joel Zwick, and Joel Zwick “Alone”

Tammy, Avery and Kiley

And of course, Kim and doggie Leo (xo)

The production thanks Steinway & Sons for their courtesy in providing the concert grand piano.

HERSHEY FELDER (George Gershwin/Playwright) American Theatre Magazine has said, “Hershey Felder is in a category all his own.” Following 28 years of continuous stage work and over 6,000 live performances throughout the U.S. and abroad, Hershey Felder created Live from Florence: An Arts Broadcasting Company, which has produced eighteen theatrical films to date. They include the recently-released The Assembly and Musical Tales in the Venetian Jewish Ghetto; A Musical Conversation about Stephen Sondheim; Chopin and Liszt in Paris; Violetta, the story of Verdi’s Traviata; Dante and Beatrice; Mozart and Figaro in Vienna; the world premiere musicals Nicholas, Anna & Sergei; the story of Sergei Rachmaninoff; Puccini, the story of famed opera composer Giacomo Puccini; Before Fiddler, a musical story about writer Sholem Aleichem; Great American Songs and the Stories Behind Them, and Leonard Bernstein and the Israel Philharmonic, a documentary. Two seasons of programming are currently available at www.hersheyfelder.net. Hershey has given performances of his solo productions at some of the world’s most prestigious theaters and has consistently broken box office records. His shows include George Gershwin Alone (Broadway’s Helen Hayes Theatre, West End’s Duchess Theatre); Monsieur Chopin; Beethoven; Maestro (Leonard Bernstein); Franz Liszt in Musik, Lincoln: An American Story, Hershey Felder as Irving Berlin, Our Great Tchaikovsky, and A Paris Love Story and Chopin in Paris. His compositions and recordings include Aliyah, Concerto for Piano and Orchestra; Fairytale, a musical; Les Anges de Paris, Suite for Violin and Piano; Song Settings; Saltimbanques for Piano and Orchestra; Etudes Thematiques for Piano; and An American Story for Actor and

Orchestra. Hershey is the adaptor, director, and designer for the internationally performed play-with-music The Pianist of Willesden Lane with Steinway artist Mona Golabek; producer and designer for the musical Louis and Keely: ‘Live’ at the Sahara, directed by Taylor Hackford; and writer and director for Flying Solo, featuring opera legend Nathan Gunn. Hershey has operated a full-service production company since 2001. He has been a scholar-inresidence at Harvard University’s Department of Music and is married to the Rt. Hon. Kim Campbell.

JOEL ZWICK (Director) directed My Big Fat Greek Wedding, the highest-grossing romantic comedy of all time. Mr. Zwick directed the Broadway production of George Gershwin Alone; he and Hershey Felder have also collaborated on on Monsieur Chopin, Beethoven and Maestro. Mr. Zwick has directed Broadway, OffBroadway and Broadway touring companies and began his theatrical career at La Mama E.T.C., as director of the La Mama Plexus. New York productions have included Dance with Me (Tony nomination), Shenandoah (Broadway national tour), Oklahoma (national tour) and Cold Storage (American Place Theater). He acted in the original New York production of MacBird and directed Esther (Promenade Theater, NY), Merry-Go-Round (Chicago and Las Vegas), Last Chance Saloon and Woycek (West End). Mr. Zwick is recognized as one of Hollywood’s most prolific directors of episodic television, having the direction of over 650 episodes to his credit. He has taught drama at Yale University, Brooklyn College, Queens College, Wheaton College, and the University of Southern California and is a graduate (B.A., M.A.) of Brooklyn College.

TREVOR HAY (Associate Director) Directed the world premieres of An American Story for Actor and Orchestra, Abe Lincoln’s Piano, Hershey Felder as Franz Liszt in Musik, Hershey Felder as Irving Berlin, Our Great Tchaikovsky, and A Paris Love Story. He is Associate Director for Mona Golabek’s The Pianist of Willesden Lane, George Gershwin Alone, and Hershey Felder in Maestro. Former member of the historic Old Globe Theatre in San Diego where, at the age of nine, his first position was selling Old Globe memorabilia. Over the next 32 years, Mr. Hay went on to various aspects of production on more than 80 presentations, including the Broadway productions of Jack O’Brien’s Damn Yankees, How the Grinch Stole Christmas, and Twyla Tharpe’s The Times They Are A-Changin’. Included in his 23 seasons at the Old Globe were eleven seasons of the Summer Shakespeare Festival Repertory, as well as work on Tracy Letts’ August: Osage County, directed by Sam Gold, and Hershey Felder’s George Gershwin Alone, Monsieur Chopin and Maestro.

MICHAEL GILLIAM (Lighting Design) Broadway: Bonnie And Clyde, Brooklyn, Big River, Stand-Up Tragedy. The West End: George Gershwin Alone. Off-Broadway: Cagney The Musical, Mr. Joy, The Best Is Yet to Come, Striking 12, Blue, End of The World Party, Zooman and The Sign, Menopause The Musical. National Tours: Spamilton, Looped, Peter Pan, Brooklyn, Guys and Dolls, Big River. Extensive work in many regional theaters across the United States. Awards: Los Angeles Ovation Awards, Dramalogue Awards, Garland Awards, San Diego Critics’ Circle Awards and the 1999 Career Achievement Award from the Los Angeles Drama Critics Circle.

ERIK CARSTENSEN (Sound Designer/Production Manager) has worked for Eighty-Eight Entertainment since 2008. He has served as sound designer on Hershey Felder as Irving Berlin, Our Great Tchaikovsky, A Paris Love Story, Maestro, Louis and Keely ‘Live’ at the Sahara, An American Story, Beethoven As I Knew Him (Ovation Award Winner), The Pianist of Willesden Lane (Ovation Award Nomination), and numerous other productions. Formerly, he was the master sound technician at the Old Globe Theatre in San Diego and was production engineer on over sixty productions, including Allegiance, Robin and the Seven Hoods, A Catered Affair, Hershey Felder as George Gershwin Alone, Dirty Rotten Scoundrels, Chita Rivera-A Dancer’s Life, Dr. Seuss’ How the Grinch Stole Christmas!, The Full Monty, Dirty Blonde, and Floyd Collins.

TAMMY GLOBERMAN (Associate Producer) Based in Los Angeles, Tammy joined the Hershey Felder Presents team in the summer of 2020. She worked with Hershey on his earlier projects in the late 1990’s and 2000’s before working with talent agencies specializing in below-the-line talent for film and television. After taking some time off to be with her two children, she is excited to be working again with Hershey and his team.

LEE KAUFMAN (Associate Producer) is a business entrepreneur and musicologist with an interest in classical music that extends from Gregorian Chants in the Middle Ages through to the modern composers. George Gershwin has always been of special interest to him for the part the composer has played in bringing America into the classical culture. In addition to this association, Lee has been an active participant in many organizations promoting the performing arts.

SAMANTHA F. VOXAKIS (Director of Operations) Since shortly after joining the company in early 2004, Sam has been responsible for the day-to-day operations of Eighty-Eight LLC and Hershey Felder Presents. Prior to that, she spent twelve memorable years in the front office of the Baltimore Orioles. With special thanks to her family and Mr. Felder.

& SPECIAL GUEST KEVIN PUTS MIRÓ QUARTET

MAY 30, 2023

The award-winning Miró Quartet (Daniel Ching, violin; William Fedkenheuer, violin; John Largess, viola; Joshua Gindele, cello) is one of America’s most celebrated string quartets, having performed throughout the world for 25 years on prestigious concert stages. In its Wallis debut, the quartet reunites with Pulitzer Prize-winning composer Kevin Puts, who has been hailed as one of the most important composers of his generation.

GET TICKETS:

310.746.4000 | TheWallis.org/Miro

& THE KENNEDY CENTER THEATER FOR YOUNG AUDIENCES ON TOUR PRESENTS

ACOUSTIC ROOSTER’S BARNYARD BOOGIE: STARRING INDIGO BLUME

ADAPTED FROM THE BOOKS BY Kwame Alexander and Mary Rand Hess

MUSIC BY Randy Preston

MUSIC SUPERVISION, ARRANGEMENTS & ORCHESTRATIONS

Mark G. Meadows

ILLUSTRATION

Tim Bowers

PRODUCTION STAGE MANAGER / DANCE CAPTAIN

MEET & GREET WITH KWAME ALEXANDER ON APRIL 23!

Join us after the final performance on Sun, April 23 for a book signing of Indigo Blume and the Garden City with Kwame Alexander. Books will be available for purchase.

Joey Blakely

CHOREOGRAPHY BY Breon Arzell

DIRECTED BY

Lili-Anne Brown

CREATIVE TEAM

Kevin Alexander, Delaney Bray, Priscilla Bruce, Dominic DeSalvio, Nadia Guevara, Mark Hamberger, Michelle Kozlak, Marsha LeBoeuf, Andrea “Dre” Moore, Mark Reiter, Arnel Sancianco, Alberto Segarra, Mollie Singer, Erik Teague, Channing Tucker

APRIL 22 - 23, 2023

Bram Goldsmith Theater

Running Time: One hour, no intermission.

This production is made possible by generous support from the Nemeroff family.

CAST OF CHARACTERS

ACOUSTIC ROOSTER/DAD

CHICKEE MINAJ/MOM

WILLIAMS

RILEY INDIGO BLUME

DAVIS

MISS DAIRY PARTON/SAMANTHA.........................................................................................CAITLIN WITTY

DUCK ELLINGTON/ELIJAH

RYAN MIDDER*

MULES DAVIS/MR. WOODY.................................................................................................JAYSEN WRIGHT

ADDITIONAL STAFF

TECHNICAL DIRECTOR /LIGHTING SUPERVISOR

Montana Kern

ASST. TECHNICAL DIRECTOR/ SOUND SUPERVISOR

Liv Farley

PROPS/ WARDROBE SUPERVISOR

Arah Slagle

ACOUSTIC ROOSTER’S BARNYARD BAND

KEYBOARD

Mark G. Meadows

BASS

Zack Pride

DRUMS

Carroll Dashiell III TRUMPET

Joe Herrera

KENNEDY CENTER STAFF

VICE PRESIDENT OF EDUCATION

Jordan LaSalle

ARTISTIC PRODUCER, KCTYA

Sean-Maurice Lynch

DIRECTOR OF EDUCATION PROGRAMS AND PRODUCTIONS

David Kilpatrick

ASSISTANT MANAGER, TYA PRODUCTION

Maribeth Weatherford

SENIOR PRESS REPRESENTATIVE FOR THEATER EDUCATION

Brendan Padgett

ASSISTANT MANAGER, MARKETING

Hayley McGuirl

DIRECTOR OF EDUCATION ACTIVATION AND ENGAGEMENT

Vanessa Thomas

MANAGER, KCACTF

Kelsey Mesa

MANAGER, MARKETING

Steven Dawson

PRODUCTION MANAGER

Lena Salins

Commissioned by the Kennedy Center Education Division.

Support for Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume is provided by the A. James and Alice B. Clark Foundation, the Kimsey Endowment, the Morris and Gwendolyn Cafritz Foundation, the Paul M. Angell Family Foundation, and the U.S. Department of Education.

°The noted staff are employed under a United Scenic Artists agreement, a national theatrical labor union representing designers.

* Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume is a professional production employing members of Actors’ Equity Association.

LAUREN DAVIS (Chickee Minaj/Mom) hails from Baltimore and is excited to be a part of Acoustic Rooster. Her acting credits include Don’t Let the Pigeon Drive the Bus! (The Kennedy Center); Love’s Labour’s Lost, Romeo and Juliet, The Taming of the Shrew, and A Christmas Carol (Chesapeake Shakespeare Company); Corduroy, Akeelah and the Bee, Shrek the Musical, The Scarecrow and His Servant, Cinderella and Charlotte’s Web (Childrens Theatre Company); Oliver! (Theater Latté Da); Marcus; or the Secret of Sweet (Pillsbury House Theatre/ Guthrie Theater); Greensboro Four and American Song Book (The Smithsonian). Television credits include “America’s Most Wanted” (Lifetime). Most recently she directed the players of Olive Branch and Laurel Crown in a production of To Be A Solider and will be directing a production of MacBeth. She holds an M.F.A. from the Catholic University of America and a theater degree from Frostburg State. She would like to thank God and her family for their love and support.

VAUGHN RYAN MIDDER (Duck Ellington/Elijah) is very excited for his Wallis debut. Privileged to have been a part of the musical’s debut in 2021, Vaughn Ryan is thrilled to share this touching story with even more families throughout the country. Other credits include: The John F. Kennedy Center: A Wind in the Door, The Watsons Go to Birmingham - 1963; Mosaic Theatre: The Emmett Till Trilogy, Native Son; Everyman Theatre: Sweat; Gala Hispanic Theatre: In the Heights en Español (Helen Hayes nomination); Woolly Mammoth Theatre Company: Black Side of the Moon; Adventure Theatre MTC National Tour: Three Little Birds; Constellation Theatre Company: Urinetown, Avenue Q (Helen Hayes Award); Studio Theatre: Choir Boy. Education: B.A. Theatre, University of Maryland, College Park. IG: @vaughn_ryan_ Black Lives Matter.

DANIEL RILEY (Acoustic Rooster/Dad): The Wallis debut. Daniel is excited to join the cast as Acoustic Rooster! Born and raised in Chicago. Favorite roles include Othello (Othello), Coalhouse Walker Jr. (Ragtime), and Narrator (Passing Strange). Jeff Award: Buddy: The Buddy Holly Story (Best Ensemble), Silver Telly Winner: Christmas Mass at Mercy Home (Use of Music). Featured on Dark Side of the Moon a Capella (VOCOMOTION Records). Regional theatre: Nina Simone: Four Women (MRT). Thanks to everyone at the Kennedy Center. Support live theater! “If music be the food of love, play on.”

KANYSHA WILLIAMS (Indigo Blume) is a Washington Metropolitan Area native who is thrilled to be making her Kennedy Center TYA debut! Kanysha is a graduate of the Duke Ellington School of the Arts in Washington, D.C. and George Mason University. Theatrical credits include: Sister Act, The Color Purple, Always...Patsy Cline, Aida, Little Shop of Horrors, Ain’t Misbehavin’ and more! Off stage, Kanysha works as a singer, performer, educator and a private music instructor specializing in vocal and piano training. To God Be The Glory!

CAITLIN WITTY (Dairy Parton) is ecstatic to be at the Barnyard. Workshops/Readings: Alice Bliss (Mark Brokaw/Adam Gwon); Funny Face (Michael Mayer/Dick Scanlan). Regional: Marvelous Wonderettes (Swing: Alabama Shakespeare Festival) Jesus Christ Superstar (U/S Mary/Ensemble: ACT of CT); Sister Act (Sister Mary Robert: Arrow Rock Lyceum); Swingtime Canteen (Katie: Arrow Rock Lyceum); The Little Mermaid (Adella: STL Variety Children’s Theatre). Music Video/ Vocalist: Break The Chain (Eve Ensler/Debbie Allen). Film/ Commercial: Stand Up (SilverArt s.r.o); Neutrogena Promo. BFA Webster Conservatory. Caitlin is a national YoungArts finalist. Thank you for supporting live theatre! Light and love!

JAYSEN WRIGHT (Mules Davis/Mr. Woody) Previous credits: The Ballad of Emmett Till, That Summer in Sumner, and Benevolence (Mosaic Theater); Gaston in Beauty and the Beast (5th Avenue); Choir Boy (Marin Theatre and Studio Theatre productions); I Hate it Here, Wig Out!, and Rocky Horror (Studio Theatre); The Royale (Olney Theatre and 1st Stage co-production); Take Me Out and Now Comes the Night (1st Stage); Smart People and Jubilee (Arena Stage); The Importance of Being Earnest (Everyman Theatre); Actually and Sons of the Prophet (Theater J); Macbeth (Folger Theatre); The Wiz and A Christmas Carol (Ford’s Theatre); Measure for Measure, Wallenstein, and Coriolanus (Shakespeare Theatre); and Looking for Roberto Clemente, The Miraculous Journey of Edward Tulane, Anatole, and Davy Copperfield (Imagination Stage). Jaysen is an adjunct professor of theater at The George Washington University where he teaches acting. Education: MFA in Acting from Indiana University, BA in Theatre form Grinnell College.

Instagram: @thejayceface; www.jaysenwright.com

KWAME ALEXANDER (Author) has written 37 books, three of them in a chair next to a fireplace at his neighborhood Panera Bread. He now writes in a penthouse in London, where he lives. But, he misses the writing studio he built in Virginia a few years ago. It has huge windows, a large painting of John Coltrane, 3000 books, heated floors, a blue couch, and a loft which was Randy’s idea. Kwame has eaten snails, chocolate covered bugs, and grasscutter, which is like a big rat, which he had no idea he was eating because it was in a really tasty stew he ate in Ghana while building a library and a health clinic in a village called Konko. He’s never eaten frogs. But, he has written a book about them called Surf’s Up. And, some other books you may have heard of like The Crossover and The Door of No Return, and How to Read a Book, all New York Times Bestsellers, which his Dad likes to brag about in grocery stores and doctor’s offices. Oh he also wrote the book this musical is based on: ACOUSTIC ROOSTER’S BARNYARD BAND. Kwame loves jazz. Kwame loves his family. Kwame loves his job. Part of Kwame’s job is to write and produce the Disney Plus TV series based on his novel The Crossover. The other part of Kwame’s job is to Change the World One Word at a Time. Oh yeah, he also won the Newbery Medal. Whoa!

MARY RAND HESS (Playwright) is a poet, playwright, screenwriter, and New York Times bestselling author of notable and award-winning books such as Solo (CABA Honor Book and NAACP Image Award Finalist) and Swing, coauthored with Newbery Medalist Kwame Alexander, The One and Only Wolfgang: From Pet Rescue to One Big Happy Family, written with Steve Greig of @wolfgang2242 Instagram fame, and the forthcoming picture books Belong and Quiet is Strength. Hess loves collaboration and is currently at work on several exciting film and media projects. Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume is Hess’ first musical collaboration, but certainly not her last. She lives in California with her husband, two wildly creative sons, and one quirky dog, who loves to sing while she composes on the piano. www.maryrandhess.com

RANDY PRESTON (Composer), an African Native American is a singer-songwriter, educator and storyteller, was raised and educated in the UK and Kenya. He taught English literature for 18 years before switching careers, spending the past 7 years touring with Kwame Alexander, visiting over 700 schools throughout 6 different countries and 48 of the 50 U.S. states. Preston starred in the Kennedy Center’s limited episode series, Songbook, where he wrote and sang songs with selected young poets. Songbook debuts in 2023. He recently signed a two-book deal with Penguin Books, and is eagerly awaiting the publication of his picture book collaboration with Alexander titled, How to Sing a Song, releasing in the summer of 2023. He was thrilled to present his original score for Acoustic Rooster’s Barnyard Boogie: starring Indigo Blume, and played the role of Acoustic Rooster in the KCTYA debut in November of 2021.

LILI-ANNE BROWN (Director), a Chicago South Side native, works as a director, actor and educator, and has performed in, directed and produced many award-winning shows in Chicago and nationally. Recent directing credits include: Joe Turner’s Come and Gone (Huntington Theatre), School Girls, or The African Mean Girls Play and the world premieres of Ike Holter’s I Hate It Here and Lottery Day (Goodman Theatre); Ain’t No Mo’ (Woolly Mammoth and Baltimore CenterStage), The Color Purple (The Muny), Once on This Island (Oregon Shakespeare Festival), Acoustic Rooster...(Kennedy Center), Put Your House in Order (La Jolla Playhouse), Cullud Wattah (Victory Gardens). She is the former Artistic Director of Bailiwick Chicago, where she focused programming on Chicago-premiere musicals and new play development with resident playwrights. She is a member of SDC, AEA, and SAG-AFTRA, and represented by William Morris Endeavor. {www.lilbrownchicago.com.}

KEVIN LEE ALEXANDER (Sound Designer) is excited to join the Kennedy Center’s Theater for Young Audiences on this production of Acoustic Rooster’s Barnyard Boogie. Recent regional credits include Hair: The American Tribal Love-Rock Musical and Oliver (New Repertory Theatre); Day of Absence and The Raid (Theater Alliance); A Misanthrope (Avant Bard Theatre); Huckleberry Finn’s Big River (Adventure Theatre MTC); Bright Star (Lyric Theatre of Oklahoma); and Step Afrika’s The Migration: Reflections of Jacob Lawrence (National Tour). Kevin holds a Master of Science in Entertainment Business from Full Sail University, and a Bachelor of Arts in Theatre from the University of Maryland. He is also a member of IATSE Local USA 829.

BREON ARZELL (Choreographer) Breon’s breakout, and award-winning*, premiere as a choreographer came with a Chicago production of The Hairy Ape. Detroit native, he has worked at various studios, schools, universities (DePaul, Northwestern, and Roosevelt), and theaters. Chicago credits include: Little Shop of Horrors (Metropolis PAC), *Kill Move Paradise (TimeLine Theatre), The Color Purple (Drury Lane), *Head Over Heels & The Wiz (Kokandy Productions), *The Total Bent (Haven Theatre), Marie Christine, *Scottsboro Boys, and more. Regional & TV credits include: The Color Purple (MUNY), Once on This Island (Oregon Shakespeare Festival), Miss You Like Hell (Olney Theatre), ‘South Side’ (HBO Max), ‘The 4400’ (CW), ‘Empire’ (Fox). A dedicated teaching artist, critically acclaimed, and listed as one of the 50 Players for Chicago 2018 & 2020, he has worked/ toured the U.S., England, Italy, Germany, Denmark, & Singapore. Currently, along with developing original works, he is working on the restoration and revival of a historical black musical. Hip-Hop, Jazz, Modern, Lyrical, Contemporary, & Body Percussion. www.breonarzell.com

JOEY BLAKELY he/him (Stage Manager) KENNEDY CENTER: 50th Anniversary Celebration Concert. DC AREA: Shakespeare Theatre: Much Ado About Nothing. Signature Theatre: No Place to Go, The Upstairs Department, Rent, Escaped Alone, Gun & Powder, Assassins, Blackbeard, Billy Elliot, Passion, The Scottsboro Boys, Light Years, A Little Night Music, Jesus Christ Superstar, Titanic, The Fix. Theater J: The Jewish Queen Lear, The How and the Why, The Last Schwartz, Body of an American, Sons of the Prophet.

DELANEY BRAY (Assistant Sound Designer) recently graduated from Rutgers University – Camden, where she served as Sound Designer for Clybourne Park, Top Girls, The Vagina Monologues, and 2018 Student Directed One Act Festival, as well as Assistant Sound Designer for Hamlet and Frankenstein. Recent local credits include Round House Theatre, Constellation Theater Company, and Studio Theatre. Delaney has also worked at the Colorado Shakespeare Festival’s 2019 season, Jacob’s Pillow Dance Festival. Delaney would like to thank her friends and family for always supporting her, as well as every dog ever.

MARIKA COUNTOURIS (Sub Music Director) is excited to be back after working on last year’s tour launch of Don’t Let the Pigeon Drive the Bus. She holds a BM in Musical Theatre from The Catholic University of America and serves as Vocal Instructor & Area Accompanist for Howard University’s BFA Musical Theatre Program. Some of her credits include: WOOLLY MAMMOTH: A Strange Loop (Pre-Broadway Run); ARENA STAGE: Ride the Cyclone; FORD’S: Grace (World Premiere); SIGNATURE: The Color Purple; FLYING V: We’re Gonna Die (Helen Hayes Nomination for Outstanding Music Direction); GREAT LAKES CENTER FOR THE ARTS: Godspell; CONSTELLATION: The Last Five Years; MONUMENTAL: Songs for a New World, Head Over Heels, Be More Chill, Daddy Long Legs, and Brooklyn. Next up: SIGNATURE: Passing Strange. Instagram: @marikanne

DOMINIC DESALVIO (Assistant Lighting Designer) has worked on shows throughout the DC area including at The Kennedy Center, Signature Theatre, NextStop Theatre, Solas Nua, and Mosaic Theatre. He has also worked professionally at Shakespeare festivals, regional theaters, opera companies, dance companies, TV news studios, and live music venues across the country. A graduate of the University of North Carolina School of the Arts, he was also the proud recipient of the Kenan Fellowship at The Kennedy Center. www.DeSalvioDesigns.com

LIV FARLEY Acoustic Rooster is Liv’s debut show at The Wallis. They are really excited to be working here, and they hope you enjoy the show!

NADIA GUEVARA she/her is the proud recipient of the 20222044 Drama League Stage Directing Fellowship. For Kennedy Center TYA: Acoustic Rooster’s Barnyard Boogie (Associate Director), Show Way (Associate Director), Beastgirl (Dramaturg). Directing credits include: Fefu and Her Friends (American University), N (Keegan Theatre), Palabras de encanto: Tales of

Borikén (ACA at GWU), Little Women (Johns Hopkins), Guadalupe in the Guest Room, Cinderella Eats Rice and Beans: A Salsa Fairy Tale (NVA), El encuentro (Old Globe Arts Engagement). Readings: L’HÔTEL (Fulton Theatre Stories in Diversity Playwriting Fest), Azul (San Diego Repertory Theatre Latinx New Play Festival) Associate Director: Show Way (Kennedy Center, dir. Schele Williams), The Odyssey (Dallas Theatre Center/Dallas Public Works, dir. Kevin Moriarty), Assistant Director: Daphne’s Dive (Signature Theatre, dir. Paige Hernandez), Put Your House In Order (La Jolla Playhouse, dir. Lili-Anne Brown). www.nadiaguevara.com @nadiaguevaradc

MONTANA KERN A Centre College alumni, Kern moved to Greenville, SC in 2013. He has made his way as a Designer and Theater Mercenary for the last decade, and held house positions with the Peace Center and Warehouse Theatre. In 2022, Montana designed The Wolves (scenic) and Native Gardens (Lighting) for the Warehouse Theatre. Educating Rita (Scenic) for Lean Ensemble Theatre, and Lights and Audio for the Albino Skunk Music Festival. Montana is excited to be joining the Kennedy Center in his first ever touring position.

MARK G. MEADOWS (Orchestrator/Music Director) Acclaimed jazz pianist, music director, & composer/arranger, Mark G. Meadows is a man on a mission: to create a unifying sound that harmonizes different walks of life. Ever since his award-winning turn as lead role “Jelly” in Signature Theater’s electrifying production of Jelly’s Last Jam, venues everywhere, including the Kennedy Center and Jazz at the Lincoln Center, have sought him for his ability to combine the raw, spontaneous nature of jazz with the story-telling component of live theatre. He is the recipient of numerous awards, including DC Jazz Artist of the Year in 2020 and a Henry Award for Outstanding Music Direction in 2022. He has performed alongside world-renowned artists including Cynthia Erivo, Usher, Renee Fleming, Bobby McFerrin, DeeDee Bridgewater, and many more. Mark’s work exudes his joy and fosters a sense of freedom among his collaborators. Website / socials: @markgmeadows

ANDREA “DRE” MOORE (Properties Designer) Her properties and puppet designs have been on proud display at various theatres in the MD/DC area for the past 20 years (Adventure Theatre – MTC, CenterStage Baltimore, Discovery Theatre, Flying V, Imagination Stage, Olney Theatre, Rep Stage, Rorschach Theatre, Round House Theatre, Theatre J). She currently calls the Puppet Co in Glen Echo her artistic home, building sets, puppets, and props for various productions. Several of her works are on rotating display at DoodleHATCH, and interactive art museum experience in Columbia, MD - doodlehatch.com

ARNEL SANCIANCO (Scenic Designer) is an award-winning set designer and a professor of scenic design at Arizona State University. He is a graduate of Northwestern University where he received his MFA in stage design. His nationally recognized portfolio includes, The Color Purple (The Muny), Joe Turner’s Come and Gone (The Huntington Theatre Co.) The Lifespan of a Fact

(Repertory Theatre of St. Louis), Acoustic Rooster’s Barnyard Boogie (Kennedy Center), Ain’t No Mo (Woolly Mammoth), Put Your House in Order (La Jolla Playhouse), Lottery Day (Goodman Theatre), Choir Boy, I Am Not Your Perfect Mexican Daughter, We Are Proud to Present, (Steppenwolf), Athena, A Doll’s House (Writers Theatre), Nina Simone: Four Women (Arizona Theatre Company), The Mousetrap, Photograph 51, The Belle of Amherst (Court Theatre), Twelfth Night (American Players Theatre), The Nerd, The All Night Strut! (Milwaukee Rep). arneldesigns.com

ALBERTO SEGARRA (Lighting Designer) selected DC credits include: The Thanksgiving Play at Olney Theatre Center; Quixote Nuevo at Round House Theatre; Good People at Keegan Theatre; Tender Age at Studio Theatre; El Perro del Hortelano at GALA Theatre; Earthrise at The Kennedy Center; Blood at the Root at Theater Alliance (Helen Hayes Award for Outstanding Lighting Design); Satchmo at the Waldorf at Mosaic Theater; and An Act of God at Signature Theatre. Regional credits include 1776 and The Gift Horse at New Repertory Theatre and Priscilla, Queen of the Desert at Blue Barn Theatre. Alberto received his MFA in Lighting Design from the University of Maryland, College Park, and he is a USA 829 member. albertosegarra.com.

MOLLIE SINGER (Assistant Scenic Designer) A Christmas Carol (Chesapeake Shakespeare Co.) Naked Mole Rat Gets Dressed (Scenic, Imagination Stage) Mr. Popper’s Penguins (Props, Imagination Stage), The Glass Menagerie (Scenic, Rep Stage) Fuller (Scenic, Duke University) Hookman (UMD, Scenic Design) Subject to Change (UMD, Scenic Design), Souvenir (Rep Stage, Scenic Design) Lady Day at Emerson’s… (Rep Stage, Scenic Design), True West (Rep Stage, Properties), The Heidi Chronicles (Rep Stage, Properties), Dorian’s Closet (Rep Stage, Properties), What Every Girl Should Know in rep with Dry Land (Forum Theatre, Properties) H2O (Rep Stage, Properties), Richard III (Chesapeake Shakespeare Co., Properties), American Hero (Rep Stage, Props), Hunting and Gathering (Rep Stage, Scenic Design), Sunset Baby (Rep Stage, Properties).

SARAH SLAGLE (Wardrobe & Prop Supervisor) is a wardrobe technician, costume designer & teaching artist from Cleveland, Ohio. Sarah has studied at the Moscow Art Theatre (MXAT) in Moscow, Russia and received her MFA in Costume Design from Northern Illinois University in May 2021. Previous credits: Wardrobe Supervisor Randall L Jones & Englestadt Theaters at the Utah Shakespeare Festival, Dresser at Porthouse Theatre. Design credits: Twelfth Night (Kane Repertory Theatre), Macbeth (Shakespeare at the Castle) and Bent (MUSE Theatre Collective). If you were to ask her whether she prefers teaching, designing, or dressing more the answer is always whichever she’s currently doing. Love to her family & teachers. Thank you for supporting live theater!

ERIK TEAGUE (Costume Designer) DC AREA: Blackbeard: Signature Theatre; The Kennedy Center: Acoustic Rooster; Washington National Opera: The Lion, The Unicorn and Me; Wolf Trap Opera: The Touchstone; National Gallery of Art: Color’s Garden; Constellation Theatre: Master and Margarita, The Wild Party, Equus; Synetic Theater: The Phantom of the Opera, Richard III, The Trial, Titus Andronicus, Sleepy Hollow, The Hunchback of Notre Dame, Man in the Iron Mask. REGIONAL: The Atlanta Opera: The Threepenny Opera, Cabaret; The Glimmerglass Festival: The Cunning Little Vixen, La bohéme, Ariadne in Naxos, Odyssey, Wilde Tales, Trouble in Tahiti, The Flying Dutchman; Opera Southwest: Lohengrin; Actor’s Express Atlanta: Les Liaisons Dangereuses; AWARDS: one Helen Hayes Award, six Helen Hayes Award nominations, two Suzy Bass Awards, two-time KCACTF National winner. erikteaguedesign.com

CHANNING TUCKER (Assistant Costume Designer) is a costume and puppet designer and a recent graduate of the University of Maryland’s MFA program. They most frequently design for dance, including various dance concerts for Dance Exchange, the University of Maryland, and Howard Community College. They designed the world premiere of Monstrous at Howard Community College. Past design credits include Puffs! (Howard Community College), The Netherand The Burn (Montgomery College), and Risk of Play, Ghost Bride, Outbound, Flyin’ West, Corpora Caelestia, and Tides (University of Maryland). Their long-term project is a puppet film adaptation of the Epic of Gilgamesh.

THE WALLIS PRESENTS

ALONZO KING LINES BALLET DEEP RIVER

JUNE 9-11, 2023

40TH ANNIVERSARY CELEBRATION

310.746.4000

TheWallis.org/Alonzo

Alonzo King LINES Ballet performs Deep River, a new work featuring Grammy Award-winning vocalist Lisa Fischer set to a score by jazz pianist, composer, and MacArthur Fellow Jason Moran. This is King’s second collaboration with Fischer and his ninth collaboration with Moran, created in celebration of LINES Ballet’s 40th anniversary season.

Dance @ The Wallis is made possible in part by a grant from the National Endowment for the Arts.

PRESENTS

ULYSSES OWENS, JR. & J’NAI BRIDGES: NOTES ON HOPE

VIBRAPHONE

Jalen Baker

PIANO

Ted Rosenthal

GUITAR

David Rosenthal

PROGRAM

I. DIVINE HOPE

The Lord’s Prayer

Heaven DUKE ELLINGTON

There is a Balm in Gilead SPIRITUAL

II. THE CRUX OF HOPE

Skin GERI ALLEN (INSTRUMENTAL)

L’invitation au voyage DUPARC

Je te veux SATIE

La Vie En Rose

Boi Bumba WALDERMAR HENRIQUE

III. HOPE FULFILLED

Adoration FLORENCE PRICE

Hold Fast to Your Dreams FLORENCE PRICE

It’s Good to Have You Near Again ANDRE PREVIN

Program subject to change.

THURSDAY, APRIL 27 AT 7:30 PM

Bram Goldsmith Theater

Running Time: 90 minutes, no intermission.

HARP

Carol Robbins

CONCERT NOTES

The human voice is considered the earliest musical instrument and the drum is regarded as one of the oldest instruments. Both are essential to communication and the formation of society and civilization. Simply put, without the drum or the voice there is uncertainty about how far humanity would have advanced. This truth speaks to the power of J’nai’s operatic voice and Ulysses Owens’ powerful drums creating a musical partnership through their Chamber project, Notes On Hope

Notes On Hope spans the musical spectrum, from exploring works of Duke Ellington to reviving classic art songs once performed by opera matriarchs Jessye Norman, Leontyne Price, and Kathleen Battle, all of whom have since passed the torch to J’Nai to carry into the 21st century. Other instrumental moments will highlight Ulysses’ musical direction and prowess as a jazz drummer with his stellar ensemble. The ensemble will feature the works of lesser known jazz composer luminaries such as Geri Allen, whose music fits eloquently within the thematic focus of hope.

With regard to their culture and heritage as African American artists, it is important to note that there is a greater subtext here between Ulysses and J’Nai. They are both utilizing this moment to highlight Black contributors in the classical and opera realm who have been often overlooked. Their artistry will shed light on beautiful works by composers like Florence Price, who truly embodies the adage, “because of them, we are.”

The program is divided into three segments, the first of which is Divine Hope, which focuses on the power of creation and is the conduit between hope and faith. This section begins with “The Lord’s Prayer,” as a devotional musical moment to cleanse the palette and center on the intention for the evening, which is reverence.”

Following “The Lord’s Prayer,” Duke Ellington, who is considered to be one of the greatest American composers, will be featured. Ellington happened to have composed several compositions for soprano voice dating back to the early 1940s. “Creole Love Call” was one of the first compositions that Ellington composed for his orchestra and singer Adelaide Hall, and shortly after he began to work with singers, Kay Davis and Alice Babs. It is important to note that Kay Davis and Adelaide Hall were trained classical African American singers who were unable to gain work because of the discriminatory barriers, so through Ellington’s compositions they were able to perform. Two additional songs will be visited from this era, “On A Turquoise Cloud” and “Heaven.” To conclude the Divine Hope segment, the ensemble will perform the classic spiritual, “There is a Balm in Gilead,” which references an Old Testament scripture that speaks to the concept of a spiritual medicine that heals sinners. This spiritual has been performed by many great opera singers and is a spiritual rite of passage that only a voice like J’Nai can beautifully deliver and serve as a balm for the audience.

The second segment is titled The Crux of Hope which references the most essential shift and point of the process: where difficult matters must be addressed so that hope is a possibility. This segment begins with the composition “Skin” by prolific pianist and composer, the late Geri Allen, who broke many barriers for women in the jazz industry. This composition is very textural and features the band. It allows listeners to unearth the reality of skin, texture, color, race and creed, which unfolds beautifully.

DuParc’s “L’invitation au voyage,” composed in 1970, is a setting of two of three verses of the Symbolist poet Baudelaire's famous poem describing his love of the countryside in Holland. During this time, Baudelaire

“Hope can be a powerful force. Maybe there’s no actual magic in it, but when you know what you hope for most and hold it like a light within you, you can make things happen, almost like magic.”

- LAINI TAYLOR

was in love with actress Marie Daubrun, and this poem describes a mystical trip growing in his mind, which finds them both in an exotic and perfect world.

“Je te veux” (“I Want You”), composed by Erik Satie with a text from Henry Pacory, has a sensual undertone because of the intimate relationship between Satie and Paulette Darty, which this song beautifully displays. It is a popular song rendered by Jessye Norman, Cecile McLorin Salvant, and many other brilliant vocalists. However, the arrangement performed in Notes On Hope is a very unique adaptation featuring unique instrumentation. “La Vie En Rose” (“Life in Happy Hues”) also translated as “Life seen through rosecolored glasses,” is a favorite of J’Nai’s to sing her adaptation of Edith Piaf’s classic lyric.

The second segment will conclude with a beautiful Brazilian composition called “Boi Bumba,” composed by Valdemar Henrique who is from the North of Brazil, and is inspired by Amazonian folklore, as well as Indigenous and Northeastern Afro-Brazilian Rhythms. J’Nai and Ulysses fell in love with a recording of Kathleen Battle and Christopher Parkening, utilizing that sound as the foundation for their arrangement of “Boi Bumba.”

The final segment of the program is titled Hope Fulfilled which speaks to the reality that as we remain committed to the journey, we will experience the fulfillment of our efforts and hard work.

Florence Price was a trailblazer and arguably the first African American woman to have her Symphony No.1 in E Minor performed by a major orchestra. She once stated, “I have two handicaps- those of sex and race.” Her legacy is honored with a performance of two of her songs, first “Adoration,” which was initially published in 1951 for the organ, but this arrangement has been orchestrated for rhythm section, harp, marimba, and voice. “Hold Fast to Dreams” is a song that she composed setting a poem by Langston Hughes, from the song collection Five Art Songs.

Ulysses writes, “A few months ago, I had dinner with Michael Feinstein, his husband Ken, and my mentor/ Celebrity Chef and Restaurateur Alexander Smalls in Harlem. I spoke directly to Michael about J’Nai, this project and the overall goals we desired to accomplish artistically, and he said, 'Ulysses, there is one song you have to perform, because it sounds like it was created for Notes On Hope, and it’s called It’s Good to Have You Near Again.' He began to sing the song to me right at the dinner table, and then introduced me to the album, Right as The Rain featuring Andre Previn and Leontyne Price performing many popular and accessible songs (with this one being my favorite), and Michael was correct. This song opened up a treasure trove for me, and to hear Leontyne’s lyrical approach with Andre’s gorgeous piano playing will, quite frankly, be the perfect close to the evening that illustrates the notes of hope that we have, and continue to have, as we are honored to perform and create again and again.”

ULYSSES OWENS, JR. (drums) A drummer who The New York Times has said, “take[s] a back seat to no one,” and “a musician who balances excitement gracefully and shines with innovation.” Performer, producer and educator Ulysses Owens Jr. goes the limit in the jazz world and beyond; claiming eight successful albums of his own. Owens has also gained special attention for his performances on GRAMMY Award-winning albums by Kurt Elling and The Christian McBride Big Band. In addition to five Grammy nominated albums with Joey Alexander, Christian McBride Trio, John Beasley’s Monk’estra, and Gregory Porter. Both Jazziz and Rolling Stone Magazines picked his album “Songs of Freedom,” as a Top Ten Album for 2019 and in 2021 his most recent Big Band release, “Soul Conversations,” was voted the top album in May 2021 by JazzIz Magazine. “Soul Conversations,” was released on the the Outside In Music Label and received rave reviews; was added to multiple playlists on Apple Music, Spotify, and Sirius XM, and now the band is touring nationally. The Ulysses Owens Jr. Big Band has also been voted “Rising Star Big Band ” of 2022 by Downbeat Magazine. Ulysses is also the creator of multiple online jazz drum video courses: “Finding Your Beat,” “The Art of Swing” and “Jazz Drumming 101: Everything you need to know to get the gig,” for Open Studio. Ulysses was also host of the highly successful weekly live YouTube series, “From The Drummer’s Perspective,” for Open Studio. As an author Ulysses has penned multiple articles for multiple publications (Jazz Times, Downbeat, and Percussive Arts Society.) He has released a Hallmark Drum instructional book titled: “Jazz Brushes for the Modern Drummer: An Essential Guide to the Art of Keeping Time,” which is published and distributed by Hal Leonard. His second

book which is a career narrative and instructional book about Music Business, Entrepreneurship and Career Development for creative students is titled, “The Musicians Career Guide: Turning Your Talent into Sustained Success,” was released by Skyhorse Publishers, and Simon and Schuster on June 8th, 2021 and has been in the a top 5 on Amazon in the Music Business, and Arts and Entrepreneurship book categories. He is now working on is third manuscript “Jazz Big Band for the Modern Drummer” for Hal Leonard Publications. His passion project is his role as the Artistic Director for his family’s non-profit organization, “Don’t Miss A Beat,” in Jacksonville, Florida that utilizes the arts as a bridge to a better life for “At-Hope” students. He is also the Artistic Director for the annual Don’t Miss A Beat Jazz Festival that premiered In 2021 as an Inaugural Community Event; and continues every July at Woodstock Park in partnership with the City of Jacksonville and Jacksonville Jazz Festival with over 2000 people from the community. Ulysses has also received the “Difference Maker” Award from Beacon College, the “Robert Arleigh White Advocacy Award” from the Cultural Council of Northeast Florida; and has been multi-year recipient of the Individual Artist Grant from the Community Foundation of Northeast Florida. Most recently he was recognized as part of the 2022 “40 Under 40” list of Influential Business Leaders in Jacksonville by the Jacksonville Business Journal; and recently selected to be part of the 2023 Leadership Jacksonville class. He was also awarded the 2022 Ann Baker Art Ventures Award from the Community Foundation of Northeast Florida for his work in the Beaver Street Community. Ulysses remains consistently in demand for new projects, and consulting opportunities, remaining one of the most sought-after drummers,

bandleaders, educators and thought leaders of his generation. Yet what matters to him consistently is giving back and continuing to be grateful for a new day to make a difference in the lives of others.

J’NAI BRIDGES (mezzo-soprano), known for her “plush-voiced mezzo-soprano” (The New York Times), and “calmly commanding stage presence” (The New Yorker) has been heralded as “a rising star” (Los Angeles Times), gracing the world’s top opera and concert stages. The 2022-23 season will spotlight Ms. Bridges in one of her signature roles as Carmen with debut engagements at the Arena di Verona, Canadian Opera Company, and a return to Dutch National Opera, and Lyric Opera of Chicago. As a native of Tacoma, WA, Bridges eagerly anticipates her Seattle Opera debut in a concert performance of Samson et Delilah as Delilah in January 2023. Additional concert engagements include Mahler’s Resurrection Symphony with the Detroit Symphony in November, and a world premiere by Carlos Simon in April 2023 with the National Symphony Orchestra. Ms. Bridges’ recital engagements for the season begin with the performance of a world premiere by Jimmy Lopez at 92NY in December, and continue throughout 2023 at Washington University, Thomasville Center for the Arts, The Cliburn, Wallis Annenberg Center for the Performing Arts, San Francisco Performances, and the Mondavi Center in Davis, California. Ms. Bridges’ 2021-22 season highlights included numerous world premiere engagements as a guest artist in The Kennedy Center’s 50th Anniversary Season. Ms. Bridges’ time in Washington D.C. also included performances with The National Philharmonic in the world premiere of Adolphus Hailstork’s A Knee on the Neck, and Mozart’s Requiem, and her first performance of the Verdi Requiem with the Cathedral Choral Society. She also appeared with the Amarillo Symphony as a guest artist in a world premiere piece by Chris Rogerson entitled Sacred Earth, and she gave a solo recital at the McCarter Theatre Center in Princeton. In June 2022 she performed Lieberson’s Neruda Songs with the Los Angeles Philharmonic and Gustavo Dudamel as part of the Power to the People! festival, followed by her debut with the San Francisco Symphony singing Jocasta in Peter Sellars’ production of Stravinsky’s Oedipus Rex, conducted by Esa-Pekka Salonen. She concluded her summer season singing a solo recital at Caramoor. In the midst of the worldwide pandemic, she emerged as a leading figure in classical music’s shift toward conversations of inclusion and racial justice in the performing arts. In 2022 she was announced as one of the Kennedy Center’s NEXT50 cultural leaders. Bridges led a highly successful panel on race and inequality in opera with the Los Angeles Opera that drew international acclaim for being a “conversation of striking scope and candor” (The New York Times). In early 2021, Ms. Bridges was

featured in the Converse shoe brand’s All Stars Campaign for its Breaking Down Barriers collection. Bridges also performed with the Los Angeles Philharmonic under the baton of Gustavo Dudamel for two episodes of the digital SOUND/STAGE series, and as part of the Global Citizen movement’s Global Goal campaign, a program which also included Coldplay, Shakira, Usher and more. The pandemic also forced the cancellation of Ms. Bridges’ numerous debuts during the 2020-2021 season including the title role of Carmen at The Metropolitan Opera. Bridges’ 2019 –2020 season included her highly-acclaimed debut at The Metropolitan Opera as Nefertiti in a sold-out run of Philip Glass’ opera Akhnaten, as well as a house and role debut with Washington National Opera as Dalila in Samson et Dalila. Other recent highlights include the 2022 Grammy® Awardwinning Metropolitan Opera production of Akhnaten and 2021 Grammy® Award-winning recording of Richard Danielpour’s oratorio The Passion of Yeshua with the Buffalo Philharmonic Orchestra, performing at the National Library of Congress to honor legendary fashion designer Diane von Furstenburg as she received the 2022 Ruth Bader Ginsburg Woman of Leadership Award, her sold-out Carnegie Hall Recital debut, her role debut of Kasturbai in Satyagraha at LA Opera, and her debuts at Dutch National Opera and the Gran Teatre del Liceu in Barcelona. Ms. Bridges also created the role of Josefa Segovia in the world premiere of John Adams’ Girls of the Golden West at San Francisco Opera, and performed in the world premiere of Bel Canto at the Lyric Opera of Chicago, an opera by Jimmy Lopez based on the novel by Ann Patchett. Bridges is a recipient of the prestigious 2018 Sphinx Medal of Excellence Award, a 2016 Richard Tucker Career Grant, first prize winner at the 2016 Francisco Viñas International Competition, first prize winner at the 2015 Gerda Lissner Competition, a recipient of the 2013 Sullivan Foundation Award, a 2012 Marian Anderson award winner, the recipient of the 2011 Sara Tucker Study Grant, the recipient of the 2009 Richard F. Gold Grant from The Shoshana Foundation, and the winner of the 2008 Leontyne Price Foundation Competition. J’Nai completed a three-year residency with the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, represented the United States at the prestigious BBC Cardiff Singer of the World Competition and was a Young Artist at the Glimmerglass Festival in Cooperstown, New York. A native of Tacoma, Washington, she earned her Master of Music degree from Curtis Institute of Music, and her Bachelor of Music degree in vocal performance from the Manhattan School of Music.

A six-week performing arts intensive for students ages 8-16!

Students will engage in daily dance, music, and theater classes while rehearsing for a culminating ticketed performance. Every week, performers, designers, technicians, and musical theater professionals will provide master classes in addition to their performing arts curriculum. The experience culminates with a performance for friends and family in the Bram Goldsmith Theater @ The Wallis.

310.273.5578 |

The Wallis @ a Glance

ADMINISTRATIVE OFFICES

Monday–Friday 10am–6pm @ 310.246.3800

9390 N. Santa Monica Boulevard

Beverly Hills, CA 90210

TheWallis.org

TICKET SERVICES

Monday–Friday 11:30am–6:30pm @ 310.746.4000

During performance dates, Ticket Services will be open two hours before performance time and a half hour after the performance begins. Please note that Ticket Services is unable to process exchanges and future sales one hour prior to curtain time on performance dates.

323.931.4223 |

310.205.5444

310.274.6534

310.652.2827

SAFETY

For The Wallis’ current Health & Safety protocols visit TheWallis.org/Safety

ACCESS

The Wallis is committed to accommodating and ensuring a pleasant experience for all of our patrons with special needs or disabilities. Please contact Ticket Services, our House Manager or an usher to discuss your needs.

LATE SEATING

Should you arrive late for any performance or need to leave your seat during the performance, please expect to be held in the lobby until an appropriate moment or pause. To minimize any disturbance to other patrons, you may be seated in the first available locations by our staff even if different than your assigned seat locations. Please also be advised that some performances or circumstances may not allow for late seating or return seating.

LARGE PRINT PROGRAMS

The Front of House Staff is happy to provide programs with larger print to patrons upon request.

In The Bram Goldsmith Theater

TELECOIL INDUCTION SYSTEM FOR HEARING ASSISTANCE

A state of the art “hearing loop”—a thin copper wire—has been installed beneath the floor of the orchestra seating in the Bram Goldsmith Theater. For guests wearing a hearing aid with a copper telecoil wire or who have a cochlear implant, the system captures electromagnetic waves and broadcasts signals directly to your hearing aid device. For assistance, please inquire with Patron Services.

Gifted by Virginia and Frank Maas.

QUIET ROOM

The Lynn and Les Bider Family Foundation

Quiet Room is available during the performance for patrons who wish or need to step away for a moment. You can still see and hear the performance in progress, but we can’t hear you.

THE WALLIS IS PROUDLY SUPPORTED BY: ENJOY LOCAL DINING

 PLATINUM CIRCLE

The Ahmanson Foundation

Annenberg Foundation/ Wallis Annenberg & Kris Levine

Dan Clivner

The Seattle Foundation/

Katharyn A. Gerlich

The Rosalinde and Arthur Gilbert Foundation 

Bruce Goldsmith

Peggy Parker Grauman*

GRoW @ Annenberg Foundation/ Gregory Annenberg Weingarten & Family 

Los Angeles County

Department of Arts & Culture

Anahita and Jim Lovelace

Meeghan and Michael Nemeroff

Ralph M. Parsons Foundation

Arline and Buddy Pepp

Dwight Stuart Youth Fund

Vanity Fair

Luanne Wells*

 GOLD CIRCLE

Camille and Arnon Adar

Ahsan Aijaz

Jacqueline* and Clarence Avant

Leon Lowenstein Foundation/ John M. Bendheim 

Thomas J. Blumenthal

David C. Bohnett

Colburn Foundation

Carol Goldsmith

Halle and Oliver Hammond

Chad Hummel and Tara Church

Stacey and Donald Kivowitz

Agnes Lew

Cathy and Mark Louchheim

Peter Lowy

Nigel Lythgoe OBE

Matt Construction

Daphna Nazarian

Neiman Marcus

Linda May and Jack Suzar

The Estate of Ted and Hedy Orden

Vicki Reynolds and Murray Pepper

Mr. and Mrs. Arnold Rosenstein

Ruby Family Foundation/ Wendy and Ken Ruby

Stephanie & Howard Sherwood

The Simms/Mann Family Foundation

Susan and Peter Strauss

Leon and Stephanie Vahn

Jonathan A. Victor

May and Richard Ziman

 SILVER CIRCLE

Anonymous

City of Beverly Hills

Lynn and Les Bider

Family Foundation

Anoosheh Bostani

Capital Group Companies

Charitable Foundation

Louise and Brad Edgerton

Lisa FIeld

Hon. MeraLee Goldman

Betty Hayman

Morris & Shîla Hazan Charitable Fund

Ronnie and Barbara Kahn

Sandra Krause & William Fitzgerald

Elisabeth and Jeffrey Lipsman

National Endowment for the Arts

Gloria and Richard Pink

Koni and Geoffrey Rich

Karen Sulzberger and Eric Lax

Bob Tuttle & Maria Hummer-Tuttle

Catherine and Grant Withers

 DIRECTORS CIRCLE

Beverly Hills Rotary Community Foundation

Dale Cochran

Bonnie and Ronald Fein

The Feintech Family Foundation

Sonia and Robert Freedman

Helene and Louis Galen Family Foundation

Kiki and David Gindler

Debra Holstein

Ronnie and Barbara Kahn

David Lee Foundation

Anu Leemann

Karen and Walter Loewenstern

Virginia and Francis S. Maas

Michal Amir Salkin and Kenneth H. Salkin

Ronald and Carole Sasiela

Moshe and Helen Sassover

The Selwyn/Wyatt Families

The Younes & Soraya

Nazarian Family Foundation

 AMBASSADORS

Laura and Harvey Alpert

Judith and Thomas Beckmen

Martha and Barry Berkett

Robert and Elissa Bregman

Consulate General of Israel

Eunice David

Mrs. Diane Deshong

Honorable Donna Ellman Garber

Mimi Alpert Feldman

Judy O. and Robert T. Flesh

Friars Charitable Foundation

Anita Dann Friedman

Benita and Bert Ginsberg

Lou and Kelly Gonda

Vera and Paul Guerin

Bucky Hazan & Eva Aaronson

Dr. Ariella D. Herman

Susan Howard

Mark and Freya Ivener

Jewish Community Foundation

Laurie and Lyn Konheim

Ronald and Stephanie Kramer

Pamela and Bob Krupka

Tamara and David Lachoff

Deborah Laub and Eddie Israel

Lawry’s The Prime Rib

Barbara and Joel Marcus

Cookie Miller

Joanne Mogy

The Estate of Leah and William Molle

Ann Mulally

Lawrence Murphy

Ilene and Jeff Nathan

Suzanne Papaian

Pasadena Showcase House for the Arts

Jane Rascoff

Ron Rosen and Judi Lawenda

Barbara Ruben

Thomas Safran

Marc Selwyn Fine Arts

Joan and Paul Selwyn

In memory of Gail Silver

Lisa Sockolov

Melissa Rosenberg and Lev L. Spiro

Elaine and Ronald Stein

I.H. Sutnick

Elizabeth Topkis

Andrea Van de Kamp

Rayni Williams

Marc Zachary



ENTHUSIAST

Robert and Jeanie Anderson

Caherine Glynn Benkaim

David Brecher

Robert and Elissa Bregman

Judy Briskin

Barbara Bruser

Linda Burrow

Rosette Varda Delug

Laura Donnelly

Patricia Feldman

Diane Futterman

Howard Gleicher

Richard and Harriet Gold

Dr. Phillip Green and Dr. Neerad Varshney

Marty and Eden Halfon

Carolyn and Bernard Hamilton

Lynn and Bruce Heymont

Steven Jones

Deborah Bach Kallick

Sally Karbelnig

Patricia Keating and Bruce Hayes

Elodie Keene and Bruce Fortune

Joanne C. Kozberg

Stewart and Grace Krakover

Susan and George Krouse

Renee Kumetz

Pearle Rae & Mark Levey

Anita Lorber

Cornelius and Andrea Littlejohn

Marlene Louchheim

Manatt Phelps & Phillips LLP

Jeannette Mandelbaum

The Marks Family Foundation

Jeanne and Leonard Marks

Frank and Virginia Maas

Cynthia McGranahan and Lyle Dawn

Charles and Dori Mostov

Mahnaz and David Newman

Phylis Nicolayevsky

Lee Ramer

Herbert and Felice Reston

Dan Ricketts

Brandi Roth and Bruce Clemens

Ann Sunshine

Joel Wachs

Janice and Daniel Wallace

Les Weinstein

Richard and Patricia Wilson

Keenan Wolens

Hailey Yoo

Victoria Zalben

Walter Zifkin

* = IN MEMORIAM

 = MULTI-YEAR COMMITMENT

WALLIS IS THE PROUD RECIPIENT OF GENEROUS SUPPORT AND RECOGNITION FROM

SENIOR LEADERSHIP TEAM

Robert van Leer

EXECUTIVE DIRECTOR & CEO

Kurt J. Swanson

ACTING CHIEF OPERATING OFFICER

Christine Bernardi Weil DIRECTOR OF DEVELOPMENT

Joel Hile DIRECTOR OF MARKETING & COMMUNICATIONS

Erin Mahan DIRECTOR OF HUMAN RESOURCES

Coy Middlebrook

ACTING CHIEF ARTISTIC OFFICER

Manuel Prieto

DIRECTOR OF EDUCATION

Edward L. Rada

INTERIM CHIEF FINANCIAL OFFICER

Christopher Reardon

DIRECTOR OF PRODUCTION

David Truly

DIRECTOR OF SPECIAL PROJECTS

Michelle Wiesel

GENERAL MANAGER

ARTISTIC

Camille Jenkins

PROGRAMMING MANAGER

Meghan Ripchik

ARTISTIC COORDINATOR

DEVELOPMENT

Peter Indall

DIRECTOR OF INDIVIDUAL GIVING

Summer Grubaugh

DONOR EVENTS MANAGER

Loren Hayes

INSTITUTIONAL GIVING COORDINATOR

Debra Steckler

DEVELOPMENT COORDINATOR

Lisa Cowell Shams

SPECIAL ADVISOR TO THE COMPREHENSIVE CAMPAIGN

EDUCATION / GROW @ THE WALLIS

Debra Pasquerette DIRECTOR OF CREATIVE AGING PROGRAMS

Rachel Kilroy

EDUCATION PROGRAM MANAGER

Pat Taylor

EDUCATION PROGRAMS COORDINATOR

Victoria Kemsley

CREATIVE AGING TEACHING ARTIST

Will Nedved

CREATIVE AGING TEACHING ARTIST

Dan Oliverio

CREATIVE AGING TEACHING ARTIST

Michelle Rearick

GRAUMAN FELLOWSHIP ADVISOR

Annalise Englert

EDUCATION ASSISTANT

MARKETING

Chandra Jackson

ASSOCIATE DIRECTOR OF MARKETING & COMMUNICATIONS

Hannah Burnett

DIGITAL MARKETING MANAGER

Libby Huebner

Laura Stegman

PUBLIC RELATIONS CONSULTANTS

Studio Fuse GRAPHIC DESIGN CONSULTANTS

PRODUCTION

Samantha Else

PRODUCTION MANAGER

Lauren Wemischner* LIGHTING SUPERVISOR

Sean Kozma*

AUDIO VIDEO SUPERVISOR

Joshua Shelden*

ASSISTANT TECHNICAL DIRECTOR

Joseph Skowronski*

LIGHTING COORDINATOR

Jose Miguel Cortes*

AUDIO VIDEO COORDINATOR

Joyce Maddox

PRODUCTION ADMINISTRATOR

Bryant Heatherly

PRODUCTION COORDINATOR

FINANCE & ADMINISTRATION

Vanessa Mejia

PAYROLL & ACCOUNTS

PAYABLE MANAGER

Emily Bisno

EXECUTIVE ASSISTANT TO THE EXECUTIVE DIRECTOR & CEO

FACILITIES

Roland Henriquez

FACILITIES MANAGER

TICKET SERVICES

Jacob Houser

ASSISTANT TICKET SERVICES MANAGER

Tori Long

TICKET OPERATIONS SPECIALIST

Eric Latham

Bradley Roa

SENIOR TICKET SERVICES ASSOCIATES

FRONT OF HOUSE

Bryan Puckett

AUDIENCE SERVICES MANAGER

Nick Johnson

Piatrice Shekerjian

HOUSE MANAGERS

Laura Long

Ann McDowell

Timm Carney

GRAND HALL GREETERS

USHERS

Ruby Arreguin

Diana Borja

Annabel Chick

Jacqui Creekmore

Judith Halle

Ruby Layne

Adam Linde

Itzhak Matos

Rachael Neinast

Charlie Pinel

James Poulin

Liv Robertson

WARNING: The photographic or sound recording of any performance or the possession of any device for such photographic or sound recording inside the theater, without the written permission of the management, is prohibited by law. Violators may be punishable by ejection and violations may render the offender liable for money damages.

The City of Beverly Hills collects both waste refuse and recyclables in the same container.

* The noted staff employed by The Wallis are members of the IATSE union.

MODERNISM REIMAGINED

Inspired by midcentury-modern masters, Marmol Radziner updates its concepts for 21st-century lifestyles.

/ by roger grody /

FROM ITS MODEST inception in 1989, the firm Marmol Radziner has become nationally influential, offering architecture, landscape design and interiors from its Los Angeles headquarters. When it was unable to find contractors to execute its challenging detailoriented designs, Marmol Radziner became a design-build firm; in the spirit of the Bauhaus movement, it operates wood and metal workshops

to handcraft its own architectural elements and furnishings as well as architecturally inspired jewelry.

Marmol Radziner is best known for its portfolio of single-family residences. Though its founders share a passion for midcentury modernism—their restoration of landmarks such as Richard Neutra’s Kaufmann House in Palm Springs earned them early acclaim—the firm brings its own modern signature to its projects.

“We believe there hasn’t been a more interesting city in the world in which to design residential architecture than L.A., from 1900 to the present, in a forward-thinking, experimental way,“ says cofounder/ design partner Ron Radziner.

“We feel lucky to be practicing here,“ he adds, “where a lot of creative, open-minded clients are willing to push the boundaries of what architecture can be.“

In Mandeville Canyon, clockwise from left: modernity harmonizes with nature; stairway as sculpture; sleeping amid the sycamores; kitchen with a view.

Bond Furs

and our world is very different than when Richard Neutra was practicing.

“We’re truly modernists at heart, which means we’re interested in detail, quality and the execution of that detail,“ he continues, noting that the firm is committed to a holistic process. “Modernism is about relationships— between indoor and outdoor spaces, as well as human relationships within the home and beyond. We really commit ourselves to that modern thinking about beauty,

function and efficiency.“

For Radziner’s own home in Mandeville Canyon, a rich palette of metal and brick was applied to a sleek structure that beautifully coexists with the natural environment despite its unabashed modernism.

“This design was very much about working around the incredible sycamore trees native to the site, and to emphasize exterior views, with your eyes drawn to the landscape beyond,“ Radziner says. The project is consistent with the site-centric design philosophy expressed in the firm’s book, SITE: Marmol Radziner in

the Landscape

In the Trousdale Estates neighborhood of Beverly Hills, the firm is not only restoring authentic midcentury-modern residences but also designing new luxury homes true to that heritage while addressing contemporary lifestyles.

A single-story residence on a terraced Trousdale

lot features a 40-foot wall of sliding glass and an emphasis on natural materials that promote indoor-outdoor living, echoing principles first expressed by the likes of Neutra and Schindler.

Demonstrating the firm’s versatility, Marmol Radziner was tapped to design Beaudry, a luxury residential tower soaring 600 feet above downtown L.A. to which the firm brought its signature brand of modernism.

“We were able to integrate interior spaces and exterior gardens with views of L.A. and beyond,“ Marmol says, “concepts we brought to this multifamily environment from the single-family world.“

Marmol Radziner’s multidisciplinary, collaborative approach is sometimes at odds with the tendency of the architecture field to celebrate individual visionaries.

But, Leo Marmol is quick to point out, “We practice a team sport.“

Modernist tradition in Trousdale Estates

TRAVEL

The Greener Side

Kauai’s lush North Shore is a beacon for the eco-aware.

/ by BENJAMIN EPSTEIN /

Visitors to Kauai arrive on the island’s sunnier South Shore, and most of those seeking a beach vacation stay nearby. But many head to the lush, more mountainous North Shore, inspiring in an altogether different way. The North Shore is best known for its Na Pali Coast, 17 miles of verdant cliffs and waterfalls; it has beautiful beaches, too, notably Hanalei Bay, Kauai’s most photographed. The crescent-shaped bay provides the coveted view from the just-opened ultra-luxe 1 Hotel Hanalei Bay; more on that follows.

Cliffside at the Cliffs

But the draw for many North Shore visitors goes beyond stunning vistas, beaches and hotels.

Kauai’s conscientiousness sets it apart from the other Hawaiian Islands to begin with, but the North Shore in particular is its nexus for balancing agriculture and visitor dependance, regenerative tourism and self-sufficiency.

There may be no better example than Common Ground Kauai, just east of Princeville in Kilauea.

Common Ground offers weekly tours of its “regenerative tropical agri-forest”; a gourmet

shop devoted solely to locally grown or foraged “real-ingredient” products; a gallery and artist-inresidence program; art, music and food events;

and retreats for dining and agriculture innovators from all over the world.

Its ethos: 100% local.

“I’m not talking about ‘greenwashing,’ ” says food

innovation director Adam Watten. “Many metropolitan restaurants say they’re local even if local is a very small percentage of what’s on the plate— it’s almost passe to say you’re local now. Every ingredient at our popups is local, right down to the salt, spice and sugar.

“This is the opposite of barge economy, where everything gets shipped in,” Watten says, noting that Kauai is the most remote of the Hawaiian Islands, itself a remote archipelago. “On a given day, we have two to three days’ supply of anything. That system is not built for resiliency if disrupted. We need to create that resiliency.”

Nearby Hanalei Spirits is entirely local, too. The family-owned and -operated distillery grows virtually all its produce and ingredients on its own property; what it doesn't

Sustainability standout The Cliffs at Princeville

SPRING @ THE WALLIS

APR 9

SUNDAY FUNDAY

Mostly Kosher, Dance Sunday with Debbie Allen Dance Academy: Salsa

APR 13-16

Hershey Felder as George Gershwin Alone

APR 22-23

Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume

APR 27

Ulysses Owens, Jr. & J’nai Bridges: Notes On Hope

MAY 4

Stephanie J. Block with Seth Rudetsky HOST & PIANIST

MAY 6

LOS ANGELES CHAMBER ORCHESTRA Masterworks For String Orchestra

MAY 12 - 13

Blue13 Dance Company

MAY 14

SUNDAY FUNDAY

Mostly Kosher, Dance Sunday with Debbie Allen Dance Academy: Vogue

MAY 20

Miró Quartet & Special Guest Kevin Puts

MAY 25

SINGLE TICKETS NOW ON SALE!

Jeffrey Kahane, Piano: Goldberg Variations

2022/2023 SEASON

GET YOUR TICKETS! TheWallis.org

HERSHEY FELDER AS GEORGE GERSHWIN ALONE

ACOUSTIC ROOSTER’S BARNYARD BOOGIE: STARRING INDIGO BLUME

LACO CONCERTMASTER AND DIRECTOR OF CHAMBER MUSIC MARGARET BATJER

MUSIC THE WALLIS IS THE PROUD RECIPIENT OF GENEROUS SUPPORT AND RECOGNITION FROM:

BLUE13 DANCE COMPANY

grow is from other Kauai farms. Its water for distilling, among the world’s purest, comes from Mount Waialeale, one of the rainiest spots on earth.

The line’s portfolio includes taro and breadfruit vodkas, aged ti-root okolehao, passion fruit “lilikoicello” and sugarloafpineapple rum.

Discover what really qualifies as local at 1,000acre Limahuli Garden and Preserve, a Garden of Eden west of Princeville within Haena State Park. Limahuli houses countless biological as well as cultural treasures.

Nearly all of Limahuli’s native plants are endangered. About 50 of its plants and birds are on the verge of extinction. One of Hawaii's most pristine streams runs below towering Makana mountain.

Princeville is home base for most visitors.

In terms of sustainability and renewable energy, one property has long stood out. Forbes describes

Collection of Picasso Madoura Pottery

Opposite: Limahuli Garden and Preserve

the Cliffs at Princeville as “an impeccable resort … a truly forward-looking property on Hawaii’s most ambitious island in terms of its renewable energy goal.” Offering 200-plus owned or timeshare condominiums, and rental

apartments starting at $3,500 per week, it's been recognized as Kauai’s greenest resort and ranks No. 1 among thousands of timeshare properties in North America.

The property offers palapas, pickleball and

pairs of wandering nenes, Hawaiian geese; Tesla rentals are new. “Guests take a glass of wine down to the Adirondack chairs or hammock along the cliff’s edge and enjoy the 270-degree open-ocean panorama,” says general manager Jim Braman. Through spring, they spot humpback whales.

Suites include a full kitchen, two baths, two lanais, washing machine and dryer—plus Tommy Bahamas beach chairs and an ice chest for those outings to Hanalei Bay.

Overlooking that bay—on a location Condé Naste Traveler describes as “one of the prettiest

on the planet”—the former St. Regis Princeville underwent a $300 million renovation over five years and in February emerged as 1 Hotel Hanalei Bay.

There are 252 rooms and suites. Rooms start at $1,500, and one-bedroom suites at $3,500, per night; some have a lanai. More elaborate configurations can run several times that.

The property, starting with the open-air lobby, is by all accounts jaw-dropping. The website introduces extraordinary spa and fitness centers and three restaurants as well as sustainability and green goals: how many tons already saved in building

Los Angeles Jewish Health is Energizing Senior Life!

The evolution of our name from the Los Angeles Jewish Home to Los Angeles Jewish Health reflects the full spectrum of our comprehensive, awardwinning programs and services. Los Angeles Jewish Health has grown from a group of caring neighbors providing shelter, to a leading non-profit senior care organization.

Our mission remains the same: to deliver excellence in senior care for all, rooted in Jewish values. With more than 100 years of trusted care, we meet you where you are in life to provide a customized experience that’s right for you.

Lobby at 1 Hotel Hanalei Bay.

materials and greenhouse gas emissions, its coming LEED certification and goal of 100% carbon neutrality. The first-come, first-served house car is an electric Audi e-tron.

Both resorts share proximity to charming Hanalei and its restaurants.

Tapas at Bar Acuda— get it, barracuda?—might feature North Shore honeycomb or locally caught fish. Postcards Café offers dishes such as marlin ceviche and both “vintage” and “tropical” mai tais; historical photographs add to the experience. Toasts at Hanalei Bread Company—e.g., avocado toast, olive toast, smokedsalmon “fancy toast”— eclipse such breakfasts or lunches elsewhere.

To put all of the island in perspective—and to fully appreciate how literally green it is—consider a tour with Blue Hawaiian Helicopters. Its Eco-Stars may not be EVs but are dramatically quieter and more fuel-efficient than most commercial copters.

Tour highlights include unparalleled vantages of the Na Pali Coast; the interior’s farmlands and otherwise inaccessible waterfalls; and Waimea Valley, Kauai’s own Grand Canyon and site of Manawaiopuna Falls, backdrop for the film Jurassic Park

Celebrating California Institute of the Arts’ 50th Anniversary

For 50 years, California Institute of the Arts has been a place where creative individuals come together to experiment, practice, teach, and learn as a community of artists. Their impact and influence have transformed the cultural landscape of Los Angeles and beyond.

As we celebrate this milestone anniversary, we look to our artists to challenge what has come before and show us what could be for generations to come.

Top right: Chris Ryan Williams’ (Performer-Composer MFA 18) recital Mehahn, a performative installation curated by the composer and featuring Film/Video, Dance, and Music students.

Bottom right: Spring Dance Concert, with original work by faculty Julie Bour. Photo: Josh Rose.

At left: From a CalArts School of Art practicum course titled Waste Not

FEATURE

/CONTINUED FROM PAGE 14

entrenched as the expert that he was asked to write a book on the subject: Musical Theatre for Dummies was published last month.

“I love working on Broadway, and one of my favorite things is going out to eat after the show, where we all sit around and tell hilarious stories about, like, bad auditions and wigs falling off on stage. That’s just part of theater life,” says Rudetsky, who acted in a 2007 Broadway revival of the play The Ritz and co-wrote and starred in the off-Broadway musical Disaster!. “I love it so much. I want to share it with people who don’t get that opportunity.

“And I really like showing the public what celebrities are like,” he continues. “People like Audra McDonald and Chita play dramatic roles, and people don’t know how funny they are, and humble, in real life. When you hear somebody in conversation with someone that they’re friends with, you get to really know what the person is like. I only work with celebrities I think are funny and nice.”

It’s not all fun and games, though. Rudetsky has a strong sense of activism, frequently combining his entertain-

Anne Marie Ketchum Artistic Director

PeRlas Gómez Baritone

tivens-schneideRman Soprano todd WilandeR Tenor

Ann Madden Accompanist

ment with social justice causes. He and Wesley, a writer, producer and singer, have produced several concerts around the country to benefit such causes as immigration law and LGBTQ+ equality; livestreamed an 11-hour telethon to benefit those affected by the war in Ukraine; and make it a point to visit animal shelters at the various stops on their cruises— they adopted a dog while in Puerto Rico.

“I brought a book about social justice to our very first date,” Wesley recalls. “I shamelessly put it face up on the table to gauge his reaction. He loved it. And we’ve been talking about social and environmental justice ever since—16 years later!

“Seth has been a hero in the Broadway community long before I met him, in this combination of justice and art,” Wesley says. “We work alongside some of the greatest talents in the world to try and make people feel a little less alone and raise money for good causes along the way. It doesn’t get much better than that.”

Rudetsky himself, like his favorite stars, remains humble, noting how grateful he is that people donate to Stars in the House and the couple’s other projects.

In a word?

Ah-mahh-zing.

conductor TAI MURRAY violin

reprogrammed !

Performances Magazine unveils a digital program platform for shows and concerts

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NO RUSTLING PAGES, no killing trees . . . Of all the innovations to have come out of the pandemic, the new Performances program platform, accessed on any digital device, may be least likely to disappear in the foreseeable future. Not only had its time come—it had been long overdue.

Performances provides the programs for 20 SoCal performingarts organizations, from the Los Angeles Philharmonic and the Ahmanson to San Diego Opera, where the app made its debut.

The touchless platform provides cast and player bios, donor and season updates and arts-centric features. Audiences receive a link and code word that instantly activate the app; QR codes are posted, too.

Screens go dark when curtains rise and return with the house lights. Updates—repertory changes, understudy substitutions, significant donations—can be made right up to showtime, no inserts necessary.

Other features include video and audio streams, translations and expanded biographies.

For those who consider printed programs keepsakes, a limited number, as well as commemorative issues for special events, continue to be produced. Collectibles!

Meanwhile, there is less deforestation, consumption of petroleum inks and programs headed for landfills. For the ecologically minded, the platform gets a standing ovation.

Theaters and concert halls reopened after a long intermission. Stages are live, the excitement is back. Activate your link and enjoy the shows. —CALEB WACHS

REGISTER Stay arts-engaged, access past programs.

THE ESSENTIALS Acts, scenes, synopses, repertory and notes.

Donors and sponsors who make it all possible—you!

THE PLAYERS Bios and background for cast, crew and creators.

DROP DOWN MENU Table of app contents.

JOYS OF SPRING

Sun Apr 2 | 7pm

A Whole New World of Alan Menken

An Evening of Stories and Songs

Thu Apr 6 | 8pm

Conrad Tao Plays Rachmaninoff

Sat Apr 15 | 8pm

WAR

50th Anniversary Concert

Sat Apr 22 | 8pm

Sun Apr 23 | 3pm

Lea Salonga

Sat Apr 29 | 8pm

“Invocations”

Composed and Performed by Serj Tankian with CSUN Symphony Orchestra

Lea Salonga Alan Menken

WAR

Conrad Tao

Serj Tankian