Performances Magazine -- The Wallis -- November 2018

The Wallis NOVEMBE

Photo by Paul Stewart

R 2018

PL US : Alonzo King LIN

Alisa Weilerstein , Cello Complete Bach C ello Suites

ES Ballet: Sutra, Shadow Play, Kin dertransport, The Bitter Game

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⁄⁄⁄⁄ NOVEMBER 2018

CONTENTS 16 ARTS FOR ALL

The L.A. County Arts Commission is a champion for creative thinking and access to the arts.

20 INTIMATE INSIGHTS

Performing-arts podcasts bring fresh perspectives to listeners via phones, iPads and computers.

24 YO, YOLA!

The L.A. Philharmonic’s Youth Orchestra Los Angeles has helped careers and confidence blossom.

P1 PROGRAM

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

6 IN THE WINGS Choreographer Merce Cunningham exhibition at L.A. County Museum of Art; Love Actually Live at the Wallis.

Mega-musical King Kong on Broadway; Hadestown jazz-folk retelling of Greek myth in London.

62 SHOPPING Greats offers luxury sneakers at accessible prices on Abbot Kinney Boulevard in Venice Beach.

70 HOME

82 WINE

The merchandise at Müsh on Silver Lake Boulevard ranges from furniture to jewelry.

Looking for a sipping red for happy hour? Consider Rioja crianza, the go-to red wine in tapas bars in Spain.

76 DINING

88 BACK PAGE

Inviting Spanish tapas bar and dining room Otoño opens in a 1928 building in Highland Park.

Hollyhock House, Barnsdall Art Park.

COURTESY GREATS

12 DATELINE

62

2 PERFORMANCES MAGAZINE

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“First Republic shares our passion for innovation and world-class performance.”

ANDREA MILLER

Founder, Artistic Director and Choreographer, Gallim Dance 2017-2018 Artist in Residence, The Metropolitan Museum of Art

(855) 886-4824 | firstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER

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Published by Southern California Media Group

Publisher Jeff Levy Editor Benjamin Epstein Art Director Carol Wakano Production Manager Glenda Mendez Production Artist Diana Gonzalez Contributing Designer Heidi Schwindt Advertising Director Lyle Laver

Photo by Chris Lee

Strauss Symphony of America Waltzes, Polkas & Operetta Hits European Singers, Ballroom Dancers & Ballet

Sunday, December 30, 2018 at 2:30 pm THE MUSIC CENTER’S

WALT DISNEY CONCERT HALL 323.850.2000 • musiccenter.org salutetovienna.com/los-angeles

Save 10%* with code BALLET Produced by:

Account Managers Kerry Brewer, Tim Egan, Joel Gilliam, Brooke Knetzger, Walter Lewis, Jessica Levin Poff, Christine Penning, Heather Price Marketing Manager Dawn Kiko Cheng Contributing Writers Sarah Daoust, Joseph Elliott, Priscilla Goslett, Roger Grody, Joseph LeMoyne, Francis Lewis, Zoe Lorenzo, Libby Slate Digital Editor William Yelles Business Manager Leanne Killian Riggar Administration Stephanie Busto, Jennifer Salas Honorary President Ted Levy For information about advertising and rates, contact Southern California Media Group.

3679 Motor Ave., Suite 300 Los Angeles, CA 90034 Phone: 310.280.2880 Fax: 310.280.2890 Visit Performances Magazine online

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Performances Magazine is published monthly by Southern California Media Group to serve theatrical attractions throughout the West.

All rights reserved. ©2018 Southern California Media Group

*Not valid on previously purchased tickets, while supply lasts.

4 PERFORMANCES MAGAZINE

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For You r C on s i d er a t i on

“A CROWNING ACHIEVEMENT: A ROYAL PERIOD PIECE LED BY THE MAJESTIC TRIUMVIRATE OF OLIVIA COLMAN, EMMA STONE , AND RACHEL WEISZ.” Michael Nordine,

“MAGNI FICENT! ONE OF THE BEST FILMS OF THE YEAR.” Lynn Hirschberg,

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EVENTS ⁄⁄⁄⁄ EXHIBITS ⁄⁄⁄⁄ PERFORMANCES

INTHEWINGS

FEATURING MUSICAL ARRANGEMENTS by Erick Lichte and Timothy C. Takach, Peter Rothstein’s All Is Calm: The Christmas Truce of 1914 recounts an astounding moment in history when Allied and German soldiers laid down their arms to celebrate Christmas together, sharing food and drink, playing soccer, singing carols and burying each other’s dead. In some places along the Western Front, the truce lasted a single night, and in others it endured until New Year’s Day. This dramatic retelling, Dec. 22 at 4 and 7:30 p.m. at the Broad Stage, weaves together firsthand accounts by 30 World War I soldiers with music, including patriotic tunes, trench songs and Christmas carols. Director Perviz Sawoski leads a Spotlight Talk at 3:15 p.m. 1310 11th St., Santa Monica, 310.434.3200, thebroadstage.org

COURTESY THE BROAD STAGE

Peter Rothstein’s All Is Calm: The Christmas Truce of 1914 at the Broad Stage.

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FOLLOWING THE sold-out engageTHEATER ment of Love Actually Live in the venue’s Sorting Room last December, the Wallis and For the Record present an expanded, multimedia theatrical celebration of the soundtrack to the film Love Actually Dec. 4-31 in the Bram Goldsmith Theater.

The rom-com is brought to life through Christmas and pop hits

by Mariah Carey, Kelly Clarkson, the Beach Boys, Joni Mitchell and others performed by a mix of artists from music, stage and

THE WALLIS, ROB L ATOUR

Merce Cunningham’s RainForest (1968) used Andy Warhol’s Silver Clouds (1966)

screen. Also at the Wallis: The Bitter Game, written and performed by Keith A. Wallace, presented outdoors on the performing-arts center’s promenade terrace Nov. 14-17. It tells the story of Jamel Smith to explore the experience of being black in America; Smith witnesses an act of violence as a child and later must learn to navigate his interactions with police. Five acts are structured as the four quarters and overtime of a basketball game. 9390 N. Santa Monica Blvd., Beverly Hills, 310.746.4000, thewallis.org

Love Actually Live at the Wallis

DURING HIS PROLIFIC 60-year career, choreograEXHIBITION pher Merce Cunningham (1919-2009) revolutionized dance by challenging every aspect of the form. One idea: that all elements of a dance—movement, music, costumes and decor—could be created independently, coming together only during the performance. He and his life partner, composer John Cage, explored this notion through cross-disciplinary collaborations with dozens of artists. Merce Cunningham, Clouds and Screens at Los Angeles County Museum of Art presents immersive installations by Charles Atlas and Andy Warhol, as well as video projections of early dances by Cunningham— Changeling and Night Wandering—with principal dancer Carolyn Brown. L.A.based dancer and choreographer Jennie MaryTai Liu will present a commissioned project responding to this exhibition in February. 5905 Wilshire Blvd., L.A., 323.857.6000, lacma.org PERFORMANCES MAGAZINE 7

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EVENTS ⁄⁄⁄⁄ EXHIBITS ⁄⁄⁄⁄ PERFORMANCES

Refik Anadol Studio rendering of WDCH Dreams in the Ira Gershwin Gallery

data universe—for a unique one-onone encounter. The space is reimagined as a mirrored U-shaped room with two-channel projection; visuals

The Lord Enthroned (Franco-Flemish ca. 1265)

projected onto the mirrored surface result in an immersive, 360-degree experience. 111 S. Grand Ave., downtown, 323.850.2000, laphil.com

THE WRITTEN word was an ART art form in the pre-modern world. Calligraphers filled manuscripts with scrolling vines and delicate flourishes, and illuminators depicted captivating narratives within large letter forms. The alphabetic adornments in Artful Words: Calligraphy in Illuminated Manuscripts, Dec. 18-April 7 at the Getty Center, enliven the content of a range of manuscripts— including sacred scripture, romance literature, and histories—produced from

England to Ethiopia over nearly 1,000 years. Also at the Getty, opening Dec. 4: Monumentality. As a concept, monumentality suggests greatness, power and gravity that demand public recognition. Yet, as markers of history and repositories of collective memory, monuments can project multiple and sometimes contradictory meanings. They might outlast their purpose, be destroyed or simply be forgotten. This exhibition investigates its paradigms. 1200 Getty Center Drive, L.A., 310.440.7300, getty.edu

J. PAUL GET T Y MUSEUM, LOS ANGELES

MARKING ITS 100th anniversary, EXHIBIT the Los Angeles Philharmonic collaborated with media artist Refik Anadol to celebrate its history and explore its future. Anadol and his team developed an algorithmic machineintelligence approach to the L.A. Phil’s digital archives—45 terabytes of data. Their WDCH Dreams includes a season-long immersive and interactive exhibition in the Walt Disney Concert Hall’s Ira Gershwin Gallery. The exhibition presents the entire digital archives in a nonlinear fashion. Visitors using a touchscreen interact with the archives—via a sunburst timeline, through curated moments highlighting milestones of L.A. Phil history and by manipulating its

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P

of

“There is a massive power in this that can embrace the world. It brings great hope…It is truly

A TOUCH

HEAVEN.”

—Daniel Herman, former Minister of Culture of the Czech Republic

“I felt like I was in heaven.

If people watch this production, their inner souls will be purified. This really is a performance for the very fortunate.”

—Choi Yun Xi, Korean President Award-winning dance artist

“Shen Yun brings out the most heavenly experience.

I feel like my troubles just walked away, it's a spiritual, peaceful and absorbing experience.”

—Steve R. Kates, TV host

“A must-see!”

—Broadway World

Where Art Connects Heaven & Earth

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EVENTS ⁄⁄⁄⁄ EXHIBITS ⁄⁄⁄⁄ PERFORMANCES

INTERNATIONALLY DANCE renowned ballet dancer Brooklyn Mack guest stars in Los Angeles Youth Ballet’s The Nutcracker; four performances of the production by choreographer Andrea Paris-Gutierrez cap the holiday season Dec. 21-23 at Glendale’s Alex Theatre. Kirov Academy-trained and a former principal dancer with the Washington Ballet, Mack appears as the Sugar Plum Fairy’s Cavalier. Noting that Mack is the first AfricanAmerican man to win

gold at the International Ballet Competition in Varna, Bulgaria, National Public Radio cites his “explosive leaps, incredible precision … and onstage charisma.” The role of the Nutcracker is performed by 14-year-old Darrion Sellman, who moved to Los Angeles from Virginia specifically to train with Paris-Gutierrez and the company. Sophia Monroy, 15, and Ellie Wein, 14, alternate as Clara; Malcolm McLaurin Takumi, 11, and Marcel Ramirez, 12, alternate as Clara’s brother.

216 N. Brand Blvd., Glendale, 818.243.2539, alextheatre.org

Brooklyn Mack appears in Los Angeles Youth Ballet’s The Nutcracker

LACC, JAMIE PHAM. MACK COURTESY BROOKLYN MACK

Los Angeles Children’s Chorus

THE THIRD ARTISTIC DIRECTOR to lead Los Angeles Children’s CHORAL Chorus since its inception in 1986, Fernando Malvar-Ruiz ushers in a new chapter for the Pasadena-based organization with goals including the expansion of its artistic and physical reach, a reimagining of its concert presentations and a significant increase in the diversity of its members—400 singers, ages 6 to 18, from 50 Southern California communities. The chorus’ first SATB (soprano, alto, tenor, bass) ensemble has already been launched. The LACC season begins downtown with L.A. Opera’s Hansel and Gretel Nov. 17-Dec. 5 at Dorothy Chandler Pavilion and concerts Dec. 9 and 16 in Walt Disney Concert Hall; it continues with vocalist Meredith Monk in the West Coast premiere of her Cellular Songs March 2 at UCLA Royce Hall. 626.793.4231, lachildrenschorus.org

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⁄⁄⁄⁄ SHOWS ELSEWHERE

DATELINE

IT’S A BIG MONTH on Broadway, where nothing is bigger than King Kong, the mega-musical at the Broadway Theatre. Standing 20 feet tall and weighing in at NEW YORK 2,000 pounds, Kong, the onstage animatronic puppet and marionette with the expressive face and impressive moves, is hands down Broadway’s most colossal leading man. Coming a human-scale second is Tony and Olivier award winner Bryan Cranston, who is mad as hell as newsman Howard Beale in the stage adaptation of the 1976 movie Network. Cranston roars at the Belasco Theatre beginning Nov. 10. A supernova like Cher is so big that it takes three actresses to portray the one-and-only pop icon in The Cher Show. The greatest-hits bio-musical turns back time at the Neil Simon Theatre, opening Dec. 3.

JAMES MORGAN

Animatronic King Kong at the Broadway Theatre.

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⁄⁄⁄⁄ SHOWS ELSEWHERE

DAZZLING WITH ITS mix of New Orleans jazz and contemporary American folk music, the musical Hadestown opens Nov. 2 at the National Theatre. Hadestown is a retelling of the Greek myth of Orpheus and Eurydice, in which Orpheus travels to the underworld to retrieve his beloved Eurydice. Also at the National: David Hare’s I’m Not Running.

In it, a doctor who leads a public health campaign has a tricky

David Hare’s I’m Not Running at the National Theatre

encounter with her former boyfriend, who is involved with Labour Party loyalists. Tennessee Williams’ 1948 play Summer and Smoke opens Nov. 10 at the Duke of York’s Theatre in the West End; destructive love is at the heart of it. The Jacksons and their middleclass neighbors are put to the test when detectives try to foil a Soviet spy ring in the area in Pack of Lies, through Nov. 17 at the Menier Chocolate Factory.

Angelina Vorontsova and Ivan Vasiliev in Don Quixote

COLORFUL, VIBRANT, virtuosic and comical THE WEST are among the apt descriptions for the ballet Don Quixote, but none conveys the sense of joy that it arouses in audiences. St. Petersburg’s Mikhailovsky Ballet and Orchestra returns to the Segerstrom Center for the Arts in Costa Mesa with its dazzling production of the work in four performances Nov. 9-11. Inspired by Miguel de Cervantes’ tale of romance and chivalry, it tells of the knight-errant of La Mancha and his squire, Sancho Panza, who come to the aid of a village maiden and her charming love, a besotted barber, danced at most of the shows by company principal Ivan Vasiliev. The score is by Ludwig Minkus, libretto by Marius Petipa and choreography by Petipa and Alexander Gorsky. If you missed its recent run in Los Angeles, the musical Waitress follows at the Segerstrom Center Nov. 13-25.

LONDON, MARC DOUET. THE WEST, JACK DEVANT

LONDON

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ARTS FOR ALL THE LOS ANGELES COUNTY ARTS COMMISSION IS A CHAMPION FOR CREATIVE THINKING AND ACCESS TO THE ARTS by LIBBY SLATE

O

NE DAY IN THE FUTURE, WHEN SOME OF Los Angeles County’s homelessness problem has been resolved, or there are fewer traffic fatalities, we may partly have Los Angeles County Arts Commission partnerships to thank.

Numerous entities work to tackle those and other pressing issues, of course. But the Arts Commission— whose logo is a familiar sight in performing-arts programs for its grants to arts organizations—has become much more than a supporter of local music programs, its original purpose when it was established in 1947.

In April, for instance, the commission and a county Board of Supervisors homeless initiative announced winners of the Yes to ADU design competition, in which artists, architects and others submitted concept designs for second residences on existing properties to help mitigate the homelessness crisis. (ADU stands for “accessory dwelling units,” aka “granny flats” or “in-law suites.”)

The commission’s Creative Strategist program embeds artists in county departments to utilize their visionary

thinking; one participant works with the Department of Public Health, itself partnered with the city of Los Angeles in a program to decrease the number of traffic deaths.

Arts and culture are integral parts of thriving communities, says Arts Commission executive director Kristin Sakoda. “The unique talents of artists and cultural organizations can develop, guide and amplify innovative solutions to social and civic issues. Through initiatives like the Yes to ADU design competition, we continue to explore how L.A. County’s creative sector can offer a fresh point of view on cross-sector work.”

Sakoda, a former performer in Broadway and touring musicals and in the Urban Bush Women dance company, notes that funding remains a top priority: The commission provides $9 million in two-year grants to 400 nonprofit arts organizations. Purposes Los Angeles County Arts Commission works with the region’s schools. Its summer internship program, for instance, places college students in paid arts-organization summer positions.

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Other programs include free public summer concerts and a roster of musicians who can be booked for events; the commission website also includes a link to a database of spaces that can be rented for rehearsals and exhibitions.

The Cultural Equity and Inclusion Initiative (CEII) of 2015 directs the commission to explore ways it can improve diversity in cultural organizations. In 2017, the commission released a report as well as recommendations that would help ensure all residents access to and inclusion in the arts.

Several of those recommendations have been implemented, among them the Creative Strategist artist-inresidence program; an initiative to provide arts access and learning opportunities for high school students, with an eye to arts careers; and the requirement that all organizations applying for grants include statements outlining their commitment to diversity.

“Everyone needs to think about [whether they are] serving the community in which they live,” says Tim Dang, CEII co-chair and former artistic director of East West Players.

Ninety percent of the children in the L.A. Unified School District are children of color, Dang says. “They are our future audiences. What /CONTINUED ON PAGE 86 Above: The winner of the Yes to ADU competition came from Lilliana Castro, Allen Guillen and Cheuk Nam Yu of Archeffect.

Left: The City of Angels Saxophone Quartet, listed on the Musicians Roster.

run the gamut from educational projects to marketing campaigns, from artists’ fees to community outreach; recipients represent many cultures and just about every performing and visual art imaginable.

By population, Sakoda says, “Los Angeles is the largest county in the United States, with 10 million people.

The richness in terms of the diversity of people and languages means that the arts and culture here are rich and diverse as well.”

The commission also works with the county’s schools, providing arts coaches and matching grants to districts hoping to implement or increase in-school arts programs. A summer internship program will place at least 178 college students in paid arts-organization internships next year.

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A

PERFORMING-ARTS PODCASTS BRING FRESH PERSPECTIVES TO LISTENERS. by LIBBY SLATE

T A RECENT DINNER BEFORE A PERFORMANCE of Verdi’s Rigoletto at Wolf Trap in Virginia, conductor Grant Gershon and stage director Crystal Manich had an unexpected encounter with a passionate opera fan: Supreme Court Justice Ruth Bader Ginsburg—who spent 10 minutes discussing the opera and grilling Manich about character motivation.

“It was mind-blowing. I’ve never been so star-struck in my life,” says Gershon, the resident conductor of L.A. Opera, who will conduct Philip Glass’ Satyagraha at the Dorothy Chandler Pavilion downtown through Nov. 11.

Gershon, also the Los Angeles Master Chorale’s artistic director, made that comment when he discussed the incident during the L.A. Opera podcast “Behind the Curtain.”

He also described for host Brian Lauritzen his “Mondrian-like” color-coded calendar to keep track of his frenetic schedule—green for the chorale, orange for the opera, purple for outside engagements—and the challenges of conducting Satyagraha in Sanskrit.

Don’t be upset if you missed this fun chat: You can easily access it at the opera’s website laopera.org/news/Podcast-List/ or on various podcast apps.

In addition to offerings such as “West of Broadway” and “L.A. Theatre Bites,” podcasts showcasing upcoming performances and personalities are now popping up all over performing-arts company websites.

The term “podcast” combines “broadcast” and “iPod,” the Apple device on which most people originally listened to the programs; they are now available on computers, tablets and smartphones.

Podcasts differ from radio in that programs are not aired live, but rather are edited and then made available for streaming. There’s no set airtime to fill; podcasts can run any length, with many ranging from 20 to 40 minutes long.

“It’s a little more relaxing,” says L.A. Opera podcast producer Stacy C. Brightman, the opera’s vice presiTwo people and a microphone is all that’s needed to make podcasts, now popping up all over performing-arts company websites. Listening requires a smartphone, tablet or computer.

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dent, education and community engagement. “You’re letting the conversation unfold, getting a sense of the personalities. It feels like they’re sitting at the table with a cup of coffee. It’s interesting and entertaining.”

Brightman releases a podcast every two weeks.

She uses the term broadly: In addition to the newly recorded “Behind the Curtain” interviews, there are archived pre-performance talks by music director James Conlon as well as salon conversations and assorted other treats from the opera vault. New conversations are often recorded at the opera’s office but can take place elsewhere as well.

The talks, Brightman says, “give our listening audience an opportunity to delve deeper into the operas and meet the artists.”

Podcasts are “all about accessibility,” she adds.

“We want to tear down whatever might be a barrier between the artists and the audience members coming to the opera. The podcasts are here anytime you want them.”

Barrier-breaking is reflected in the title of the Music Center’s podcast, “Offstage + Unbound,” available at musiccenter.org/visit/about/podcast/.

“We want to really lift up the curtain and show the behind-the-scenes, not just the how, but the why,” says podcast host—and Los Angeles Music Center president and CEO—Rachel S. Moore.

“We don’t like boundaries. We’re reframing what the Music Center is, from a white castle on the hill to reaching across communities and seeing how we can engage them.”

The podcasts, which until now have covered only dance, are expanding to include community leaders involved in the arts and arts education. Most interviews take place at the Colburn School, just down the street from the Music Center. Moore researches her guests and their productions, but, as a former dancer,

she also brings her own insights to the conversations.

“I try to come up with things that are not the obvious,” she says. “What’s so great about the arts is that people bubble up from all sorts of paths. There is not one way to be an artist.”

One surprise doing the podcasts? “The artists’ candor,” Moore says. “They’re opening their hearts to be examined.”

One such heart—belonging to a performer at the Broad Stage in Santa Monica—opened unexpectedly wide during an interview for the podcast “The Broad Cast,” causing the artist to break down in tears.

“And because I’m suggestible, I started crying, too.

I had to edit it out,” says host Betsy Borns, a Broad Stage board member who also conceived and named the podcast. The clever title came naturally to Borns, a comedy writer and producer for ABC’s The Conners.

“Many people have no idea of the arts here, that there are fine arts in West L.A.,” Borns says of the inspiration to do “The Broad Cast,” which is available at thebroadstage.org/podcast.php. “I thought a podcast would be a great way to communicate.”

She hired a producer and, after doing intensive research about the person and subject at hand, conducts interviews in a nearby screening room.

Learning about and hearing artists’ personal stories “have made the performances so much more enjoyable to me,” Borns says—and presumably, to listeners as well.

“My goal is to draw people to the Broad Stage,” she says. “I’ve gotten feedback that someone wasn’t interested in a particular performer but decided to check it out after hearing the podcast.” She likens the knowledge gained to taking headphone tours at museums.

“It’s two people in a dark room with mics,” Borns says. “It’s very intimate. Doing podcasts gives you insights you might not otherwise have had.”

COURTESY LA OPERA. COURTESY LA PHIL

Brian Lauritzen (with mic) interviews bass Morris Robinson for an L.A. Opera podcast and, right, the Music Center’s Rachel Moore talks with the Eifman Ballet’s Boris Eifman.

Moore appreciates her subjects’ candor: “They’re opening their hearts to be examined,” she says.

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Helping you achieve your goals has always been ours Congratulations to David G. Adishian for being recognized on the Forbes “Best-in-State Wealth Advisors” list in 2018.

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The Adishian Group David G. Adishian, CRPC® Senior Vice President Wealth Management Advisor Senior Portfolio Advisor 310.536.1670 david_g_adishian@ml.com 2301 Rosecrans Avenue Suite 3150 El Segundo, CA 90245 fa.ml.com/adishian_group Source: Forbes “Best-in-State Wealth Advisors” ranking was developed by SHOOK Research and is based on in-person and telephone due diligence meetings to evaluate each advisor qualitatively, a major component of a ranking algorithm that includes: client retention, industry experience, review of compliance records, firm nominations; and quantitative criteria, including: assets under management and revenue generated for their firms. Investment performance is not a criterion because client objectives and risk tolerances vary, and advisors rarely have audited performance reports. Rankings are based on the opinions of SHOOK Research, LLC, and not representative nor indicative of any one client’s experience, future performance or investment outcome. Neither Forbes nor SHOOK Research receives compensation in exchange for placement on the ranking. Forbes is a trademark of Forbes Media LLC. All rights reserved. The ranking or ratings shown here may not be representative of all client experiences because they reflect an average or sampling of the client experiences. These rankings or ratings are not indicative of any future performance or investment outcome.

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W

HEN DAMEON WILLIAMS FIRST BEGAN playing clarinet in the L.A. Phil’s YOLA (Youth Orchestra Los Angeles) after-school program, he was an 11-year-old sixthgrader with this mindset: “I’m being forced to practice and go to class. It’s not my choice. How is this going to help me in my future? Where is this going to take me?”

Today, Williams is a 19-year-old sophomore at UCLA, where he’s learning new fingerings and different phrasings on the clarinet. He wants to be a recording artist and possibly a music producer, and is even envisioning a job someday in the L.A. Phil’s education department. And YOLA, with which he played for seven years before graduating high school, has taken him to perform in London and Washington, D.C., and on a five-city tour of California.

“I would never have known what would happen,” says Williams, who has also mentored YOLA students.

“At some point I realized, ‘This is good.’ Around my

sophomore year in high school, when I moved up to the highest orchestra, it brought me more opportunities. It opened up a door in my brain: You should continue this.”

“Opportunity” is a watchword of YOLA, which was inspired

by Gustavo Dudamel even before he officially became L.A. Phil music and artistic director; Dudamel came up through the similar El Sistema program in his homeland of Venezuela and wanted that type of program here.

YOLA provides free musical instruments and instruction to students who would otherwise have limited access to such benefits. The after-school program began in 2007 with 80 students at the EXPO Center in South Los Angeles, a partnership with the Harmony Project and the City of Los Angeles Department of Recreation and Parks, and has since expanded to three more sites and almost 1,000 students; the newest site’s program,

l

Violinist Hannah Esquivel on YOLA’s California tour in 2016.

YOLA provides free musical instruments and instruction to students who have limited access to such benefits.

SAM COMEN

YO, YOLA!

THE L.A. PHIL’S YOUTH ORCHESTRA LOS ANGELES HAS HELPED CAREERS AND CONFIDENCE BLOSSOM. by LIBBY SLATE

24 PERFORMANCES MAGAZINE

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wallis17

“SEARINGLY VISCERAL, THE MOVIES SING!” – Los Angeles Times

WINNER of 2 LA Stage Alliance Ovation Awards for For the Record: Scorsese American Crime Requiem at The Wallis!

ForTheRecordLive.com

The Wallis & For The Record production of

live

December 4-31, 2018 After a sold-out engagement in The Sorting Room last December, For The Record returns with an expanded, multimedia theatrical celebration of the soundtrack to Love Actually.

The beloved holiday rom-com will be brought to life through Christmas and pop hits by Mariah Carey, Kelly Clarkson, The Beach Boys, Joni Mitchell and many more, performed by an eclectic mix of artists from the worlds of music, stage and screen. Join For The Record in the Bram Goldsmith Theater and you’ll find that Love Actually is all around.

CONNECT WITH US

310.746.4000 | TheWallis.org/Love

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instituted last year in the Westlake/MacArthur Park area of Los Angeles, is the first to include in-school instruction as well.

The YOLA at EXPO Center orchestra joined Dudamel at the Hollywood Bowl in October 2009 for his inaugural concert as L.A. Phil music and artistic director; YOLA students from the various sites have since played at the Bowl and Walt Disney Concert Hall downtown.

Ninety percent of YOLA graduates attend college; half play in collegiate or local orchestras.

“YOLA is life-changing for our students and their families,” says Elsje Kibler-Vermaas, L.A. Phil acting director of education initiatives. “It creates a network of learning. Students are hungry for music, and they’re hungry to be connected. We’re seeing that [they view] YOLA as a home away from home. We have built that trust with the community and with the families.”

Agrees Williams, “It’s created a family and brings us together in an environment most of us would never have discovered. And it’s taught me many skills.

Leadership—as a mentor, I’m able to offer advice. I want to be able to pass on my knowledge. And communication skills.”

There’s confidence, too, bred of performing in public and, for some, travel. In London in May, 10 other YOLA

students chosen through auditions and interviews performed with British students and led sessions at the Barbican Centre’s Future Play Symposium. Together, they also created the book Tuning Into Change: A Youth Manifesto for the Arts, which explores how artists can effect change in society.

One London participant was Madison Centeno, a 17-year-old 12th-grade oboist who has played for eight years through YOLA at HOLA (Heart of Los Angeles) in L.A.’s Rampart district. “London was amazing! I felt like, ‘I’m a professional. I’m performing with Gustavo Dudamel,’” she recalls.

Pre-London, “we had meetings in Los Angeles to discuss ‘What do we want to change? What does music mean to us? How can we change the community through music, make people listen to us and have a voice?’ ” says Centeno, whose younger sister and brother are also YOLA students.

Once overseas, she continues, “we met up with English and Scottish students and put it into the manifesto. I would like to travel the world and change people’s lives with my playing.”

YOLA has expanded its core program to offer a Leadership Development curriculum, which provides /CONTINUED ON PAGE 87 leadership training, the afore-

COURTESY L.A. PHIL

(Above) L.A. Philharmonic music and artistic director Gustavo Dudamel and architect Frank Gehry at the unveiling of Gehry’s design for the Judith and Thomas L. Beckmen YOLA Center @ Inglewood. (Left) YOLA performs at opening night of the L.A. Phil summer season at the Hollywood Bowl in 2017.

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D A I Y A DV E N T U L O H Y K O O RE A SP ENGELBERT HUMPERDINCK’S GRAND OPERA

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DECEMBER 13-21, 2018 & JUNE 13 - 30, 2019 IN THE LOVELACE STUDIO THEATER Named in honor of the room’s original purpose as a mail sorting room during Hollywood’s Golden Age, The Sorting Room’s rustic elegance returns for its third fabulous season of both winter and summer series. Wallis subscribers ALWAYS have first access to the very best singers, dancers, comedians, poets and more!

ALSO FEATURING:

MAGIC MOMENTS: AN EVENING REMEMBERING HAL DAVID A LITTLE NEW MUSIC PRESENTS

AN EVENING OF NEW MUSICAL THEATRE SONGS IN PARTNERSHIP WITH ASCAP

CORKY HALE

GET YOUR TICKETS TODAY!

HER S I F Y JOEL CONCERT LIVE IN

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CONNECT WITH US

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Dear Friends,

Board of Directors 2018-2019 Michael Nemeroff

Welcome to November – the month of Thanksgiving – at The Wallis!

Having just celebrated our fifth anniversary, we took a moment to catch our breath and reflect on how grateful we are for our first five seasons and set our sights on this month’s typically ambitious line-up of dance, music and theater. We are so grateful that you have chosen to spend your time with us today.

BOARD CHAIRMAN

David C. Bohnett

EXECUTIVE COMMITTEE CHAIRMAN

Lauren Leichtman EXECUTIVE VICE CHAIR

Vicki Reynolds VICE CHAIR

Arnold Rosenstein

VICE CHAIR & ASSISTANT TREASURER

Richard Rosenzweig VICE CHAIR

Jonathan Victor TREASURER

Ronald D. Rosen SECRETARY

Susan Strauss

ASSISTANT SECRETARY

Arnon Adar Debbie Allen Wallis Annenberg Jacqueline Avant John Bendheim Steve Cochran Sharon Davis MeraLee Goldman Bruce Goldsmith Carol Goldsmith Halle Hammond Chad Hummel Cinny Kennard Kris Levine Mark Louchheim Nigel Lythgoe OBE Linda May Daphna Nazarian Marc Selwyn Ron Simms Stephanie Vahn Gregory Annenberg Weingarten Luanne Wells Grant Withers FOUNDING CHAIRMAN

Bram Goldsmith* FOUNDING PRESIDENT

Paul Selwyn

CHAIRMAN EMERITUS

Having been on our “wish list” for years, we are grateful for the opportunity to present the daring dancer and choreographer Alonzo King with his new work Sutra. King, the son of civil rights activists Slater King and Valencia King Nelson, founded his LINES company in the Bay Area nearly four decades ago and is widely seen as a visionary of the ballet world. For Sutra, King collaborated with award-winning classical Indian instrumentalists Zakir Hussain and Sabir Khah to celebrate the long-standing continuity between transcendental Eastern thinking and Western ballet’s classical forms.

Our gratitude continues when we welcome the young cellist Alisa Weilerstein, recipient of a 2011 MacArthur “Genius” Fellowship, who takes on the daunting task of mastering all six of Bach’s solo cello suites in one evening. Weilerstein is a can’t-miss virtuosa. Equally extraordinary is Keith A. Wallace’s solo play THE BITTER GAME, a riveting and relevant investigation of race relations structured in the four quarters and overtime periods of a basketball game. It will be performed by Wallace outside on The Wallis’ Promenade Terrace. In addition, we are grateful that Wallace will contribute to our GRoW @ The Wallis program with a special workshop on storytelling for a talented group of young artists.

We are also grateful to collaborate with our remarkable community partners, the Los Angeles Museum of the Holocaust, The Dortort Center for Creativity in the Arts, UCLA Hillel and the Consulate General of Germany with a benefit staged reading of the play Kindertransport, which dramatizes the organized rescue effort of thousands of Jewish children prior to the outbreak of WWII. We are honored to be able to do our small part in celebrating the 80th anniversary of this important historical effort.

And our gratitude extends to you – our loyal audiences – including those that are young (or young at heart!). We proudly present family-friendly events throughout the season so that you can enjoy the arts with all members of your family. This month features Shadow Play, a multi-media performance for ages 2+; Story Pirates, the free outdoor musical sketch comedy geared for young audiences; and our monthly Dance Sunday with Debbie Allen and Friends with an afternoon of salsa dancing taught by Miss Allen herself – and as always, is free and open to all ages.

As we enter into the annual, autumnal season of thanks and gratitude, I personally am grateful for finding a new home here at The Wallis for the past three years – and so look forward to the many more ahead. I am grateful to be surrounded by a staff that is deeply committed to making The Wallis an important and inclusive resource for our community. I am grateful that we are able to provide a home to so many talented artists so that they can share and develop their work on our stages. And lastly, I am grateful for your continued patronage and support.

Thank you.

Jerry Magnin

PRESIDENT EMERITUS

Richard Rosenzweig LIFETIME TRUSTEE

Les Bider Max Salter*

* in memoriam

Rachel Fine Executive Director & CEO

Paul Crewes Artistic Director

Michael Nemeroff Board Chairman

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Rachel Fine Executive Director & CEO Paul Crewes Artistic Director

PRESENTS

CHOREOGRAPHY BY Alonzo King MUSIC COMPOSED AND RECORDED BY Zakir Hussain and Sabir Khan SCENIC AND LIGHTING DESIGN BY Scott Bolman and David Finn ADDITIONAL SCENIC DESIGN BY Robert Rosenwasser COSTUME DESIGN BY Robert Rosenwasser

COMPANY Babatunji Robb Beresford Adji Cissoko Madeline DeVries Shuaib Elhassan James Gowan Ilaria Guerra Maya Harr YuJin Kim Ashley Mayeux Michael Montgomery Jeffrey Van Sciver

MUSIC I. Naubat II. Aao ji III. Pir, pt I IV. Ghar V. Gangor VI. Moorsing VII. Pir, pt 2 VIII. Chondka IX. Naubat Drut

NOVEMBER 1-3, 2018

Bram Goldsmith Theater 70 minutes with no intermission.

The creation of SUTRA was commissioned by World Music/CRASHarts, a not for profit presenting organization located in Cambridge, MA. The World Premiere was on April 6, 2018.

SUTRA was made possible by: Lisa and John Pritzker Family Fund, Battery Powered, National Endowment for the Arts, The Bernard Osher Foundation, and The Aaron Copland Fund for Music.

Alonzo King LINES Ballet benefits from the support of Bank of the West/BNP Paribas Foundation for the development of its projects.

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Shuaib Elhassen | Alonzo King LINES Ballet | © Chris Hardy

About the Production

SUTRA MEANS STRING OR THREAD; THAT WHICH SEWS AND HOLDS THINGS TOGETHER. The word is related to two Sanskrit words SUCI, meaning “needle,” and SUNA meaning “woven.”

A sutra is a treatise or theorem condensed into a few words.

“Ekam sat — only One exists. In the Vedas the cosmos is said to evolve like a spider’s web out of God’s being. The Lord is the Divine Thread (Sutra) or unifying essence running through all experiences and all expressions of life and matter.”

Adji Cissoko & Company | Alonzo King LINES Ballet | © Chris Hardy

- Yogananda from God Talks With Arjuna

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About the Program

Shuaib Elhassen | Alonzo King LINES Ballet | © Chris Hardy

INSPIRATION FOR SUTRA In India, music as well as painting and the drama is considered a divine art. Brahma, Vishnu, and Shiva — the Eternal Trinity — were the first musicians. The Divine Dancer Shiva is scripturally represented as having worked out the infinite modes of rhythm in His cosmic dance of universal creation, preservation, and dissolution, while Brahma accentuated the time-beat with the clanging cymbals, and Vishnu sounded the holy mridanga or drum. Krishna, an incarnation of Vishnu, is always shown in Hindu art with a flute, on which he plays the enrapturing song that recalls to their true home the human souls wandering in maya-delusion.

Saraswati, goddess of wisdom, is symbolized as performing on thevina, mother of all stringed instruments. The Sama Veda of India contains the world’s earliest writings on musical science.

The foundation stone of Hindu music is the ragas or fixed melodic scales. The six basic ragas branch out into 126 derivativeraginis (wives) and putras (sons). Each raga has a minimum of five notes: a leading note (vadi or king), a secondary note (samavadi or prime minister), helping notes (anuvadi, attendants), and a dissonant note (vivadi, the enemy).

Each one of the six basic ragas has a natural correspondence with a certain hour of the day, season of the year, and a presiding deity who bestows a particular potency. Thus, (1) the Hindole Raga is heard only at dawn in the spring, to evoke the mood of universal love; (2) Deepaka Raga is played during the evening in summer, to arouse compassion; (3) Megha Raga is a melody for midday in the rainy season, to summon courage; (4) Bhairava Raga is played in the mornings of August, September, October, to achieve tranquillity; (5) Sri Raga is reserved for autumn twilights, to attain pure love; (6) Malkounsa Raga is heard at midnights in winter, for valor.

The ancient rishis discovered these laws of sound alliance between nature and man. Because nature is an objectification of Aum, the Primal Sound or Vibratory Word, man can obtain control over all natural manifestations through the use of certain mantras or chants. Historical documents tell of the remarkable powers possessed by Miyan Tan Sen, sixteenth century court musician for Akbar the Great. Commanded by the Emperor to sing a night raga while the sun was overhead, Tan Sen intoned amantra which instantly caused the whole palace precincts to become enveloped in darkness.

Indian music divides the octave into 22 srutis or demi-semitones.

These microtonal intervals permit fine shades of musical expression unattainable by the Western chromatic scale of 12 semitones.

Each one of the seven basic notes of the octave is associated in Hindu mythology with a color, and the natural cry of a bird or beast — Do with green, and the peacock; Re with red, and the skylark; Mi with golden, and the goat; Fa with yellowish white, and the heron; Sol with black, and the nightingale; La with yellow, and the horse; Si with a combination of all colors, and the elephant.

Three scales — major, harmonic minor, melodic minor — are the only ones which Occidental music employs, but Indian music outlines 72 thatas or scales. The musician has a creative scope for endless improvisation around the fixed traditional melody or raga; he concentrates on the sentiment or definitive mood of the structural theme and then embroiders it to the limits of his own originality.

The Hindu musician does not read set notes; he clothes anew at each playing the bare skeleton of the raga, often confining himself to a single melodic sequence, stressing by repetition all its subtle microtonal and rhythmic variations. Bach, among Western composers, had an understanding of th charm and power of repetitious

sound slightly differentiated in a hundred complex ways.

Ancient Sanskrit literature describes 120 talas or time-measures. The traditional founder of Hindu music, Bharata, is said to have isolated 32 kinds of tala in the song of a lark.

The origin of tala or rhythm is rooted in human movements — the double time of walking, and the triple time of respiration in sleep, when inhalation is twice the length of exhalation.

India has always recognized the human voice as the most perfect instrument of sound. Hindu music therefore largely confines itself to the voice range of three octaves. For the same reason, melody (relation of successive notes) is stressed, rather than harmony (relation of simultaneous notes).

The deeper aim of the early rishimusicians was to blend the singer with the Cosmic Song which can be heard through awakening of man’s occult spinal centers. Indian music is a subjective, spiritual, and individualistic art, aiming not at symphonic brilliance but at personal harmony with the Oversoul.

The Sanskrit word for musician is bhagavathar, “he who sings the praises of God.” The sankirtans or musical gatherings are an effective form of yoga or spiritual discipline, necessitating deep concentration, intense absorption in the seed thought and sound. Because man himself is an expression of the Creative Word, sound has the most potent and immediate effect on him, offering a way to remembrance of his divine origin.

Excerpt from The Autobiography of a Yogi by Parmahansa Yogananda

PERFORMANCES MAGAZINE P5

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About the Artists

ALONZO KING LINES BALLET Thirtyfive years of outstanding, multi-disciplinary collaborations for the stage place Alonzo King LINES Ballet at the forefront of artistic innovation in ballet.

With each collaboration, LINES Ballet investigates deeply rooted affinities between Western and Eastern classical forms, elemental materials, the natural world, and the human spirit. At LINES Ballet, the artistic investigation is infinite and essential for it leads to what unites us as human beings: empathy, joy, and the ability to transcend.

LINES Ballet’s spring and fall home seasons and global tours share this vision of transformative, revelatory dance with 40,000+ audience members worldwide every year. The Company has been featured at venues such as the Venice Biennale, Monaco Dance Forum, Maison de la Dance de Lyon, the Edinburgh International Festival, Montpellier Danse, the Wolfsburg Festival, the Holland Dance Festival, and most recently the Théâtre National de ChailIot in Paris.

LINES Ballet is proud of its continuing commitment to dance education and community — serving and impacting lives through LINES Community Programs, the LINES Ballet Training Program and Summer Program, the joint BFA Program in Dance with Dominican University of California, and the LINES Dance Center, one of the largest dance facilities on the West Coast.

ALONZO KING (Founder and Artistic Director) has been called “a visionary choreographer, who is altering the way we look and think about movement.”

King calls his works ‘thought structures’, created by the manipulation of energies that exist in matter through laws, which govern the shapes and movement directions of everything that exists.

Named as a choreographer with ”astonishing originality” by the New York Times, Alonzo King LINES Ballet has been guided by his unique artistic vision since 1982.

King has works in the repertories of the Royal Swedish Ballet, Frankfurt Ballet, Ballet Bejart, Les Ballets de Monte-Carlo, Joffrey Ballet, Alvin Ailey American Dance Theater, Hong Kong Ballet, San Francisco Ballet, Hubbard Street Dance Chicago and many others. He has collaborated with distinguished visual artists, musicians and composers across the globe including Pharaoh Sanders, James Campbell, Hamza El Din, Pawel Szymanski, Jason Moran, Charles Lloyd and Zakir Hussain. Renowned for his skill as a teacher, King was honored with the Lifetime Achievement Award by the Corps de Ballet International Teacher Conference in 2012. An internationally acclaimed

guest ballet master, his training philosophy undergirds the educational programming at the Alonzo King LINES Dance Center of San Francisco, which includes the pre-professional Training Program, Summer Program, and BFA Program at Dominican University of California.

King’s work has been recognized for its impact on the cultural fabric of the company’s home in San Francisco, as well as internationally by the dance world’s most prestigious institutions. Named Choreographer of the Year by Danza & Danza in Italy and a Master of Choreography by the Kennedy Center in 2005, King is the recipient of the NEA Choreographer’s Fellowship, the Jacob’s Pillow Creativity Award, the Irvine Fellowship in Dance, the US Artist Award in Dance, NY Bessie Award, and the National Dance Project’s Residency and Touring Awards. In 2014, King was appointed to the advisory council of the newly established Center for Ballet and the Arts at New York University; in 2015 he received the Doris Duke Artist Award in recognition of his ongoing contributions to the advancement of contemporary dance. Joining historic icons in the field, King was named one of America’s “Irreplaceable Dance Treasures” by the Dance Heritage Coalition in 2015. San Francisco Mayor Gavin Newsom presented the 2nd Annual Mayor’s Art Award to Alonzo King in October 2008.

He also received the Barney Choreographic Prize from White Bird Dance in April 2013, numerous Isadora Duncan awards, the San Francisco Foundation’s 2007 Community Leadership Award, the Hero Award from Union Bank, the Lehman Award, and the Excellence Award from KGO. In October, 2012 the San Francisco Museum & Historical Society named Alonzo King a “San Francisco Treasure.” He is a former commissioner for the city and county of San Francisco, and a writer and lecturer on the art of dance; his contributions appear in the books Masters of Movement: Portraits of American Choreographers and in Dance Masters: Interviews with Legends of Dance. In 2005, he was awarded an honorary Doctorate by Dominican University of California, the Green Honors Chair Professorship from Texas Christian University as well as an honorary Doctorate from CalArts.

BABATUNJI was born in Portland, Oregon but raised on the Big Island of Hawaii.

He received his formal dance training from Center Stage Dance Studio and the University of Hawaii in Hilo before moving to San Francisco to train at the LINES Ballet Training Program on full scholarship. Babatunji has performed works by diverse choreographers such as Sidra Bell, Amanda Miller, Gregory Dawson, and Maurya Kerr. He has performed overseas

in Japan and China and danced with Philein/ ZiRu productions, Maurya Kerr’s tinypistol, and Dawson|Wallace Dance Project. Babatunji joined LINES Ballet in 2013.

ROBB BERESFORD was born and raised in Elmira, Ontario. He trained at Canada’s National Ballet School, is a graduate of The Quinte Ballet School of Canada, and has taken part in Festival Dance at the Banff Centre for four summers. Beresford has danced professionally with Ballet Kelowna, Vancouver’s Joe Ink, and Ballet Victoria. He joined LINES Ballet in 2013.

ADJI CISSOKO grew up in Munich, Germany where she trained at Ballet Academy Munich. Cissoko attended the Jacqueline Kennedy Onassis School at American Ballet Theatre in New York City on full scholarship, before joining the National Ballet of Canada in 2010. In 2012 she was awarded the Patron Award of Merit by the Patrons’ Council Committee of The National Ballet of Canada. Cissoko joined LINES Ballet in 2014.

MADELINE DEVRIES grew up in Southern California studying at the Santa Clarita Ballet Academy. She continued her training at the Pacific Northwest Ballet School and PNBS Professional Division program on full scholarship, spending summers with the Houston Ballet, The Rock School, PNB, and National Ballet of Canada. DeVries apprenticed with the Semperoper Ballet in Dresden, Germany in 2012, and in 2013 she danced with the Seattle based contemporary companies Whim W’Him and Coriolis. DeVries joined LINES Ballet in 2014.

SHUAIB ELHASSAN from Manhattan’s Lower East Side, began his formal dance training at The Ailey School under the co-direction of Tracy Inman and Melanie Person on a full scholarship. Elhassan has also trained at intensives such as Earl Mosley’s Institute of the Arts, Jacob’s Pillow, and Complexions Contemporary Ballet. Elhassan was a member of Complexions Contemporary Ballet during their 2012-2013 season.

Additionally, Elhassan has performed with Life Dance Company, Zest Collective, Dance Iquail, and the Von Howard Project. Elhassan joined LINES Ballet in 2014.

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About the Artists

JAMES GOWAN, from Phoenix, AZ, began dancing at the age of 16 at Tempe Dance Academy. He graduated with a BFA in Dance from Point Park University, where he worked under teachers and choreographers Kyle Abraham, Doug Bentz, Randy Duncan, Christopher Huggins, Keisha Lalama, Emery LeCrone, Garfield Lemonious and Peter Merz. James has danced as a company member with Texture Contemporary Ballet, River North Dance Chicago and DanceWorks Chicago. He has performed works by George Balanchine, Robert Battle, Frank Chavez, Christopher Gattelli, Dwight Rhoden, and Ashley Roland. James joined LINES Ballet in 2016.

ILARIA GUERRA was born in Torino, Italy. At the age of five, she moved to Palos Verdes Estates, California where she trained in classical ballet at Lauridsen Ballet Center, performing with their pre-professional company, South Bay Ballet. Ilaria graduated Summa Cum Laude from the Alonzo King LINES Ballet BFA Program at Dominican University with a Bachelor of Fine Arts in Dance and a minor in Arts Management in 2013. She joined dawsondancesf under the direction of Gregory Dawson in 2013. With dawsondancesf she had the opportunity to perform in New York, Denver, Southern California, and all over the San Francisco Bay Area. In 2016, Ilaria received an Isadora Duncan Dance Award for Ensemble Performance. Ilaria joined LINES Ballet in 2018.

MAYA HARR grew up in Alexandria, Virginia where she studied ballet at The Washington School of Ballet under the tutelage of former LINES Ballet company dancer, Kristina Windom and award-winning choreographer Mimmo Miccolis. As a student, Maya was the recipient of the Mary Day Scholarship and was selected to participate in the Kennedy Center Master Class Series. Maya spent her summers with San Francisco Ballet, PNB, Ballet West, ABT and the Kirov Academy. After graduating from high school, Maya moved to the Bay Area to attend the LINES Ballet Summer Program and began her training in the LINES Ballet Training Program. Maya joined LINES Ballet in 2016.

YUJIN KIM was born in Busan, South Korea, and studied Korean traditional dance for two years before beginning ballet lessons at age 12. She trained at the Young Ji Kim Ballet Studio, the Peniel International

Arts School and the Pre-Korean National University of Arts, then attended Switzerland’s Department Tanz de Hochschule Musik und Theater on full scholarship. The winner of numerous competitions in South Korea, Kim was awarded a gold medal at the 2005 Prix de Lausanne International Ballet Competition. She has danced with Sun Hee Kim Ballet Company, National Opera Company of Korea and the Covenant Journey Musical Group. Kim joined LINES Ballet in 2011. In 2013, Kim was invited to perform at the Korea World Dance Stars Festival and selected for the cover of the dance magazine Momm.

ASHLEY MAYEUX was born in Houston, Texas. She began her dance training at the High School for Performing and Visual Arts and graduated cum laude with a BFA from SUNY Purchase. Mayeux continued her studies at the Dance Theatre of Harlem and went on to perform in the tour of the Broadway musical Aida. She has been featured in publications including The New York Times, The Los Angeles Times, Essence Magazine, and Pointe Magazine.

Mayeux danced with Complexions Contemporary Ballet from 2012 to 2016, before becoming a company member of Alvin Ailey American Dance Theatre from 2016 to 2018. She is excited to join LINES for the 2018 Season.

MICHAEL MONTGOMERY of Long Beach, CA, trained at the Orange County High School of the Arts and studied at the Alvin Ailey School in the Certificate program. In 2011 he graduated from the Alonzo King LINES Ballet BFA Program at Dominican University of California.

Montgomery was awarded the American College Dance Festival Association’s best student performer award for the Southwest Region in 2008. In 2010, he joined LINES Ballet and was named a Shenson Performing Arts Fellow that same year. Montgomery was named to the list of “25 to Watch” by Dance Magazine in 2013.

JEFFREY VAN SCIVER of Los Angeles, trained at the Juilliard School and the Alonzo King LINES Ballet BFA Program at Dominican University of California.

He has danced with Southern California Ballet, Copious Dance Theater, Dawson/Wallace Dance Project, San Francisco Opera Corps de Ballet, and dawsondancesf, for which he received an Isadora Duncan Award nomination. Van Sciver is a Dizzy Feet Foundation scholarship recipient, Shenson Performing Arts Fellow, and received both the

Princess Grace and Chris Hellman awards in dance. Van Sciver has performed works by Karen McDonald, Rennie Harris, Sandrine Cassini, Sidra Bell, Gregory P. Dawson, Nina Flagg, and most recently, Jose Navas at the Springboard Danse Montreal. He joined LINES Ballet in 2013.

MEREDITH WEBSTER (Ballet Master) grew up in Manitowoc, Wisconsin, studying under Jean Wolfmeyer. She worked with Sonia Dawkins and Donald Byrd in Seattle, and earned a BS in Environmental Science from the UW before moving to San Francisco to work with LINES. In her nine seasons as a dancer with the company, Webster originated many central roles and received a Princess Grace Award. In 2014 she moved into the role of Ballet Master. Since then, she performed with Ledoh/Salt Farm, worked with the Maureen Whiting Company and co-created Empress Archer, an evening-length duet produced by The Cambrians of Chicago. Webster has served as a faculty member for all of the LINES programs, and as a guest teacher around the world. She has contributed as a writer to Dance Spirit and Conversations.

ZAKIR HUSSAIN (Composer and Performer) Today appreciated both in the field of percussion and in the music world at large as an international phenomenon, Zakir Hussain is one of the greatest musicians of our time. A classical tabla virtuoso of the highest order, his consistently brilliant and exciting performances have established him as a national treasure in his own country, India, and as one of India’s reigning cultural ambassadors.

Along with his legendary father and teacher, Ustad Allarakha, he has elevated the status of his instrument both in India and around the world.

His playing is marked by uncanny intuition and masterful improvisational dexterity, founded in formidable knowledge and study.

Widely considered a chief architect of the contemporary world music movement, Zakir’s contribution to world music has been unique, with many historic collaborations, including Shakti, which he founded with John McLaughlin and L. Shankar, Remember Shakti, the Diga Rhythm Band, Making Music, Planet Drum with Mickey Hart, Tabla Beat Science, Sangam with Charles Lloyd and Eric Harland, and recordings and performances with artists as diverse as George Harrison, YoYo Ma, Joe Henderson, Van Morrison, Airto Moreira, Pharoah Sanders, Billy Cobham, Mark Morris, Rennie Harris, and the Kodo drummers. His music and extraordinary contribution to the music world were honored in April 2009, with four widely-heralded and sold-out concerts at Carnegie Hall’s Artist Perspective series.

PERFORMANCES MAGAZINE P7

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About the Artists

SABIR KHAN (Composer and Performer) was born in Jodhpur, Rajasthan, and he belongs to a Sikar Gharana of music who have introduced several stalwarts to Indian classical music. He is the ninth generation of his family to take up Sarangi and is considered one of the beacons of the younger generation and a wonderful product of talented lineage.

Sabir’s great grandfather, Ustad Azim Khan, was a court musician at Sikar, Rajasthan. Sabir began learning about music when he was six years old through his grandfather, Ustad Gulab Khan, who was a great sarangi player and vocalist and, soon after, he began training with his father, world renowned sarangi player and vocalist Ustad Sultan Khan, and from his late uncle Ustad Nasir Khan.

Sabir is well known today for his delicate mastery of sarangi. His technique of playing is a rare combination of sur and laya (note and rhythm).

He has already remarkably learned most of his legendary father’s entire repertoire with a similar command and mastery on the instrument. Indeed a chip off the old block.

Beside being a classical music artist he is equally interested in other forms of modern-day Indian music and has played with artists such as gazal maestro Ustad Gulam Ali, Talat Aziz, Asha Bhosle and recently performed on an album of the great Lata Mangeshkar. Sabir has also performed on the soundtrack to several feature films like Chameli, Rog, Dor, Anwar, Sanwariya, Chodon na yaar and Jodha Akbar, to name a few.

ROBERT ROSENWASSER (Founder, Creative Director, Designer) shapes the aesthetic and artistic direction of each project at the Company, including conceptual design and production. In addition to his work with the Company, he has designed for Ballet de Monte Carlo, Ballet Bejart, the Royal Swedish Ballet, Joffrey Ballet, Frankfurt Ballet, and Alvin Ailey American Dance Theater.

Rosenwasser has also collaborated with artists and poets, including Richard Tuttle, Kiki Smith, Laurie Reid, Kate Delos, Rena Rosenwasser, Mei-mei Berssenbrugge and Barbara Guest, designing fine press books. His work can be found at the New York Museum of Modern Art in the Department of Books and Illustrated Prints, at the Whitney Museum, and at the Spencer Collection of the New York Public Library.

MURIEL MAFFRE (Chief Executive Officer) Born in Enghien-les Bains, France, Muriel Maffre received her ballet training from the Paris Opéra Ballet School and Paris National Conservatory of Music, from which she graduated with a Premier Prix with honors. Prior to joining San Francisco Ballet as a Principal Dancer in 1990, Muriel danced with the Hamburg Ballet and Monte- Carlo

Ballet. She retired from San Francisco Ballet with a Farewell Gala on May, 6 2007. Muriel continued her work in dance education and public humanities with institutions such as the Richmond Art Center, Stanford University, the Oakland Museum of California, the Cantor Art Center, and most recently, the Museum of Performance + Design in San Francisco. Her honors and awards include Chevalier in the Order of Arts and Letters (France, 2008), Visiting Fellow (Cornell University, 2008), Arts Honoree (French American School Soirée des Arts, 2008), Gold Medalist (Paris 1st International Ballet Competition, 2004), Isadora Duncan Awards for Outstanding Achievement in Individual Performance (1990, 2002). Muriel holds a B.A. in Performing Arts from St. Mary’s College of Moraga, California and an M.A. in Museum Studies from John F. Kennedy University, California. Muriel joined LINES Ballet in November of 2017.

SCOTT BOLMAN (Lighting and Scenic Designer) Scott’s work has been seen in New York at the Lincoln Center Festival, Performa Festival, Brooklyn Academy of Music, FIAF, The Kitchen, Prototype Festival, The Women’s Project, Judson Church and others. Regionally, he has worked at venues that include Goodspeed Opera, Studio Theater, Playmakers Repertory Company, Trinity Repertory Theater and LA Opera/ REDcat. International work includes Failing to Levitate... (Athens and Epidaurus Festival, Athens), MIDNIGHT (Radialsystem V, Berlin), Waiting for Godot, Antigone (Benaki Museum, Athens) and Darkling (Melkweg, Amsterdam). His long history of collaborations with Robert Wilson include Der Sandmann (Düsseldorfer Schauspielhaus), Zinnias (Peak Performances), The Odyssey (National Theater of Greece) and KOOL (Guggenheim NYC). He will also be working on an upcoming Robert Wilson exhibition at the Max Ernst Museum (Brühl, Germany). Scott is a founding member of Wingspace Design Collective.

DAVID FINN (Lighting and Scenic Designer) is a set and lighting designer who has worked extensively in dance, opera, and theater. He began his career as a lighting designer for the master puppeteer Burr Tillstrom and Kukla, Fran & Ollie.

Finn was a resident lighting designer for Mikhail Baryshnikov’s White Oak Dance Project. Working with such choreographers as Twyla Tharp, Paul Taylor, Merce Cunningham, Sasha Waltz & Liam Scarlett, his designs have also been seen at the Royal Ballet, Paris Opera Ballet, The National Ballet of Canada, The Joffrey Ballet, American Ballet Theatre, Australian Ballet, Bayerisches Staatsballett, and Birmingham Royal Ballet. David has an extensive opera career as well, working with major houses throughout the world including the Metropolitan Opera, Paris Opera, La Scala Milan, the San Francisco Opera and the Royal Opera.

In film, Finn’s work includes stage lighting for

Martin Scorsese’s The Age of Innocence, and he was producer/director of the PBS documentary The Green Monster. Finn has designed lighting for two Cirque du Soleil shows: Zed in Tokyo, and Michael Jackson ONE in Las Vegas.

PRODUCTION CREDITS SOUND DESIGN BY

Philip Perkins AUDIO ENGINEERS

Neil Godbole (Engineer, Producer, Owner of Airship Laboratories) and Mujeeb Dadarkar COSTUME CONSTRUCTION BY

Joan Raymond COSTUME SHOP:

Keely Weiman, Hoa Lam, Kristen Mellberg, Alea Gonzalez, Victoria Mortimer, Chanterelle Grover DYEING BY Kelly Koehn PROP COSTUMES CONSTRUCTION BY

Keely Weiman and Joan Raymond SCENIC CONSTRUCTION BY

Brandon Murphy and the Department of Spontaneous Combustion HEADSHOTS BY

RJ Muna and Vikki Sloviter LINES BALLET STAFF EXECUTIVE FOUNDER AND ARTISTIC DIRECTOR

Alonzo King FOUNDER AND CREATIVE DIRECTOR

Robert Rosenwasser CHIEF EXECUTIVE OFFICER

Muriel Maffre COMPANY GENERAL MANAGER

Lauren Chadwick BALLET MASTER

Meredith Webster PRODUCTION DIRECTOR

James Ogden II COMPANY STAGE MANAGER

Teresa Wood LIGHTING AND PRODUCTION SUPERVISOR

Dylan Phillips SOUND DESIGNER

Philip Perkins WARDROBE SUPERVISOR

Victoria Mortimer ASSISTANT TO ALONZO KING

Syam Waymon MEDICAL DIRECTOR

Dr Sonia Bell PRESS AND PUBLIC CONSULTANT

Mona Baroudi BOOKING IMG Artists Matthew Bledsoe

P8 PERFORMANCES MAGAZINE

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“A CURE FOR THE ILLS OF THE ERA” — The New York Times

HUBBARD STREET DANCE CHICAGO & THIRD COAST PERCUSSION

January 10-12, 2019 A new, full-length collaboration between the acclaimed Chicago companies Hubbard Street Dance Chicago and Third Coast Percussion with sensational choreography by Emma Portner and Movement Art Is, and a rousing score by Devonté Hynes.

CONNECT WITH US

310.746.4000 | TheWallis.org/Hubbard

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Rachel Fine Executive Director & CEO Paul Crewes Artistic Director

PRESENTS

TRUSTY SIDEKICK THEATER COMPANY'S

CONCEIVED BY Jonathan Shmidt Chapman and Edie Demas FEATURING Drew Petersen LIGHTING & PROJECTION DESIGN BY Simon Harding VIDEO ANIMATION & DESIGN BY Zack Ramadan ORIGINAL MUSIC BY Chris Gabriel DIRECTED BY Paul Brewster ORIGINAL DIRECTION BY Jonathan Shmidt Chapman PRODUCTION SUPERVISOR Leigh Walter

NOVEMBER 3-4, 2018

Lovelace Studio Theater 40 minutes with no intermission.

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About the Artists

DREW PETERSEN is a New York City based artist and educator. He currently is an educator with Park Avenue Armory, The New Victory Theater, Brooklyn Academy of Music and City Center.

As an artist, he is the Artistic Director for Trusty Sidekick Theater Company, a theater company devoted to creating high quality, original work for young audiences and their families. He has been commissioned by and has created original work with Lincoln Center Education, The Kennedy Center, Park Avenue Armory, New Victory Theater, Cleveland Playhouse Square, PACE University, The Tank and Curio Theater Company in Philadelphia.

PAUL BREWSTER is a New York City-based theatre artist, educator, and administrator driven to create aesthetic and educational experiences for youth and families. In addition to serving as Trusty Sidekick's Managing Director, he is a teaching artist with Disney Theatrical Group & Roundabout Theatre Company. He also teaches coursework in both theatres for young audiences and technical theatre for educators at City College of New York.

He has numerous producing, directing and stage management credits at regional and off-Broadway theatres including Lincoln Center, Ogunquit Playhouse, and The Public Theater. BFA, NYU Tisch.

MA, NYU Steinhardt.

JONATHAN SHMIDT CHAPMAN is an artist, producer, writer, curator, and educator dedicated to the field of Theatre for Young Audiences. Most recently, Jonathan served as the first Producer of Family Programming at Lincoln Center for the Performing Arts, creating ways to re-imagine the Lincoln Center campus as an international arts destination for families. Jonathan is also the Co-Founder of New York’s Trusty Sidekick Theater Company. Recent artistic credits include co-creator of The Cerulean Time Capsule for the Kennedy Center, and director of the world premiere of The Boy at the Edge of Everything (Finegan Kruckemeyer) at Seattle Children’s Theatre. He has held artistic and education-focused roles at The New Victory Theater, True Colors Youth Theatre, and the Cloud Foundation. He serves as an adjunct faculty member at New York University, where he teaches coursework on Theatre for Young Audiences.

SIMON HARDING is an award-winning designer for live performance. He has designed nationally and internationally for theater, dance, and performance art work. Harding was a co-founder and the resident designer for SaBooge Theatre, designing all of their productions including the critically acclaimed shows, Hatched, Fathom, and Every Day Above Ground. Upcoming/Recent: Custodians of Beauty (Palissimo), Strangers in Paradise (Opera Omaha), The Iceman Cometh [Act IV] (Target Margin Labs). simonhardingdesign.com CHRIS GABRIEL is a Brooklyn & L.A. based musician, composer, singer, filmmaker and writer. In addition to writing music for Trusty Sidekick’s productions of Up and Away, Shadow Play, The Haunting of Ichabod Crane and Off the Map, he composes music for commercials, films, documentaries and web series. Most recently, he was the co-director for the full length film, The Relationtrip. For more information visit cagabriel.com.

ZACK RAMADAN is thrilled to see Flash's return in Shadow Play, the show that sparked his involvement with Trusty Sidekick five years ago!

Since Shadow Play’s initial runs in 2012 and 2013, Zack has designed projections and graphics for Trusty Sidekick’s productions of Off the Map, Earth, and Up & Away. He also oversees all video and animation work at The New Victory Theater as the Digital Marketing Associate. Zack’s love of TYA is most likely tied to his unhealthy obsession with the 80s cartoons of his youth.

TRUSTY SIDEKICK THEATER COMPANY Based in New York City, Trusty Sidekick Theater Company creates bold, original productions for young people and their families. Hailed by The New York Times for “blur[ring] the boundaries between the imagined and the real,” Trusty Sidekick crafts new and exciting ways for audiences of all ages to interact with live performance. By developing new work in collaboration with young audiences as dramaturgs, the theatre-going experience is redefined. Having created works in both unique settings like a Revolutionary War-era battleground and traditional theater spaces, every adventure is rooted firmly in the belief that kids deserve theater that ignites their imaginations and makes them think about the world in a new way. Recent partnerships and presentations include Lincoln Center (Shadow Play), Seattle Children’s Theater (The Boy at the Edge of Everything), The Park Avenue Armory (The Haunting of Ichabod Crane, The 7 and ½ Mysteries of Toulouse McLane), and Classic Stage Company (The Stowaway). Commissions by Lincoln Center of multi-sensory work designed specifically for audiences on the autism spectrum (Up and Away, Campfire) have garnered international attention for Trusty Sidekick’s hallmark of keeping the audience in mind when creating every element of a show. trustysidekick.org Twitter: @Trusty_Sidekick Instragram: @trustysidekicktheater

LEIGH WALTER is a freelance director and stage manager based in New York City. Her work has been seen at Lincoln Center, St. Ann’s Warehouse, Park Avenue Armory, Goodspeed, La MaMa, NYTW among a myriad of other theaters where she has dedicated herself to developing new works. This work has ranged from non-linear and abstract plays to immersive children’s theatre, to puppet folk musicals and everything in between. Co-Creator of The Society for Misfit Puppets, where she directed and self-produced over a dozen different theatre events over the last three years. Has been a proud company member of Trusty Sidekick since 2014. leighwalter.com

PERFORMANCES MAGAZINE P11

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GIVE THE GIFT OF THEATER THIS HOLIDAY SEASON!

The Old Man and The Old Moon

DEC 8, MAR 9 & MAY 11

Story Pirates LIVE AGES 5+

MAR 2 - 17, 2019

The Old Man and The Old Moon

APR 26 - MAY 5, 2019

Black Beauty AGES 5+

FAMILY @ THE WALLIS ALL AGES

CONNECT WITH US

310.746.4000 | TheWallis.org/Family

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MOST TICKET S ONLY

$25!

10/17/18 5:12 PM

About the Program

Snap, Crackle, Bach

By Brian Lauritzen

As far as I know, cellist Alisa Weilerstein is not and has never been a spokesperson for Kellogg’s Rice Krispies. But she would make a good one. After all, her first “cello” was made out of a Rice Krispies box that her grandmother created for her as a toy to help distract the two-and-a-half year old Alisa while she was recovering from chicken pox. (The endpin was a toothbrush and the bow was a chopstick.)

These days, Weilerstein plays a cello built in 1790 by the British luthier William Forster. It’s an instrument that Weilerstein really makes sing. In her appearance here at The Wallis it’s Weilerstein, her cello, the music of J.S. Bach, and nothing else. That gives us the opportunity to hear Weilerstein’s artistry in its purest form.

The six suites for unaccompanied cello, by J.S. Bach, have been called the Everest of the cello repertoire. They have been called an icon of classical music. The British musicologist and critic Wilfrid Mellers described them as, “Monophonic music wherein a man has created a dance of God.” Cellists adore them, revere them, and spend their entire careers contemplating them. (Yo-Yo Ma just made his third recording of the six suites.)

For as important as they are in the canon of classical music, we don’t really know that much about them. No original manuscript of the suites exists. It’s unclear exactly when they were written, though it’s believed they were composed between 1717 and 1723. The order of composition is uncertain. The closest thing we have to a definitive score is a hand-written copy of the original made by Anna Magdalena Bach (Johann’s second wife), but even that is still a secondary source. This has spawned numerous different editions all with different placements of slurs, articulation, bowings, and dynamic markings. Cellists’ interpretations, therefore, vary greatly.

Discussions about best performance practices can get quite heated.

Each of the six suites are structured in the same way: a prelude, followed by five dance movements. Bach’s preludes are generally free-flowing movements which build to a virtuosic climax near the end.

The format is similar, but the music is anything but. The famous G-major prelude, with its oscillating stringcrossing motives, sets the stage for the cycle. Nowhere is the musical contrast more evident than between the haunting d-minor prelude and the flashy, extroverted D-major prelude.

Following the preludes in each of the suites is an allemande, a German dance where couples would form a line, link arms, and walk the length of the room taking three steps and then balancing on one foot. (A livelier version of this dance used three quick steps, followed by a hop.) In addition to the halting aspects of this dance, which you can hear clearly in the E-flat major allemande, notice how each of the allemandes begins with one or more pickup notes prior to the downbeat.

Often paired with the allemande, the courante picks up the tempo a bit, which makes sense given the word courante literally means, “running.” The dance steps were a combination of running and jumping, as you can hear especially prominently in the d-minor courante.

Back in the day (16th century Spain), the sarabande was a slow sexy dance that was banned in Spain in 1583. In his Treatise Against Public Amusements (1609), the Jesuit priest Juan de Mariana said the sarabande was, “a dance and song so loose in its words and so ugly in its motions that it is enough to excite bad emotions in even very decent people.”

Bach’s sarabandes are more sublime than sensual, though there is certainly a sultry yearning quality to them, particularly in the d-minor and C-major sarabandes.

What follows are the only divergences among the dances in the suites. Arranged in pairs, we hear Minuets, Bourées, and Gavottes. In each case, we begin in the home key of the suite and in four of the

six suites we stay there. But in the case of the G-major minuets and C-major bourées, the second dance modulates to a minor key.

Each suite ends with a gigue, a lively folk dance that was imported to France from Ireland (jig). Theatre performances in France would often end with a gigue, so it makes sense that Bach would also do so here. This is the flashiest music of the suites. Still, the typical lilting triple-meter rhythms of the gigue never get lost among the pizzazz.

Finally, just a word about the c-minor and D-major suites, which are quite different from the first four. For the c-minor suite, Bach asks the cellist to tune the A string (the highest string on the instrument) down a whole step to a G. This causes the instrument to resonate in a very unique and beautiful way. It is unclear exactly what instrument the c-minor suite was originally written for. Conventional theories are that it was written for a fivestring cello (with the extra string an E above the A string). Other theories include that this suite was written for the violoncello da spalla, literally “shoulder cello” which was held like a guitar (with a shoulder strap) but still bowed. In any case, the D-major suite includes a lot of music in a higher register, which lends credence to the theory that it wasn’t written for a standard four-string cello and also makes this suite the most demanding by far.

Join Brian Lauritzen and other guest moderators for free pre-concert conversations in the Bram Goldsmith Theater with the artists prior to select classical music performances, along with a complimentary glass of wine provided by The Henry Wine Group.

PERFORMANCES MAGAZINE P13

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Rachel Fine Executive Director & CEO Paul Crewes Artistic Director

PRESENTS

ALISA WEILERSTEIN COMPLETE BACH CELLO SUITES Program JOHANN SEBASTIAN BACH (1685-1750) Suite No. 1 in G major, BWV 1007 (17’)

Suite No.3 in C major, BWV 1009 (20’)

Suite No.5 in C minor, BWV 1011 (24’)

Suite No.2 in D minor, BWV 1008 (19’)

Suite No.4 in E-flat major, BWV 1010 (25’)

Prélude Allemande Courante Sarabande Minuet Minuet II Gigue

Prélude Allemande Courante Sarabande Bourrée Bourrée Gigue

Suite No.6 in D major, BWV 1012 (27’)

Pause (10-15 minutes)

Intermission (20-25 minutes)

Prélude Allemande Courante Sarabande Minuet Minuet II Gigue

Prélude Allemande Courante Sarabande Bourrée Bourrée Gigue

Prélude Allemande Courante Sarabande Gavotte Gavotte Gigue

Prélude Allemande Courante Sarabande Gavotte Gavotte Gigue

NOVEMBER 9, 2018

Bram Goldsmith Theater 2 hour and 30 minutes including a 10-15 minute pause and a 20-25 minute intermission.

Presented in honor of Steven Cochran by his friends and family.

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About the Artist

ALISA WEILERSTEIN “A young cellist whose emotionally resonant performances of both traditional and contemporary music have earned her international recognition, ... Weilerstein is a consummate performer, combining technical precision with impassioned musicianship.” So stated the MacArthur Foundation when awarding Alisa Weilerstein a 2011 MacArthur “genius grant” Fellowship, prompting The New York Times to respond: “Any fellowship that recognizes the vibrancy of an idealistic musician like Ms. Weilerstein ... deserves a salute from everyone in classical music.” In performances marked by intensity, sensitivity, and a wholehearted immersion in each of the works she interprets, the American cellist has long proven herself to be in possession of a distinctive musical voice.

“Alisa Weilerstein … is too big a talent to be pigeonholed.”

– The New York Times In the 2018-19 season, Weilerstein releases Transfigured Night on the Pentatone label, joined by Norway’s Trondheim Soloists for three masterworks of the First and Second Viennese Schools: Haydn’s First and Second Cello Concertos and Schoenberg’s Verklärte Nacht, from which the album takes its title. Two Scandinavian performances of the album repertoire with the same ensemble open the season. In the spring, she returns to Verklärte Nacht, this time in a trio version, when she tours Europe and the U.S. with pianist and frequent collaborator Inon Barnatan, violinist Sergey Khachatryan, and percussionist Colin Currie. Between these bookends, she gives performances of Shostakovich’s Second Cello Concerto with five different orchestras (the Gothenburg Philharmonic, Orquesta Nacional de España, Orchestre de Chambre de Lausanne, Valencia Orchestra, and Toronto Symphony), and tours the U.S. playing Dvořák’s Cello Concerto with the Czech Philharmonic led by Semyon Bychkov.

She also performs the Schumann Concerto with the Rotterdam Philharmonic in Belgium and the Netherlands, and gives accounts of Saint-Saëns’s First Cello Concerto, Britten’s Symphony for Cello and Orchestra, Richard Strauss’s Don Quixote, and Bloch’s Schelomo: Rhapsodie Hébraïque in cities from San Diego to Vienna. Finally, she gives two performances, with the composer leading both Copenhagen’s DR SymfoniOrkestret and the Cincinnati Symphony, of Matthias Pintscher’s new cello concerto Un despertar (An Awakening), written for her and premiered last season. In the midst of her orchestral engagements are five solo performances of Bach’s complete cello suites, in

PERFORMANCES MAGAZINE P15

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About the Artist

Beverly Hills, Boston’s Celebrity Series, the SaintDenis Festival in Paris, the Elbphilharmonie as part of the Schleswig-Holstein Festival and for Cal Performances in Berkeley. After years of playing the pieces individually, this season marks only the third in which she has ventured to perform them all.

Weilerstein’s growing and celebrated discography includes a recording of the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin that was named “Recording of the Year 2013” by BBC Music; the magazine also featured the cellist on the cover of its May 2014 issue. Her next release, on which – as in concerts this season – she played Dvořák’s Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart. Her third album, a compilation of unaccompanied 20th-century cello music titled Solo, was pronounced an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo’s centerpiece is the Kodály sonata, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself. In 2015 she released a recording of sonatas by Chopin and Rachmaninoff, marking her duo album debut with Inon Barnatan, which earned praise from Voix des Arts as “a ravishing recording of fantastic music.” And in 2016 she released a recording of Shostakovich’s two cello concertos with the Bavarian Radio Symphony under Pablo Heras-Casado, hailed by the San Francisco Chronicle as “powerful and even mesmerizing.”

Weilerstein has appeared with all the foremost orchestras of the United States and Europe, collaborating with conductors including Marin Alsop, Jiří Bělohlávek, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Giancarlo Guerrero, Bernard Haitink, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Simone Young and David Zinman.

Her major career milestones include an emotionally tumultuous account of Elgar’s concerto with the Berlin Philharmonic and Daniel Barenboim in Oxford, England, for the orchestra’s 2010 European Concert, which was televised live to an audience of millions worldwide and subsequently released on DVD by EuroArts. She and Barenboim reunited in 2012-13 to play Elliott Carter’s concerto on a German tour with the Berlin Staatskapelle. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high profile classical music event at the White House, featuring student workshops hosted by the First Lady, and performances in front of an audience

that included President Obama and the First Family.

A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Gustavo Dudamel. She has since made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.

Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music.

She recently played the world premiere of Pascal Dusapin’s Outscape, giving it “the kind of debut most composers can only dream of achieving” (Chicago Tribune) with the co-commissioning Chicago Symphony, before European performances with the Stuttgart and Paris Opera Orchestras.

The following season she premiered Matthias Pintscher’s cello concerto Un despertar with the Boston Symphony Orchestra, which co-commissioned the piece for her, followed by a reprise with the Danish Radio Symphony. She gave the New York premiere of Pintscher’s Reflections on Narcissus under the composer’s own direction during the New York Philharmonic’s inaugural 2014 Biennial, and subsequently the two also performed the work at the BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra (originally premiered by Yo-Yo Ma) for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Weilerstein has since played the work with orchestras around the world, besides frequently programming the Argentinean composer’s Omaramor for solo cello. At the 2008 Caramoor festival, she gave the world premiere of Lera Auerbach’s 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two have subsequently reprised the work at the Schleswig-Holstein Festival, the Kennedy Center, and for San Francisco Performances. Joseph Hallman, a 2014 Grammy Award nominee, has also written multiple works for Weilerstein, including a cello concerto that she premiered with the St. Petersburg Philharmonic in 2008, and a trio that she recently premiered on tour with Inon Barnatan and clarinetist Anthony McGill.

Orchestra debut, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, the cellist also holds a degree in history from Columbia University, from which she graduated in May 2004. In November 2008, Weilerstein, who was diagnosed with type 1 diabetes when she was nine, became a Celebrity Advocate for the Juvenile Diabetes Research Foundation. alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/

Born in 1982, Weilerstein discovered her love for the cello at just two and a half, when her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her while she was ill with chicken pox. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn’t produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed her natural affinity for the instrument and gave her first public performance six months later. At 13, in October 1995, she played Tchaikovsky’s “Rococo” Variations for her Cleveland

P16 PERFORMANCES MAGAZINE

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“ONE OF THE MORE ELEGANT AND ACCOMPLISHED PIANISTS ON THE PLANET.” – Los Angeles Times

JORGE FEDERICO OSORIO, PIANO January 16, 2019

Jorge Federico Osorio has been lauded throughout the world, and his native Mexico, for his superb musicianship, powerful technique, vibrant imagination and deep passion. He is the recipient of several international prizes and awards, including the prestigious Medalla Bellas Artes, the highest honor granted by Mexico’s National Institute of Fine Arts. Osorio’s program includes works by Bach, Schubert, Liszt, Debussy, Albéniz and fellow countrymen Ricardo Castro and Manuel Ponce.

Mr. Osorio is a Steinway Artist.

Program JOHANN SEBASTIAN BACH

Two Chorale Preludes

FRANZ SCHUBERT

Sonata in A Major, D. 959

FRANZ LISZT

Vallée d’Obermann

CLAUDE DEBUSSY

Three Preludes

ISAAC ALBÉNIZ

Mallorca (Barcarola)

RICARDO CASTRO Barcarola

MANUEL PONCE

Rapsodia Cubana Balada Mexicana

CONNECT WITH US

310.746.4000 | TheWallis.org/Osorio PERFORMANCES MAGAZINE P17

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Rachel Fine Executive Director & CEO Paul Crewes Artistic Director AND

PATTY GLASER, PAULA HOLT, PERLA KARNEY AND KAREN WINNICK PRESENT

A PLAY READING OF

KINDERTRANSPORT To benefit Los Angeles Museum of the Holocaust

In response to the increasing anti-Jewish violence and the brutality of Kristallnacht, several organizations worked together to bring Jewish children under Nazi occupation to safety in the United Kingdom. Roughly 10,000 Jewish children from Germany, Austria, parts of Czechoslovakia, and parts of modern day Poland were sent to the United Kingdom on Kindertransports (children’s transports). Additional, smaller groups of children were brought to safety on Kindertransports to Sweden and Switzerland. The children were as young as 3 or as old as 17 and were unaccompanied by their parents. The first train carrying refugee children left Berlin on December 1, 1938, and trains continued until the borders closed due to the outbreak of World War II. The vast majority of the rescued children never saw their families again, as they perished in the Holocaust.

BY Diane Samuels

CHARACTERS

DIRECTED BY Deborah LaVine

RATCATCHER DAVID LM MCINTYRE

STARRING Jane Kaczmarek, Kate Burton & Barbara Bain WITH Maya Brattkus, David LM McIntyre & Samantha Ressler

EVA MAYA BRATTKUS HELGA JANE KACZMAREK EVELYN KATE BURTON FAITH SAMANTHA RESSLER

SOUND DESIGN BY Jeff Gardner

LIL BARBARA BAIN

SPONSORED BY

SUNDAY, NOVEMBER 11, 2018 AT 2PM Bram Goldsmith Theater Two hours including a 15 minute intermission.

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About the Artists

JANE KACZMAREK (Helga) is best known for her role as Lois on “Malcolm in the Middle,” for which she received 7 consecutive Emmy nominations, and nominations for the Golden Globe and SAG Award. Her television career began with “The Paper Chase,” “St. Elsewhere” and “Hill Street Blues” after graduating from The University of Wisconsin and the Yale School of Drama. In New York Kaczmarek has appeared both On and Off Broadway and at the Berkshire Theatre Festival, the Eugene O'Neill Playwright Conference, The Williamstown Theatre Festival where she and Alfred Molina appeared in And No More Shall We Part directed by Anne Kauffman. Also at Williamstown, The Roommate, by Jen Silverman. Jane frequently hosts and reads on the Symphony Space Radio program Selected Shorts.

Los Angeles credits include Kindertransport (Ovation Award), the premiere of Pulitzer Prize-winning Dinner with Friends and Raised in Captivity (L.A. Drama Critics Award), Good People (Ovation nomination.)

L.A. Theatre Works: Awake and Sing, Death of a Salesman; and at the Pasadena Playhouse, The Stage Manager in Our Town with Deaf West Theatre.

She and Alfred Molina recorded A View from the Bridge for BBC Radio and appeared as James and Mary Tyrone in Long Day’s Journey Into Night at the Geffen Playhouse. The production was filmed and is available for viewing on Broadway HD. Jane is the founder of Clothes Off Our Back, which raised over 4 million dollars for children's charities by selling celebrity finery. She has travelled with WonderWork to India, Tanzania, Rwanda and Malawi to visit their hospitals and the children they help. She serves on the Board of the Pasadena Educational Foundation, the Pasadena Conservatory of Music and the Pasadena Playhouse. Jane is the mother of 3 and lives in Pasadena.

KATE BURTON (Evelyn) is best known for her Emmy nominated roles; Ellis Grey in “Grey's Anatomy” and Sally Langston in “Scandal.” She has appeared on Broadway many times and has three Tony nominations for her work in Hedda Gabler, The Elephant Man and The Constant Wife. She most recently appeared in Present Laughter opposite Kevin Kline on Broadway in 2017 and as Prospera in The Tempest at The Old Globe last summer. Her upcoming projects are roles in “The Gifted” for Fox and Where'd You Go, Bernadette? starring Cate Blanchett. She recently directed an evening of Shakespeare and Tchaikovsky with Gustavo Dudamel conducting the LA Phil at the Hollywood Bowl. She is a professor at USC SDA and on the Western Regional

Board of AEA. She is a graduate of Brown University and Yale School of Drama where she shared an apartment with her classmate and lifelong friend, Jane Kaczmarek.

BARBARA BAIN (Lil) is probably best known for her work in the landmark television series “Mission: Impossible,” where she created the pivotal role of Impossible Missions Force Agent Cinnamon Carter, and, in the process, became the first actress in the history of television to receive three consecutive Emmy Awards for Best Dramatic Actress. Ms. Bain followed with the role of Dr. Helena Russell in the now classic British syndicated science fiction television series “Space:1999.”. Her stage work has garnered her Los Angeles Critic's Circle and DramaLogue Awards for her work on Arthur Kopit's Wings, Samuel Beckett's Happy Days and Eugène Ionesco's The Chairs.

MAYA BRATTKUS (Eva) is currently pursuing her BFA at the California Institute of the Arts (CalArts) where she studies acting. Her theatre credits include The Crucible, Chalk Garden and Animal Farm at Theatricum Botanicum. At CalArts she has performed in the Center for New Performance’s Fântomas: Revenge of the Image which had its world premiere at the Wuzhen Theatre Festival in China, Hedda Gabler, and the Resistible Rise of Arturo Ui. Maya had her film debut in the award winning independent film Wild Prairie Rose directed by Deborah LaVine. Maya is extremely honored to be a part of Kindertransport.

DAVID LM MCINTYRE (Ratcatcher) is descended from German and Polish Jews who had mostly already fled to the United States years before the events of this play. Mostly. He will never know the family lines that failed to escape.

Film: Kill, Me Deadly; Mr. Woodcock. TV: “The Comeback,” “Criminal Minds.” David has been a member of the Sacred Fools Theatre Company for eighteen years and joyously married to Sarah McKinley Oakes for ten years.

DIANE SAMUELS (Playwright) won the Verity Bargate and Meyer-Whitworth Awards for Kindertransport, which was first produced by Soho Theatre Company in 1993, has been translated into many languages, performed in the West End, Off Broadway and all over the world. Other plays include The True-Life Fiction of Mata Hari, Palace Theatre, Watford, 2002; Cinderella’s Daughter, Trestle Theatre tour, 2005; How to Beat a Giant, Unicorn Theatre, 2007; Persephone (a love story), with Maurice Chernick, Rosemary Branch, 2013; The A-Z of Mrs. P, with Gwyneth Herbert, Southwark Playhouse, 2014; Poppy + George, Palace Theatre, Watford, 2016; This is Me, snapshots of girlhood, life-story as interactive monologue, Chickenshed, 2018. Currently working with Gwyneth Herbert on The Rhythm Method, a musical love story (with contraception) funded by the Wellcome Trust, Bush Theatre Fertility Fest, and Landor Theatre, 2018. Diane facilitates and teaches Creative Writing to all ages and levels of experience, encouraging methods of regular practice to live a vibrant, healthy, productive life.

DEBORAH LAVINE (Director) is very proud to be associated with this anniversary reading of Kindertransport. Deborah had the honor of directed Kindertransport at the Tiffany Theater more than 20 years ago starring Jane Kaczmarek. That production remains one of her most cherished in a career that spans over 300 professional productions, many winning honors and awards including several Los Angeles Drama Critics Circle, Ovation Awards, and a NAACP citation. Deborah also directs films. Her feature, Wild Prairie Rose, premiered at Geena Davis’ Bentonville Film Festival and subsequently screened extensively across the U.S., Canada and New Zealand.

It has won numerous prizes including: The James Stewart Legacy Award at the Heartland Film Festival among many others. Short films: Unintended, featuring Jeff Perry; Lost Music, featuring Barbara Bain; and Prairie Sonata written by Tom Jacobson.

Additionally, Deborah is the Program Director of the MFA in Directing at California Institute of the Arts (CALARTS) which proudly boasts many exceptional indie filmmaking students and alumni.

SAMANTHA RESSLER (Faith) was last seen at the Geffen Playhouse in Anna Ziegler’s Actually playing the role of Amber, for which she was nominated for an Ovation Award for Best Actress. Other Theater credits include Women of Manhattan at the Palace Theater, Blackbird dir. by Wilson Milam at The Wallis and Closer at The Ruby Theatre. Film & TV credits include: This is The End, American Dream, Palo Alto, “Modern Family,” “Hello Ladies.” Samantha co-founded We The Women, a non-profit performing arts collective that promotes and showcases emerging female talent in LA.

PERFORMANCES MAGAZINE P19

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About the Artist

JEFF GARDNER (Sound Design) is an award-winning actor/sound designer/foley artist born and raised in Los Angeles. Favorite designs include Les Blancs for Rogue Machine Theatre (Ovation Nomination, Stage Raw Award); Native Son and Picnic for The Antaeus Company (Ovation Nomination); Dry Land for the Kirk Douglas Theatre (Ovation Award); Trevor for Circle X Theatre; Raisin In The Sun, The Madwoman Of Chaillot for A Noise Within, The Recommendation for IAMA Theatre, The Cake for The Geffen Playhouse, and Miracle On 34th Street for the Pasadena Playhouse. Jeff is resident sound designer for the Westridge School in Pasadena. jeffthomasgardner.net

An Evening of Shopping, Sipping & Philanthropy

PATRICIA GLASER (Producer) is one of the United States’ top business trial attorneys and heads the Litigation Department of Glaser Weil LLP. She also serves on the board of directors of several prominent arts organizations, including the Los Angeles Music Center Theatre Group and The Geffen Playhouse.

PAULA HOLT (Producer) built the Tiffany Theatres in West Hollywood and served as President, producing and presenting for two decades. She served the City of Los Angeles as Commissioner of Cultural Affairs under Mayors Hahn and Villaraigosa.

She is the Chair of Board, Rogue Machine Theatre, and former chair of LAStage Alliance.

PERLA KARNEY (Producer) has been the Artistic Director of Hillel at UCLA since 2004 and was the Vice-President of the Los Angeles Museum of the Holocaust for ten years. Perla sits on the UCLA Fowler Museum Arts Council and is on the board of The Rogue Machine Theater.

KAREN B. WINNICK (Producer) is an authorillustrator of thirteen picture books for children.

She’s President of the LA Zoo Commission, appointed by four mayors and serves on the boards of Wild Earth Allies, Defenders of Wildlife and the Lange Foundation. Her family includes 3 sons, 8 grandkids, 5 dogs and many fish.

LOS ANGELES MUSEUM OF THE HOLOCAUST in Pan Pacific Park is the oldest Holocaust survivor-founded museum in the United States. Founded in 1961 by a group of local Holocaust survivors who wanted a permanent, safe home for their Holocaust-era photos and artifacts, the museum moved to its permanent home in Pan Pacific Park in 2010. The museum dedicates itself as a primary source institution, commemorating those who perished, honoring those who survived, and housing the precious artifacts that miraculously weathered the Holocaust era. The museum provides free Holocaust education and opportunities for dialogue with Holocaust survivors to the public. The museum is open seven days a week and admission is always free.

(L TO R)

Wallis Executive Director & CEO Rachel Fine with Wallis Board members Linda May, John Bendheim & Kris Levine.

Prada Beverly Hills celebrated the iconic brand’s Fall/ Winter 2018 Women’s Ready to Wear collection and Made to Order Décolleté project on September 6.

Prada graciously donated a portion of all sales that evening, and throughout the subsequent weekend, to our GRoW @ The Wallis arts education and outreach programs. The evening kicked off with a private reception introduced by Executive Director and CEO Rachel Fine and Artistic Director Paul Crewes, followed by champagne, cocktails and retail therapy.

We sincerely thank Prada and our supporters for such a fantastic neighborhood event. A special thanks goes to Wallis Board Member Kris Levine for spearheading the fabulous night.

P20 PERFORMANCES MAGAZINE

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we are proud to support the

Wallis Annenberg Center for the Performing Arts and the 2018 - 2019 season T H E R E STAU R A N T

|

THE CAFÉ

|

S PA M O N TAG E

|

£10

|

T H E ROOF TOP G R I L L

|

THE BAR

M O N TAG E H O T E L S. C O M

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Rachel Fine Executive Director & CEO Paul Crewes Artistic Director

PRESENTS

CREATED, WRITTEN & PERFORMED BY Keith A. Wallace CO-CREATED BY Deborah Stein COSTUME DESIGN Melissa Ng

LIGHTING DESIGN Bo Tindell

SOUND DESIGN Mikaal Sulaiman

AUDIO ENGINEERING Helena McGill & Anna Wozniewicz COSTUME ART DIRECTION Walter Myrick

SIGNED ENGLISH PERFORMER Keisha A. Wallace

STAGE MANAGER Plato Seto

DIRECTED BY Malika Oyetimein

NOVEMBER 14-17, 2018 Promenade Terrace 1 hour with no intermission.

THE BITTER GAME was a commission of the La Jolla Playhouse's 2015 International WoW Festival.

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About the Artists

KEITH A. WALLACE (Creator, Writer, Performer) is a playwright, actor, filmmaker, and self-proclaimed 'actorvist.' As an actor he has appeared in JUNK: The Golden Age of Debt, Blueprints to Freedom, Movers + Shakers, Death of a Driver, Venus, In the Crowding Darkness, and more. Select directing credits include: The Last Days of Judas Iscariot and The Brothers Size (Theatre Bay Area Award for Outstanding Production). Following its 2015 premiere in the international WoW Festival at La Jolla Playhouse, THE BITTER GAME was a semi-finalist in the 2016 Sundance Theater Lab and the Eugene O’Neill Playwrights Conference.

Since, Keith has toured the show nationally and abroad including Under The Radar Festival at The Public Theater, The Kennedy Center, Segerstrom Center for the Arts, The American Repertory Theater, The Dublin Theater Festival among others. Keith is also a recipient of the 2016 Princess Grace Theater Award, United Solo Festival Avant Garde Award and a San Diego Critics Award nominee for Outstanding Solo Performance. Education: MFA in Acting, UC San Diego; BA in Drama, Morehouse College.

DEBORAH STEIN (Co-Creator) is a playwright, director, and collaborative theatre maker. Her play Marginal Loss recently premiered at the Actors Theatre of Louisville Humana Festival. Other recent projects include The Wholehearted (world premiere at the Kirk Douglas/Center Theatre Group and La Jolla Playhouse) and Chimera (Under the Radar; Gate Theatre in London; Drama Desk nominee for Best Solo Performance). Deborah’s other plays include God Save Gertrude (Theatre @ Boston Court, Workhaus Collective), Wallflower (Stages Rep), and Bone Portraits (Walkerspace, Live Girls!). She has worked extensively with some of the country’s leading devised theatre makers including Joseph Chaikin, Dominique Serrand, Lear deBessonet, and most frequently the Pig Iron Theatre Company, with whom she created six original plays. Her writing has been published in Theatre Forum, Play: A Journal of Plays, and The Best American Poetry.

Currently on faculty at UC San Diego, Deborah has also taught writing and collaboration at Yale School of Drama, NYU/Tisch, Princeton, Northeastern, St. Olaf, Parsons, and Brown (where she received her MFA, advised by Paula Vogel). An alumna of New Dramatists, other grants and awards include NEFA National Theatre Project, New York State Council for the Arts, Bush Artist Fellowship, two Jerome Fellowships and a McKnight Advancement Grant at the Playwrights’ Center in Minneapolis. Stein teaches at UC San Diego, where her collaboration with Wallace began.

MALIKA OYETIMEIN (Director) recently completed her MFA at the University of Washington's School of Drama and is a member of the Directors Lab at Lincoln Center Theater. In Seattle, she was featured in City Art Magazine's 2016 Future List and her productions (Bootycandy 2016 ) & (Hoodoo Love 2017) have been nominated for Gregory Awards: Best Production.

She recently was the co adapter and director of Dr. Maya Angelou's "I Know why the Caged Bird Sings.”

Select directing credits: The world premiere of WHITE (Theatre Horizon) Milk Like Sugar (Artswest Playhouse and Gallery) Barbecue, Bootycandy (Intiman Theatre Festival) Goin' Someplace Special (Book-It Theatre Co.) Fucking A, Force Continuum (University of Washington) Hoodoo Love (Sound Theatre Company, Yancy Girl Productions & Ademide Theatre Ensemble), Young Voices (InterAct Theatre Co. & Philadelphia Young Playwrights), and Topdog/Underdog (GoKash Productions). Select Assistant Director credits: The Bitter Game (Public Theatre/Under the Radar festival). Threepenny Opera, Blue Door (Arden Theatre Co.), and A View from the Bridge (Oregon Shakespeare Festival).

As a professional teaching artist, Malika has worked with: Seattle Repertory Theatre, Philadelphia Young Playwrights, Arden Theatre Co., Mural Arts: Project Home, & Theatre Horizon's Autism Drama Program.

KEISHA A. WALLACE (Signed English Performer) is a Philadelphia native and first year ASL/English Interpreting student at The Community College of Philadelphia. She has received a Dual Baccalaureate Degree in Special Education/ Elementary Education with a Minor in Deaf Studies.

Her passion deeply resides in communicating with the Deaf Community and working to effectively break the communication barriers between both the hearing and Deaf Community. Keisha has been actively involved within the Deaf Community and Deaf Culture through in various ways including local events within the city of Philadelphia and surrounding counties as well as continual volunteerism with The Annual Philadelphia AIDS Walk, Pennsylvania School for the Deaf (PSD), and Deaf-Hearing Communication Centre (DHCC). She especially enjoys meeting up with local residents of the Deaf Community at local coffee shops every Wednesday and Saturday for casual conversation.

Wallace is truly honored to be here for this opportunity and humbly welcomes feedback from the performance immediately following the show.

PLATO SETO (Stage Manager) Broadway: Saint Joan, The Children, Prince of Broadway. OffBroadway: Sugar in Our Wounds, In the Body of the World, The Portuguese Kid. Other New York: Pick a Color (Dixon Place), Nan and the Lower Body: The Pap Smear Play (MTC). Regional: Beetlejuice (National Theatre, Pre-Broadway Engagement), THE BITTER GAME (Skirball Cultural Center & La Jolla Playhouse: WOW Presentation '16 & WOW Festival '15), Blurred Borders Dance Festival #17 (Rincon Dance Collective), John Leguizamo: Latin History for Morons (La Jolla Playhouse), Lilith (Calit2 Theater), Broadway in Your Backyard (La Jolla Playhouse), In Your Arms (The Old Globe), Up Here (La Jolla Playhouse), and various corporate events. Plato has been a part of THE BITTER GAME's journey since its beginning and is excited share it with the audiences at The Wallis. She holds a BA in Theatre from the University of California, San Diego.

PERFORMANCES MAGAZINE P23

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DUC A SPACE FOR ARTS E

ATION

nberg Weingarten and A gift of Gregory Anne undation and the Annenberg Fo

Family

The Wallis is dedicated to sharing the productions on our stages with K-12 students and opening their eyes and imaginations to a world of new possibilities.

We strive to present artists and raise issues that reflect the experience of the diverse students in the Los Angeles region. In November we present student matinee performances of Alonzo King Lines Ballet and THE BITTER GAME by actor and activist Keith A. Wallace. In advance of each show, workshops are presented for the participating teachers to learn more about the artists and the show and consider connections to their own curriculum. For THE BITTER GAME we are hosting a special workshop where both teachers and select students will attend. Our goal is to inspire students to consider how they can use their own voices as storytellers and artists to address pressing issues in their own schools or neighborhoods. When we are successful, students come away more curious about the artistry and ideas they have experienced here.

To learn more about our GRoW @ The Wallis arts education and outreach programs, follow the GRoW Blog at TheWallisGRoWBlog.org

P24 PERFORMANCES MAGAZINE

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“

SUPERBLY TENSE.

BREATHTAKING, DARING AND FAULTLESS EXECUTION.” – Daily Telegraph

The National Theatre of Great Britain’s Landmark production of J B Priestley’s Classic Thriller

AN INSPECTOR CALLS DIRECTED BY

Stephen Daldry

January 22 - February 10, 2019 When Inspector Goole arrives unexpectedly at the prosperous Birling family home, their peaceful dinner party is shattered by his investigations into the death of a young woman. Director Stephen Daldry (“The Crown”) returns to his landmark 1992 production, which was hailed as the theatrical event of its generation, winning multiple Olivier and Tony Awards. More relevant now than ever, this is a must-see for a whole new generation of theatergoer.

CONNECT WITH US

310.746.4000 | TheWallis.org/Inspector

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“SEARINGLY VISCERAL, THE MOVIES SING!”

O H

– Los Angeles Times

WINNER of 2 LA Stage Alliance Ovation Awards for For the Record: Scorsese American Crime Requiem at The Wallis!

ForTheRecordLive.com

The Wallis & For The Record production of

live

December 4-31, 2018 After a sold-out engagement in The Sorting Room last December, For The Record returns with an expanded, multimedia theatrical celebration of the soundtrack to Love Actually.

The beloved holiday rom-com will be brought to life through Christmas and pop hits by Mariah Carey, Kelly Clarkson, The Beach Boys, Joni Mitchell and many more, performed by an eclectic mix of artists from the worlds of music, stage and screen. Join For The Record in the Bram Goldsmith Theater and you’ll find that Love Actually is all around.

CONNECT WITH US

310.746.4000 | TheWallis.org/Love

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002978

OUR STUDIO HAS A LOT OF WHAT’S SHOT IN YOURS. 1,000 hours of movies, premium programming, and more, free on Delta Studio.® Official Airline of the Wallis Annenberg Center for the Performing Arts.

DREAM UP, L.A.

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10/17/18 5:13 PM 9/13/17 2:18 PM

From one great classic to another, we congratulate you on your sixth season!

PROUD TO BE THE OFFICIAL AUTOMOTIVE SPONSOR OF

Mercedes-Benz of Beverly Hills 9250 BEVERLY BLVD. BEVERLY HILLS, CA 90210 | 310.659.2980 | WWW.BHBENZ.COM

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Support

ANNUAL DONORS The Wallis Annenberg Center for the Performing Arts gratefully acknowledges your generous support and investment in our cultural community. The following list recognizes donors who made contributions to The Wallis’ Annual Fund between September 1, 2018-October 1, 2018. For any questions regarding your donations or if you would like to join The Wallis’ Annual Fund, please call 310.246.3800 ext. 715.  PLATINUM CIRCLE ($50,000+)

Annenberg Foundation Wallis Annenberg and Kris Levine David C. Bohnett Delta Air Lines Honorable Donna Ellman Garber The Seattle Foundation/ Katharyn A. Gerlich Marcy Gross The Harold and Mimi Steinberg Charitable Trust Lauren B. Leichtman and Arthur E. Levine Family Foundation Los Angeles County Arts Commission Peter Lowy/Westfield Mercedes-Benz of Beverly Hills Meridith Baer Home Montage Beverly Hills Meeghan and Michael Nemeroff The Simms/Mann Family Foundation Arline and Buddy Pepp Jim and Eleanor Randall Marc Selwyn Fine Arts Vanity Fair GRoW @ Annenberg Foundation/ Gregory Annenberg Weingarten & Family Luanne Wells

 GOLD CIRCLE

($25,000 – $49,999) Camille and Arnon Adar Jacqueline and Clarence Avant Leon Lowenstein Foundation/ John M. Bendheim Dan Clivner and Steve Cochran The Rosalinde and Arthur Gilbert Foundation Hon. MeraLee Goldman Carol Goldsmith Julie and Bruce Goldsmith Matt Construction Hedy Orden Lynda and Stewart Resnick Vicki Reynolds and Murray Pepper Mr. and Mrs. Arnold Rosenstein Judy Henning and Richard S. Rosenzweig Ruby Family Foundation/ Wendy and Ken Ruby Susan and Peter Strauss Marc Selwyn Tobey Cotsen-Victor and Jonathan A. Victor Wells Fargo

 SILVER CIRCLE

($10,000 – $24,999) Debbie Allen The ASCAP Foundation Irving Caesar Fund Lynn and Les Bider Family Foundation Linda and Maynard Brittan

California Arts Council City of Beverly Hills Colburn Foundation Eunice David Sharon and Gov. Gray Davis Louise and Brad Edgerton Steve Ghysels In memory of Edgar Gross Betty Hayman Morris A. Hazan* Jewish Community Foundation John W. Carson Foundation Cinny Kennard Kris Levine Elisabeth and Jeffrey Lipsman Gail and James Lopes Cathy and Mark Louchheim Jamie McCourt National Endowment for the Arts Daphna Nazarian New England Foundation for the Arts Gloria and Richard Pink Judi Lawenda and Ronald D. Rosen Michal Amir Salkin and Kenneth H. Salkin Bruce Schulman Steinway & Sons Beverly Hills Eva and Marc Stern Linda May and Jack Suzar Leon and Stephanie Vahn Marilyn Ziering

 DIRECTORS CIRCLE

($5,000 – $9,999) Barbara Belzberg Martha and Barry Berkett Beverly Hills Rotary Community Foundation Cotsen Foundation for the Art of Teaching Marsha Calig and Ted Slavin Marcy Carsey Sandra Krause and William Fitzgerald Sonia and Robert Freedman Kiki and David Gindler Amy Jo and John D. Gottfurcht/ SSI Investment Management Lisa and Josh Greer Vera and Paul Guerin Bucky Hazan & Eva Aaronson Debra Holstein Tamara and David Lachoff The Loewenstern Fund at Community Foundation Suzanne Papaian Santa Cruz County Anahita and Jim Lovelace Virginia and Francis S. Maas Ann Mulally Palm Restaurant Stephanie and Howard Sherwood Ron Watson

 ARTISTS CIRCLE

($2,500 – $4,999) 360 Group International, Inc Phyllis Abrams Laura and Harvey Alpert Judith and Thomas Beckmen Judy Carroll Dr. Fanya Carter Crateful Catering Mrs. Howard Deshong Jr. DeeDee Dorskind Diane and Scott Eblin Bonnie and Ronald Fein Ronald Frazier Trust Freeman Group, Inc. Friars Charitable Foundation Anita Friedman Lou and Kelly Gonda Laurie and Steven Gordon Peggy Parker Grauman Héritage Fine Wines Ada and Jim Horwich Freya and Mark Ivener Marilyn Jones and Mitchell Kaplan Sally Karbelnig Stuart Klabin Laurie and Lyn Konheim Renee Kumetz Lawry's The Prime Rib Lyn and Norman Lear Jacqueline and Hoyt B. Leisure/ Leisure Family Foundation Marlene and Howard Leitner Pearle Rae & Mark Levey Anita Lorber Marlene and William Louchheim Manatt Phelps & Phillips LLP Barbara and Joel Marcus Cal Mare Cookie Miller Jade Mills Estates The Estate of Leah and William Molle Diane and Leon Morton NERANO Resataurant Harriet and Steven Nichols Sandra Karole Peters Porta Via Restaurant Ricki and Marvin Ring David Schwartz Foundation, Inc. Joan and Paul Selwyn Jackie Applebaum and Stephen Sheanin In memory of Gail Silver C & O Restaurants Melissa Rosenberg and Lev Spiro Elaine and Ronald Stein Stock Cross Financial Services Elgart Aster and Paul Swerdlove Elizabeth Topkis Sue Tsao Waldorf Astoria Beverly Hills

David and Sylvia Weisz Family Foundation Donna Wolff Shoshana and Parham Zar May and Richard Ziman

 ENTHUSIAST

($1,000 – $2,499) Gay and Harry Abrams Professor Ben Carrington Billy Jack Carter and Christopher Fenn Center for Cultural Innovation Rhea Coskey Larry Field Harriet Finebaum Pat and Sandy Gage Lesley and Dr. Kenneth Geiger Susan and Fred Kunik Beverly and Herb Gelfand Howard Gleicher Lessing and Sandy Gold Susan Howard Roger and Linda Howard James Irvine Foundation Sharon Kane and Nancy Yaffe Ann and Michael Kibler Charlene and Dr. S. Sanford Kornblum Joanne C. Kozberg LA Stage Alliance Gayle Leventhal Ginny Mancini Isabel and Milo Mandel The Mindy, Robert and Merissa Mann Family Foundation Katherine Molloy Caroline Nagy and Andrew Cornelius Mahnaz and David Newman Phylis Nicolayevsky Pasadena Showcase for the Arts Felicia and Henry Present Gelila and Wolfgang Puck Ina Lee Ramer Rabbi Steven and Didi Carr Reuben Courtenay Valenti and Patrick Roberts Lily Rosman* Gene Shutler Anne Smith Towbes Catharine and Jeffrey Soros Danielle and Elliot Stahler Karen Sulzberger and Eric Lax Janice and Daniel Wallace Mrs. Lee Warner Sally and David Weil Cathy Siegel and Ken Weiss Patricia and Richard Wilson

* IN MEMORIAM

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Support

Ambassadors The Wallis Ambassadors is a group of community leaders and arts supporters who act as institutional advocates for the Wallis Annenberg Center for the Performing Arts.

The group not only promotes The Wallis throughout Beverly Hills and the greater Los Angeles area, but also serves as key influencers who strengthen our mission and programs.

Les Bider CO-CHAIR

Eunice David CO-CHAIR

Betty Hayman

HONORARY CO-CHAIR

Ron Rosen

BOARD LIAISON

Phyllis Abrams Laura Alpert Judy Beckmen DeeDee Dorskind Mimi Alpert Feldman Donna Ellman Garber Laurie Gordon Peggy Grauman Debra Holstein Laurie Konheim Sandra Krause Judi Lawenda Marlene Leitner Karen Loewenstern Walter Loewenstern Marlene Louchheim Barbara Marcus Diane Morton Harriet Nichols Suzanne Papaian Arline Pepp Ricki Ring Ken Ruby Wendy Ruby Joan Selwyn Paul Selwyn I.H. Sutnick Donna Wolff May Ziman

CAPITAL CAMPAIGN FOUNDING DONORS Turning a dream into reality on the scale of the Wallis Annenberg Center for the Performing Arts requires imagination, vision and enduring leadership. Our Founding Donors exemplifed all that and more with their extraordinary generosity to help build The Wallis.

ENDOWMENT

The Wallis is indebted to these Founding Endowment Donors whose generosity and foresight will help sustain and enrich future programming and operations.

Burton E. Green Fund

Janet and Maxwell Hillary Salter

 $5,000,000 AND ABOVE

Wallis Annenberg / Annenberg Foundation City of Beverly Hills Elaine and Bram Goldsmith Family Foundation Paula Kent Meehan Gregory and Regina Annenberg Weingarten

 $1,000,000 – $4,999,999

The Ahmanson Foundation David Bohnett Foundation Burton Green Fund Betty and Fred J. Hayman Lauren B. Leichtman & Arthur E. Levine Family Foundation Jonathan Bell Lovelace Family Janine and Peter Lowy / Westfield Zoltan E. Pali and Judit Meda Fekete-Pali Jim and Eleanor Randall Family Foundation Eva and Marc Stern Jamie and Steve Tisch and Family Lew and Edie Wasserman The Wasserman Foundation Luanne C. Wells

 $500,000 – $999,999

Judy and Bernard Briskin Louchheim and Marks Families Hon. Vicki Reynolds and Murray Pepper Arnold and Anita Rosenstein Family Foundation Mark Siegel Family Foundation

 $100,000 – $499,999

Brenda and Alan Abramson Elgart Aster and Paul Swerdlove John, Cathi and Alexandra Bendheim Lynn and Les Bider Family Foundation Joyce and Stanley Black Family Foundation Hon. Lili and Jon Bosse and Family Joyce Klein and Gerald Breslauer Maynard and Linda Brittan and Family

Dottie and Marvin Chanin and Family Steven Cochran and Dan Clivner Cotton Incorporated Krishna and Robert Daly, Jr. Eunice and Hal David Robert Day Dorskind Family The Suzanne M. Dorskind Trust Phyllis and Donald Epstein Ervin Cohen & Jessup LLP The Feintech Family Esther M. Baird and Stanley R. Fimberg Beth and Rodney Freeman Friars Charitable Foundation Helene V. Galen Hon. Donna Ellman Garber Gearys Beverly Hills Katharyn Alvord Gerlich The Getty Foundation MeraLee Goldman Steven C. Gordon Family Foundation Grosvenor Family In Memory of Dixon R. Harwin Ambassador and Mrs. Glen Holden Joan and John F. Hotchkis Lee and Harold Kapelovitz Donanne and Ali Kasikci W.M. Keck Foundation Barbara and Fred Kort Foundation Renee and Aaron Kumetz Leon Lowenstein Family Foundation / John Bendheim Family Virginia and Francis Maas Lois and Jerry Magnin E. Mahie and Daryoush Mahboubi-Fardi B.N. Maltz Foundation Emilia Pirro and Dr. Mark Mandel Montage Beverly Hills Neiman Marcus

AS OF AUGUST 13, 2018

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Support

CAPITAL CAMPAIGN FOUNDING DONORS CONTINUED

 $100,000 – $499,999 CON'T

Jane and Marc Nathanson Pouran and Parviz Nazarian Joan and Fred Nicholas Patricia and John Nickoll Arline and Buddy Pepp Sumner M. Redstone Charitable Foundation Ronald D. Rosen and Judith Lawenda Jaclyn Barde Rosenberg Judy Henning and Richard Rosenzweig Ruby Family Foundation / Wendy and Ken Ruby Tawny and Jerry Sanders Corrine and Lenny Sands Family Foundation Debbie and Sunny Sassoon Lynne and Barry Scholer Selwyn Family Jane and Terry Semel Richard Shapiro Stephanie and Howard Sherwood Anita and Robert Silverstein The Simms / Mann Family Foundation Susan and Peter Strauss Linda May and Jack Suzar Stephanie, Leon and Jason Vahn Van Cleef & Arpels Kerry and Simone Vickar Family Foundation Tobey and Jonathan Victor Sylvia Weisz Wells Fargo Los Angeles County Supervisor Zev Yaroslavsky Pourandokht O. Zarnegin and Family Sigi and Marilyn Ziering and Family Zilber Family Anonymous (2)

 $50,000 – $99,999

Capital Research and Management The Carroll Family / Judy, Lexy and John Carol Sheinkopf Goldsmith Hawthorn, PNC Foundation Lee Iacocca The Iacocca Family Foundation Debra Schoenfeld Kasirer and Robert Kasirer Lynn and Norman Lear Steven, Bertram and Camilla Marcus The Stephen Philibosian Foundation Sandra and Lawrence Post The Fran and Ray Stark Foundation Sue Tsao

 $25,000 – $49,999

Laura and Harvey Alpert Ambassador Frank and Kathy Baxter

Allison and Larry Berg James Edward Blakeley III Marsha and Martin Brander In Memory of Jack Colker The Sirpuhe and John Conte Foundation Drs. Joanne and Edward Dauer Governor Gray Davis and Sharon Davis Anne and Kirk Douglas Honorable David Dreier Joseph Drown Foundation Entertainment Industry Foundation Mimi Alpert Feldman Hon. Frank and Judie Fenton Susan and David Finkelman Gemini G.E.L. Gloria Lushing and Arnold L. Gilberg, M.D., Ph.D. Rochelle and Dr. Eli Ginsburg Sharon and Herb Glaser Sandra and Lessing Gold Janice and Robert Goldman Steve Gordon Marcy and Edgar F. Gross Lonnie Levi Israel Linda and Jerry Janger Laurie and Lyn Konheim Sandra Krause / The Maurice L. Strauss Foundation Anita and Burton Levinson Karen and Walter Loewenstern Joan and William Lopatin Nancy and Howard Marks Matt Construction Mercedes-Benz of Beverly Hills Rio and Frank Morse Ilene and Jeff Nathan Cindy and Ken Norian Sandy and Barry D. Pressman, M.D. Wolfgang Puck Joelle and Jack Rimokh Annette, Marc and Anton Saleh Michal and Ken Salkin Renee and Bob Schnell Cheryl and Michael Schwab The Segel Family Larraine and Clive Segil Annette and Leonard Shapiro Jacqueline Applebaum Sheanin and Stephen Sheanin Marcia and Mark J. Smith Roger and Angelle Grace Wacker Vicki and Raul Walters Karen and Rick Wolfen May and Richard Ziman

The Wallis is thankful to receive support from the following:

Special Thanks to Salvatore Ferragamo

2018/2019 Resturant Partners The Resturant

Montage Beverly Hills

310.860.7970 | montagehotels.com Cal Mare 424.332.4595 | michaelmina.net Heritage Wines 310. 888.8042 | HeritageBeverlyHills.com Jean-Georges Beverly Hills Waldorf Astoria Beverly Hills 310.860.6666 I waldorfastoriabeverlyhills.com Lawry's The Prime Rib 310.652.2827 | LawrysOnline.com Nerano 310.405.0155 I neranobh.com Porta Via Beverly Hills 310.274.6534 | portaviabh.com Toscana 310.820.2448 | toscanabrentwood.com

With Gratitude To Our Season Sponsors OFFICIAL AIRLINE SPONSOR

OFFICIAL AUTOMOTIVE SPONSOR

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Staff The Wallis at a Glance Rachel Fine

EXECUTIVE DIRECTOR & CEO

Paul Crewes

ARTISTIC DIRECTOR

 SENIOR LEADERSHIP TEAM Debra Bronow DIRECTOR OF ADVANCEMENT

 EDUCATION Debra Pasquerette

MANAGER OF COMMUNITY ENGAGEMENT

Alex Rogals

EDUCATION ASSOCIATE/REGISTRAR

 PRODUCTION Matthew Waldron TECHNICAL DIRECTOR

Eric Branson

ADMINISTRATIVE OFFICES

Monday – Friday 10am – 6pm 310.246.3800 9390 N. Santa Monica Boulevard Beverly Hills, CA 90210 www.TheWallis.org TICKET SERVICES

Monday – Friday 10am – 6pm Saturday 12pm – 6pm 310.746.4000

James D'Asaro

LIGHTING SUPERVISOR

Joel Hile

PRODUCTION COORDINATOR

Mark Slavkin

ASSISTANT TECHNICAL DIRECTOR

David Truly

AUDIO/VIDEO COORDINATOR

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.

Lauren Wemischner

Michelle Wiesel

LIGHTING COORDINATOR

ACCESS

Patricia Wolff

PRODUCTION ASSISTANT

DIRECTOR OF PRODUCTION DIRECTOR OF MARKETING & COMMUNICATIONS DIRECTOR OF EDUCATION DIRECTOR OF SPECIAL PROJECTS DIRECTOR OF PATRON SERVICES & ENGAGEMENT DIRECTOR OF PROGRAMMING

Elise Yen

CFO / DIRECTOR OF FINANCE & ADMINISTRATION

Daniel Hartman

Claudia Peterson Gary Markowitz

Shawna Voragen

 FINANCE & ADMINISTRATION Tawny Favela OPERATIONS MANAGER

 ARTISTIC Coy Middlebrook

Irina Klebanov

Brenda Slaughter Reynolds

FACILITIES MANAGER

Blake Silver

FINANCE ASSOCIATE

Camille Jenkins

EXECUTIVE ASSISTANT

ASSOCIATE ARTISTIC DIRECTOR PRODUCTION ADMINISTRATOR INTERIM COMPANY MANAGER ARTISTIC COORDINATOR

 DEVELOPMENT Heather Shuemaker

DIRECTOR OF CORPORATE RELATIONS

Lilian Miller

DEVELOPMENT OPERATIONS MANAGER

ACCOUNTING MANAGER

LATE SEATING

Rick Nicholson

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.

Sam Ambler

Chandra Jackson Sonia Lozada BOOKKEEPER

Alyssa Cohen & Lee Lawler

INTERIM HUMAN RESOURCES CONSULTANTS

 TICKET SERVICES Carla Quzts

Christine Bernardi

ASSISTANT TICKET SERVICES MANAGER

Mary Anne Patey

TICKET SERVICES COORDINATOR

INSTITUTIONAL GIVING

DEVELOPMENT ASSOCIATE

James Sharp

DONOR AND VISITOR RELATIONS ASSOCIATE

 MARKETING William Nedved

ASSOCIATE DIRECTOR OF COMMUNICATIONS

Josh Levine

DIGITAL MARKETING MANAGER

Libby Huebner & Laura Stegman PUBLIC RELATIONS CONSULTANTS

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.

Shea Bahnsen

 TICKET SERVICES ASSOCIATES Connett Croghan, Lauren Hayes, Eric Latham, Kevin Pass, Marion Paton  HOUSE MANAGEMENT Rich Schade PATRON SERVICES MANAGER

Nick Ruth

HOUSE MANAGER

Pia Shekerjian ASSISTANT HOUSE MANAGER

Feisser Stone BAR SERVICES CONSULTANT

 USHERS Miles Barbee, Caleb Clark, Liz Clark, Jacqui Creekmore, Sean Donahue, Sara Fahmy, Nina Figueroa, Anthony Flores, Kerrion Franklin, Adam Henry, Judith Halle, Brandy Hodge, Matt Jennings, Lane Keast, Bethany Koulias, Negar Modgeddi, Nema Modgeddi, Brandon Moua, Nathaniel Nunez, Natasha Rajaratnam, JP Ritcherson, Gilbert Taylor II, Niles Wells Daniels, Omari Williams, Siera Williams 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.

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

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BROOKLYN-BORN  Greats sneakers on Abbot Kinney Boulevard.

PLAYING AN OVERSIZED ROLE in American pop culture, sneakers are more than just athletic footwear. As a fashion statement, they often transcend style, conveying something about their wearers’ status, musical tastes or politics. At its stylishly appointed sneaker boutique in a Venice bungalow, Brooklyn-born Greats is making a big impression with an emphasis on quality craftsmanship and value.

Ryan Babenzien and Jon Buscemi founded Greats in 2013; Buscemi departed a year later to create his own eponymous brand, one with much higher price points. “It started from a

style position, specifically style and price,” Babenzien says of the inspiration for the brand. “How can we make a premium, luxury sneaker at the most disruptive price? That was the genesis.”

Babenzien, previously a marketing executive for Puma and K-Swiss, knew the industry and modeled his new brand after eyeglass trendsetter Warby Parker, a vertically integrated operation that sells directly to consumers.

By eliminating the cost of wholesalers, both companies are able to sell luxury-quality products at accessible prices.

“It was our position that all

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great brands of the future from 2014 and beyond were going to be direct-to-consumer-based,” says Babenzien.

Greats’ products speak to a multigenerational audience: The shoes appeal to baby boomers who love old-school sneaks while attracting younger consumers with contemporary colors and materials.

Babenzien insists that classic sneaker silhouettes are still relevant and that most bestsellers from big legacy brands such as Nike tend to be based on a handful of decades-old concepts. With the company’s respect for timeless styles including slip-ons, hightops and chukkas, traditionalsneaker aficionados relate to Greats, but so do younger people looking for fresh looks and a commitment to craftsmanship.

Everybody of a certain age remembers his or her first pair of all-white sneaks, and Greats offers some stylish whites that stand the test of time.

For those interested in color,

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the Rosen ($59-$99) is offered in a rich oxblood; there’s also a stylish gray body with soles layered in turquoise and orange, as well as a dramatic black over a green sole structure layered with a streak of yellow and a red outer sole that rides up the front tip.

Such prices are hard to believe for a hot brand with a celebrity following, one that includes former President Barack Obama.

“We’re not a hype brand,” Babenzien says. “I want to make a really great product that’s super-amazing quality and super-stylish and get it to the most people, because I'm superproud of what we do.”

The best price possible gets it to the most people, he points out.

“After launching the brand on our own principles, we actually found this quote by Charles Eames, who’s one of the most prolific designers in history: ‘The best, for the most, for the least.’”

When Greats noticed a disproportionate demand for smaller sizes, management realized it had

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DULÉ HILL IN LIGHTS OUT: NAT “KING” COLE. PHOTO BY MARK GARVIN.

In this highly theatrical exploration into the soul of an American icon, Tony and Olivier Award-nominee Colman Domingo and Patricia McGregor imagine Nat “King” Cole as he faces the final Christmastime broadcast of his groundbreaking variety show and weighs the advice of his friend Sammy Davis Jr. to “go out with a bang.” Songs such as “Nature Boy,” “It’s a Good Day” and “Unforgettable” underscore this innovative look at one of America’s greatest talents. Starring Emmy Award-nominee Dulé Hill (West Wing; Stick Fly; Bring in ‘da Noise, Bring in ‘da Funk) as Nat “King” Cole and Daniel J. Watts (Hamilton, Memphis) as Sammy Davis Jr.

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inadvertently discovered a strong following among women and introduced a line of women’s footwear last year. A bestselling shoe for the ladies is the Royale ($179), handmade in Italy and available in a variety of colors including a smart blush-lavender combination; a limited-edition collection of Royale sneaks features colors such as gold lamé ($199).

Reinventing a classic shoe popularized by Vans is a Nick Wooster-inspired slip-on ($169$269), available in white, ash gray and a neutral suede. This shoe is also available for women with a black-leather cap toe ($179); the Slide ($89) slip-on sandal is offered with a variety of Italian-leather uppers.

That same Slide, modified with a vibrantly colored floral wetsuit material from designer Cynthia Rowley ($105), introduces a more playful quality.

Recognizing the role of sneakers in pop culture and entertainment, Greats has entered into collaborations with designer Jason Wu and NFL player Marshawn Lynch; the latter’s shoe sold out in 49 minutes.

“Up until recently, luxury was defined by the most expensive product with a logo,” says Babenzien. “The internet has changed that, because you no longer need to spend the most money to get luxury-quality goods.” —Joseph LeMoyne

Greats 1505 Abbot Kinney Blvd., Venice 310.392.0033, greats.com

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Müsh co-owner Michelle van der Heijden

BARSTOOL AND BANGLES  Müsh for furniture and jewelry in Silver Lake.

ONE OF THE QUALITIES THAT make Silver Lake such an appealing section of Los Angeles is its wealth of commercial storefronts in which artistic creation is celebrated, whether it be fashion, home furnishings or cuisine.

One such establishment—its Silver Lake Boulevard neighbors previously featured in these pages include LA Mill and Alimento for dining, LawsonFenning for design and OK for objets d’art—is Müsh, whose merchandise ranges from furniture to jewelry.

Founded in 2007 by the husband-and-wife team of Emmanuel Todorov and Michelle

van der Heijden, Müsh was originally located in East Hollywood before moving to a 650-square-foot space in Silver Lake, a neighborhood the couple appreciates for its eclecticism.

“We wanted to create a space where people could come in and think differently,” says van der Heijden, noting that the store is densely packed but not overwhelming. “There’s a depth to the space, and people are constantly noticing something new,” she says.

“All of our customers, regardless of age, are looking for something different, not cookiecutter,” says van der Heijden, a

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design industry veteran. “That’s why they come to Silver Lake.… It feeds them.”

Todorov, an actor, says, “It’s not just the locals who drop in.

We have a very loyal following, and many customers travel from the Westside to see us.”

Van der Heijden explains that the approach was novel in an era when more strictly composed spaces were in vogue. “As a decorator, I would travel to flea markets and estate sales to discover unique finds that add character to a home,” he recounts.

During the Great Recession, jewelry was introduced to Müsh, and the couple continue to support creative, approachable designers.

“I’ve always liked bright colors, but when the market crashed, the style became very monochromatic, in both furnishings and fashion,” says van der Heijden, suggesting that people with limited resources avoid taking chances. Fortunately, that trend has reversed, and Müsh is once again awash in vibrant colors.

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“I grew up with Eames and Herman Miller,” says van der Heijden, whose father was a showroom designer for midcentury-modern furniture manufacturer Knoll in the 1960s.

At Müsh, the period is well-represented through quality pieces like a vintage leather arm chair ($1,750) based on a classic Eames design, or a marble-topped coffee table ($559) with graceful polished-nickel legs.

Lighting options include a Lotus Flower chandelier (from $385) crafted from hundreds of handcut Capiz shells from Thailand, or a minimalist modern Halo lamp pendant ($399) from Danish designer Soren Christensen. The Halo’s streamlined profile—it is particularly effective when clustered—is enhanced by a variety of unique colors.

An industrial-inspired Marseille side table ($415) features a spiraled iron-rod base with heavy-gauge steel top with gun-metal finish.

Facetiously referring to industrial-chic design as “the poor man’s midcentury modern,” van der Heijden posits that the style’s honesty is attractive to collectors.

“People have so much going on in their worlds, they crave a more simple design,” she explains.

Müsh is filled with unique objets d’art with historic significance, such as a 1950s Airstream clock ($119) with polished aluminum base.

“People are always curious about history, so they respond well to things like a vintage postcard of a cowboy,” says van der Heijden, adding that such items

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CALL FOR PICK-UP 800-400-6259 are effective even in ultramodern environments. Original midcentury pottery includes a striking black and red floor vase ($895) from Germany and an Aldo Londi-designed vase ($225) from Italy.

The shop offers very affordable art, such as an unsigned Picassoesque depiction of the Pietà ($520) from the 1970s and a 1967 oil-on-board floral folk art painting ($590) by Nikolai Nickoff.

There are also some pricey pieces available, such as a set of 10 signed Warhol proofs ($29,000) and Dancer (on sale at $16,000),

by Arthur Secunda.

“For a small space, we have a lot of art,” observes Todorov, who adds that Müsh’s curated selection of collectibles is snapped up quickly. “As for the super-eclectic, one-of-a-kind items that come into the shop, nothing stays longer than a couple of weeks.”

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TAPAS ON FIG  Otoño tapas bar and dining room in Highland Park.

YOU DON’T HAVE TO BE OLD TO remember when Highland Park was an unloved community squandering its strategic location along the Arroyo Seco between Pasadena and downtown L.A. Now gentrification is in full force, with home values pushing $800,000 amid a flurry of buzzworthy restaurants. Among those is Otoño, an inviting Spanish tapas bar and dining room from chef/owner Teresa Montaño.

Designer Ana Henton carved a sleek contemporary restaurant out of a landmark building while preserving some of the character of the 1928 structure, originally an S.H. Kress & Co. five-and-dime.

Walls are lined with century-old brick or splashed with saffroncolored paint and accented with decorative tin-stamped tiles.

A colorful graffiti mural from PichiAvo, a pair of prominent street artists based in Valenica, Spain, suits the lively bar area where vintage-style leather stools complement a counter topped in distinctive gray marble.

In the industrial-chic dining room, where exposed structural trusses reinforce a sense of authenticity, rough-hewn benches are aligned with candlelit wooden tables.

Montaño, formerly of Old Pasadena’s now-defunct Ración,

FRANK LEE

nd rs

DI N I N G

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This dramatic re-telling weaves together firsthand accounts by 30 World War I soldiers with music including patriotic tunes, trench songs and Christmas carols.

Vegetarian paella, one of several versions at Otoño

offers familiar Spanish tapas, including pan con tomate, nothing more than grated tomato on grilled bread with garlic, olive oil and sea salt yet bursting with vibrant Mediterranean flavor.

Both croquetas de jamón (ham croquettes) and wild mushroomsweet corn croquetas reveal oozy béchamel sauce-based fillings, the essence of proper execution, but the presence of ham or mushrooms is arguably too subtle.

Otoño also serves premium handcut jamón ibérico, the famed meltin-your-mouth ham produced from a special breed of acorn-fed pigs.

Griddled blue prawns are prepared with green garlic and Andalusian brandy, while charred leek-like spring onions are topped with shaved Garrotxa goat cheese and a thick romesco sauce.

Under the heading Raciones (another term for bar snacks) is a delightful chilled almond-garlic

The Wanderlust with Iberico ham garnish and Gin Tonic de la Casa

BY PETER ROTHSTEIN WITH MUSICAL ARRANGEMENTS BY ERICK LICHTE & TIMOTHY C. TAKACH

SAT / DEC 22, 2018 4:00PM & 7:30PM

Theatre at The Broad Stage made possible in part by generous gifts from Bill & Laurie Benenson and Susan Stockel.

All Is Calm: The Christmas Truce of 1914 at The Broad Stage made possible in part by a generous gift from Linda & Michael Keston.

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soup scented with eucalyptus and spiked with a splash of foraged mountain vinegar, whose charcoal-grilled grapes are much more than just a garnish.

With her passion for Valencia, it is no surprise that Teresa Montaño turns out outstanding paellas.

Another ración is braised octopus with stewed summer beans and chorizo, while grilled black cod arrives in a Japanese tonkotsu-inspired broth made from jamón ibérico. Smoked chicken thighs are served with shishito peppers and a green peppercorn mayonesa that transforms the unpretentious meat into something memorable.

With her passion for Valencia, it is no surprise that Montaño turns out outstanding paellas,

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Graffiti mural

by PichiAvo

including one with shellfish, a vegetarian version and paella negra with scallops. The latter— a trio of ham-topped sea scallops and some dollops of lemon aioli punctuating the black, squid inkstained rice—is visually dramatic.

As in the best paellas—not the mountains of fluffy rice often passed off as the quintessential Spanish dish—Montaño ensures that the rice on the bottom of the pan becomes crispy, providing added dimension.

The wine list at Otoño is predominantly Spanish, but gracious wine director Katie Putterlik incorporates interesting finds from the nation’s lesserknown regions, including the resort destination of Mallorca and the Canary islands, closer to Morocco than to mainland Spain.

The approachable list, which features many bottles under $50, also includes food-friendly wines from Provence, Greece, Portugal

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FRANK LEE

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and Sardinia, as well as some California labels.

Among desserts are a citrusand cinnamon-scented crema catalana, and beets and berries in sweet almond cream. A riff on cheesecake, so savory it might be considered a cheese course, features Caña de Cabra goat cheese spread on sourdough crust, plated with sweeter elements like dates, figs and mangos, along with a drizzle of pistachio honey.

Spanish cuisine is among the most exciting in the world, whether strictly traditional or reimagined by avant-garde chefs.

The last exceptional Spanish restaurant in Los Angeles, Melrose Avenue’s Smoke. Oil. Salt., did not last long, but perhaps Otoño will have the same bright future as the community of Highland Park.

—Roger Grody

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A FRIEND RECENTLY ASKED FOR wine recommendations, specifically targeting red wines that would be smooth or easy to sip.

“I’m not a cabernet kind of girl,” she said. “I’ve heard that red wine is healthier for you than white wine, so I’m looking for some red wines that would be easier to sip than cabernet. Would that be pinot noir, or malbec, or something else?”

Pinot noir does indeed fit the description, but in this case, price was also a consideration, and that would rule out most red Burgundy and domestic pinot.

The health angle is an important issue for many and has fueled

an increase in sales of red wine by the glass in restaurants and wine bars. Multiple studies link certain compounds in the skins of redwine grapes with improved heart health.

But high-octane red wines loaded with aggressive tannins, such as cabernet sauvignon and Barolo, and high-acid reds such as Chianti and barbera, though wonderful with certain foods, can be too harsh, too alcoholic or too astringent for casual sipping.

What’s the fun in that?

If you would like to make the switch from white to red during happy hour, do not despair. There is an abundance of red wine that

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 The wines of Rioja, Spain, are delicious and modestly priced.

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Vineyards in Rioja, Spain. Crianza is the most accessible of Rioja wines.

delivers delicious flavors and aromas with supple, soft tannins and smooth balance between fruit and acid.

My current favorite type of red wine that delivers these characteristics at modest to very reasonable prices is Rioja, the best-known wine of Spain. The money grape of Rioja is tempranillo, which produces a velvety texture without losing the all-important structure necessary for aging.

My friend was hoping to find a red she could purchase in volume and use as her house wine—in other words, one for her everyday consumption.

A Rioja crianza is what the doctor ordered.

Rioja crianza is a red Rioja. (Rioja produces white wine as well, but the reds are more renowned and more readily available.) The wine is aged a minimum of two years—one of them in oak—prior to release.

Rioja crianza is the go-to red wine in tapas bars throughout Spain. It’s delicious and the price modest.

The Campo Viejo crianza, for example, from recent vintages retails for about $12, and the Cune crianza, from one of the top cooperatives in Spain, for about $10.

If you want a bit more oomph without losing the velvety texture, a top-notch Rioja reserva from an exceptional producer such as Bodegas Beronia can be had for less than $20.

In addition to tempranillo, garnacha—called “grenache” in

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France—is a prominent grape in Rioja, particularly in Rioja Baja, the southeastern half of Rioja that has a pronounced Mediterranean influence. Garnacha delivers soft, ripe red fruit that is highly perfumed and mellow.

El Coto, with large vineyard holdings in Rioja Baja, typically includes a good percentage of garnacha in its blend, making this supple, smooth Rioja crianza one of the most popular in Spain. Its 2014 crianza retails for $10 and for less in many sections of the U.S. Spanish wines have excellent penetration in our domestic market. In California, there is easy access to a variety of Spanish wines at modest prices at Trader Joe’s and Costco.

My tactic: Visit one of those stores and pick up five or six wines to take home and taste all at once.

When I find one or two—or three or four—gems that I believe offer tremendous value, I will return and stock up, purchasing several cases for the cellar.

These bargain reds, besides being delicious for everyday consumption, serve another purpose.

Their presence spares me the temptation of prematurely raiding my cellar for wines that I’ve expressly laid down for long-term aging. For that reason alone, the investment in inexpensive, truly delicious red wine is worth it.

And I’m told my heart will thank me later!

Tasting Notes

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Wines are rated on a 100-point scale; scores are simply a measure of the reviewer’s personal enthusiasm.

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Castello Banfi 2013 Brunello di Montalcino Poggio Alle Mura (Tuscany, Italy, $100) 2013 was a banner year for Castello Banfi. Its flagship Brunello di Montalcino was named the 2018 Critics Challenge imported wine of the year. Its Poggio Alle Mura, produced from vines planted near the medieval Banfi castle, is as good if not better—a suave Brunello that exhibits fine tannins, deep notes of cherry and plum and just a hint of wood spice despite two years in French oak. At $100 a bottle, it could well be underpriced! Rating: 98 Cakebread Cellars 2015 Syrah (Suscol Springs Vineyard, Napa Valley, $57) If you’re into Napa Valley cabernet sauvignon, you know Cakebread. If you know Napa Valley chardonnay, you know Cakebread. Napa Valley syrah? Not so much. That could well change with more wines like this gorgeous syrah sourced from Napa’s Suscol Springs Vineyard.

Rich and ripe, it delivers a delicious burst of ripe blueberry fruit, impressive depth and length, and a spicy finish. Rating: 96 Migration 2016 Chardonnay (Running Creek Vineyard, Russian River Valley, $56) Exquisite California chardonnay is hardly a rarity, but it’s anything but common. The 2016 Migration effort from Running Creek Vineyard fits the description, showing notes of lemon oil, ripe pear and baking spice, and an absolutely exquisite balance. It’s a stunning wine that is beautiful now and likely will be for a number of years to come. Rating: 96 —Robert Whitley

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kind of performances are we going to put on our stages? We’re developing a master plan for the next two to three decades that won’t be sitting on a shelf attracting dust.”

The Musicians Roster also reflects the diversity of cultures and styles in Los Angeles, says Bill Wilson, who plays soprano sax in the City of Angels Saxophone Quartet. Though the group is listed as a classical ensemble on the roster, Wilson says, “we were asked, ‘Can you adapt your program to meet the diverse audience’s needs?’ ” The ensemble plays jazz and tango, among other styles.

The quartet has presented free concerts at libraries in Agoura and Malibu. It’s a win-win situ3:00 PM ation: Audience members can hear music without having to leave their communities, and the quartet receives exposure. “It’s a real pleasure for us to have the opportunity to perform for these audiences,” alto sax player Sean Stackpoole says.

Commission staffers look forward to the next step in the arts evolution: In May, the Board of Supervisors voted to create a new department of arts and culture, transitioning the commission into a standalone department by the fiscal year 2019-20.

“A lot of people think the arts are frivolous,” Dang says, “but they are integral in our lives.

Becoming a department gives the commission a lot more credibility.”

Adds Sakoda: “They’re giving the arts a seat at the table.”

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mentioned mentoring and college prep workshops.

In 2012, it further expanded with Take a Stand, a partnership with Bard College in New York and its school of music to connect like-minded educators nationwide. In July, the National Take a Stand Festival culminated with a Dudamel-directed concert at Walt Disney Concert Hall by students from YOLA/El Sistemainspired programs throughout the country.

Future plans call for further expansion. In August, the L.A. Phil unveiled architect Frank Gehry and Gehry Partners’ model for the new Judith and Thomas L. Beckmen YOLA Center @ Inglewood, which converts a former bank branch into a 25,000-square-foot facility.

Elements include a performance space, rehearsal rooms, practice studios and rooms— some with recording equipment—and a music library. The center opens in about 18 months.

“This is a dream come true,” Dudamel said at the event.

“Classical music is sometimes very far from the community.

[Here] the concept is that small groups of people will have access to classical music, and the arts in general. Arts education is a right.”

As for dreams come true, Centeno describes performing at the Hollywood Bowl: “There are so many people watching you.

It’s so exciting to see them all.

And after we perform, it’s the best feeling. The audience clapping made me feel really proud.”

Mark Twain and Friends: A River Journey Now through Nov 18

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BACK PAGE ⁄⁄⁄⁄ HOLLYHOCK HOUSE, BARNSDALL ART PARK ⁄⁄⁄⁄ PHOTO BY DALE BERMAN

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The New KCRW App

Discover the latest from KCRW Be your own DJ Integrated with Apple Music and Spotify Custom feed of shows & music Pause live radio

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