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CALENDAR OF EVENTS FEBRUARY 2017 19 Sun
THE BEACH BOYS
3pm National Symphony Orchestra of Ukraine
20 Mon 10am, Family Day: StateTheatreNJ.org/FamilyDay 12:30pm, Lightwire Theater & 3pm Moon Mouse: A Space Odyssey 24 Fri 8pm Shut the Folk Up & Listen featuring Keller Williams & Leo Kottke 25 Sat
8pm Lewis Black
26 Sun
8pm Air Supply
FAMILY DAY
MARCH 2017 4 Sat
2pm The Sleeping Beauty & 8pm Russian National Ballet Theatre
5 Sun 8pm A Very Intimate Acoustic Evening with Pat Benatar and Neil Giraldo 6 Mon 8pm The Classic Rock Show ‘A-Z of Rock’ World Tour 2017 10 Fri 11 Sat
8pm Dennis DeYoung: The Music of Styx 10am Milk & Cookies: Jack McKeon & 12pm
8pm The Five Irish Tenors
24 Fri
8pm Pippin
25 Sat
2pm Pippin & 8pm
31 Fri
PAT BENATAR & NEIL GIRALDO
8pm The Beach Boys PIPPIN
FIND OUT FIRST—JOIN E-NEWS! Be the first to find out about just added shows at StateTheatreNJ.org/enews.
BUY ONLINE: StateTheatreNJ.org TICKET HOTLINE: 732-246-SHOW (7469) GROUP TICKETS: 732-247-7200, ext. 536 TICKET OFFICE: 15 Livingston Ave, New Brunswick, NJ PERFORMANCES FOR SCHOOLS: 732-246-7469, ext. 545
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A MESSAGE FROM THE PRESIDENT & CEO We are thrilled to announce that six-time Tony Award®winner Audra McDonald will be headlining this year’s State Theatre New Jersey Benefit Gala—performing an evening of Broadway hits and songs from the great American songbook. Our annual Benefit Gala is the highlight of the State Theatre’s year. The Gala’s proceeds support our artistically acclaimed programming and our nationally recognized arts education programs. Every year, State Theatre New Jersey’s Education and Outreach programs serve 17 counties and more than 200 schools across the state of New Jersey. This year’s Gala honorees include: American Benefits Consulting (Corporate Honoree), Susan and Brent Podlogar (Patron Honorees), and Freeholder Director Ronald G. Rios and the Middlesex County Board of Chosen Freeholders (Leadership in the Arts Honorees). In addition to the concert, a Gala ticket includes a dinner reception, open bars, dancing, and live entertainment. The Gala festivities begin at 5pm at The Heldrich Hotel and the performance will begin at 6pm. A portion of each Gala ticket price represents a tax-deductible contribution to the State Theatre. For more information, visit StateTheatreNJ.org/Gala or call 732-247-7200, ext. 543. We hope you will consider joining us for this wonderful event. Sincerely,
Tom Carto President & CEO
PHOTO ©JEFFREY AUGER
Dear Friends,
AUDRA McDONALD
STATE THEATRE OFFERS SINCERE THANKS TO
FOR ITS GENEROUS SUPPORT OF STATE THEATRE NEW JERSEY AND THE ORCHESTRA SERIES.
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NATIONAL SYMPHONY ORCHESTRA OF UKRAINE THEODORE KUCHAR, conductor ALEXEI GRYNYUK, piano soloist
ANTONIN DVOŘÁK Carnival Overture, Op. 92 SERGEI PROKOFIEV
Piano Concerto No. 3 in C Major, Op. 26
DMITRI SHOSTAKOVICH
Symphony No. 5 in D minor, Op. 47
Jim and Louise Temerty Marta Witer and Ian Ihnatowycz, Andamar Entertainment Inc., Producer of BITTER HARVEST, Coming to Theaters February 24, 2017 www.bitterharvestfilm.com
UNDERWRITTEN BY
This program is made possible in part through a grant by the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.
NATIONAL SYMPHONY ORCHESTRA OF UKRAINE
NOTES ON THE PROGRAM DVOŘÁK: Carnival Overture, Op. 92 Dvořák In June 1891, at the invitation of Jeanette Furber, the founder of the National Conservatory in New York, Antonín Dvořák took leave of his position at the Prague Conservatory and came to New York City the following year in order to serve as the director of the National Conservatory. The composer was to hold this position for the next three years. To honor Dvořák, a special farewell concert took place in Prague on April 28, 1892; it was on this occasion that the composer conducted the National Theater Orchestra in the premiere of his cycle of overtures entitled as a whole, Nature, Life and Love. He had composed these between March 1891 and January 1892 to convey the feelings aroused in him by the “three great creative forces of the Universe.” The three parts of the cycle were later renamed separately In Nature’s Realm, Carnival, and Othello. All three overtures are programmatic to a certain extent, and they all share one main thematic basis, the character of which changes in each overture according to compositional content; this common thematic germ allegedly reflects the composer’s awe before the “unchangeable laws of the Universe.” The famous musicologist and Dvořák scholar, Otakar Sourek, characterized the idea of Carnival as follows: “Man enters reality from dreams, and the variegated bustle of life from the feeling of sublime solitude; and he is happy here. Man readily yields to the rash whirl and merry making, being thankful for all the beauty and joy. The circle of playful, merry youth in which he finds himself does not matter; on the contrary, he lets himself be drawn, carried away and becoming intoxicated by it, he himself shouts with joy and is frolicsome.” A less philosophical program is that of a lonely contemplative wanderer who reaches a city at nightfall while a street carnival is in full swing. Carnival follows the traditional form of a symphonic sonata-allegro except for the poetic slow section introduced before
the central development section. With a brilliant orchestral tutti at the outset of this overture, Dvořák presents his first set of themes, all of which are energetic and cheerful; these suggest the carnival scene or, more symbolically, the hustle and bustle of life itself. Eventually, as the intoxicating whirl reaches its climax and the excitement fades away, this is magically replaced by a beautiful lyrical intermezzo, which is introduced by a blast on the horn, which delicately fades, to a pianissimo. The languorous melody for flute and oboe is said to represent “a pair of straying lovers, whom the boisterous gaiety of their companions reaches but dimly;” to this touching, poetic theme, the composer added the Nature motif which recurs throughout the cycle, here played on the clarinet. After the intermezzo, the torrent of exuberant music returns as the earlier themes are developed, recapitulated and rounded off by a splendid coda. Dvořák dedicated Carnival to the University of Prague, which had recently conferred an honorary Doctorate Degree upon the composer. This work, along with its two sister overtures, was given its American premiere on October 21, 1892, with the composer at the podium; this concert, the first in the New World for Dvořák, was held at New York’s Music Hall, now known as Carnegie Hall. © 1999 Columbia Artists Management Inc.
PROKOFIEV: Piano Concerto No. 3 in C Major, Op. 26 “Take one Schoenberg, two Ornsteins, a little Satie, mix with some Medtner, add a drop of Schumann, then a shade of Scriabin and Stravinsky, and you will have a cocktail resembling the music of Prokofiev.” So once wrote a music critic in Musical America. What is particularly interesting is that, stylistically, Prokofiev’s music changed little over the decades; the same qualities and mannerisms by which his later works are recognized can be found in many of his earlier compositions. In his autobiography, Prokofiev stated that five principal factors dominated his art, these being: 1) the influence of Baroque and Classical forms, 2) the desire to innovate new harmonies into his expressive music, 3) strong rhythms, 4)
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elements of lyricism, and 5) the jesting and mocking characteristics so typical of his symphonies, concertos, and stage works. In addition to more than one hundred piano pieces, of varying lengths and in many styles, Prokofiev wrote five superb Piano Concertos, where some of his finest keyboard writing can be found. Although he had conceived several of the themes for his Piano Concerto No. 3 in 1911, 1913, and 1916, Prokofiev began work in earnest on this piece at Leningrad in 1917. However, work on the concerto was halted for several more years. Following the success of the composer’s First Piano Concerto and of his Scythian Suite when they were performed in Chicago in the fall of 1918, the Chicago Opera asked Prokofiev to write an opera for their next season; Prokofiev suggested his new project, The Love for Three Oranges, and the work was scheduled for production in the winter of 1919-20. The score for the opera was completed in time but, unfortunately, the conductor behind the project died shortly afterwards and the production had to be postponed. In the meantime, while waiting for the opera to be produced, the composer rented a cottage in the coast of Brittany in the summer of 1921 and utilized the time to complete the Third Piano Concerto. Upon his return to Chicago to oversee the final preparations and rehearsals for his new opera, the concerto received its premiere performance with the Chicago Symphony Orchestra under Frederick Stock with the composer at the piano on December 16, 1921. In the first published score, the composer provided the following analysis: “The first movement opens quietly with a short introduction. The theme is announced by an unaccompanied clarinet, and is continued by the violins for a few bars. Soon the tempo changes [leading] to the statement of the principal subject by the piano...A passage in chords for the piano alone leads to the more expressive second subject, heard in the oboe with a pizzicato accompaniment. This is taken up by the piano and developed at length. At the climax of this section, the tempo reverts to Andante, and the orchestra gives out the first theme, fortissimo. The piano joins in, and
the theme is subjected to an impressively broad treatment. On resuming the Allegro, the chief theme and the second subject are developed with increased brilliance, and the movement ends with an exciting crescendo.” “The second movement consists of a theme with five variations. The orchestra alone announces the theme. In the first variation the piano treats the opening of the theme in quasi-sentimental fashion... The tempo changes to Allegro for the second and third variations...In variation four, the tempo is once again Andante, and the piano and the orchestra discourse on the theme in a quiet and meditative fashion. Variation five is energetic (Allegro giusto). It leads without pause into a restatement of the theme by the orchestra, with delicate embroidery in the piano.” “The finale begins with a staccato theme for bassoons and pizzicato strings, which is interrupted by the blustering entry of the piano...Eventually, the piano takes up the first theme and develops it into a climax. With a reduction of tone and slackening of tempo, an alternate theme is introduced in the woodwinds. The piano replies with a theme that is more in keeping with the caustic humor of the work. This material is developed and there is a brilliant coda.” Unlike the contemporaneous opera The Love for Three Oranges, the Concerto was enthusiastically received by audience and critics alike at its first performance, and has become since then one of Prokofiev’s most frequently performed works. ©1996 Columbia Artists Management Inc.
SHOSTAKOVICH: Symphony No. 5 in D minor, Op. 47 Dmitri Dmitriyevich Shostakovich was the first major Russian composer to receive his entire musical education under the Soviet regime. He first achieved international recognition, and governmental approval, with his First Symphony; written as a graduation piece, it was acclaimed at its premiere in May of 1926 in Leningrad, as well as in its first Western performance in May of 1927 in Berlin (conducted by Bruno Walter) and its American premiere in November of 1928 in Philadelphia (led by Leopold
NATIONAL SYMPHONY ORCHESTRA OF UKRAINE
Stokowski). Throughout his lifetime, however, Shostakovich went in and out of favor with the authorities, even if his loyalties were unquestioned. Shostakovich was quite a prolific composer; his fame, however, rests largely upon a number of his 15 symphonies; he completed his first at 19, creating musical history with the unprecedented success and acclaim it received, and he wrote his 15th—and last four years before his death. It must be noted that not all of his symphonies were warmly received in the Soviet Union. These “ups and downs” were to continue throughout his symphonic career. The Fifth Symphony of Dmitri Shostakovich may well be viewed as the composer’s musical response to official Soviet criticism of his compositional style. He was not alone in receiving the stinging barbs of Soviet censure as Prokofiev and many of the major Soviet composers of the time shared in the same fate. They were being attacked for their failures to conform to proscribed state guidelines established for Soviet artists. It is interesting to note that Shostakovich originally labeled his Fifth Symphony “a soviet Artist’s Practical, Creative Reply to Just Criticism.” At a later time, however, he omitted this reference and replaced it with the following statement: “The theme of my symphony is the stabilization of a personality. In the center of this composition—conceived lyrically from beginning to end—I saw a man, with all his experiences.” The Symphony No. 5 in D minor was composed between April 18th and July 20, 1937. It received its premiere performance in Leningrad on November 21, 1937, in the midst of a celebration of the 20th anniversary of the Revolution. The work was a tremendous success and moved many in the audience to weep openly. This, in Shostakovich’s own estimation, because “...they understood, they understood what was happening around them and they understood what the Fifth was about.” After the work’s premiere, many articles appeared written by poets, authors, war heroes and others outside the musical domain lauding the symphony. Shostakovich, no longer labeled an “enemy of the people,” achieved
the stature of a cultural hero. The Symphony No. 5 in D minor is a work of expansive, spacious proportions and is governed by traditional Classical design. Its four movements contain a vast range of moods projected by a rich and colorful symphonic mass. Most ingenious is the manner in which the composer creatively incorporates piano, celesta, and other percussion instruments into the texture of the music. The first movement, Moderato, presents an expansive, heroic first theme. The violins initiate the theme with a motto of four thrusting bars of an angry, assertive mood, the overall character being one of a menacing march. The first violins proceed from this motto to spin out a long melody, truncated at times with stinging fragments of the motto. The second theme begins in a slow and reflective fashion and gains impetus as the movement proceeds; this is accompanied by a three-beat rhythmic figure. The movement ends in a quiet passage with the piccolo and celesta in interesting scalar passages. The second movement, Allegretto, was written in just a few days. Although not specified as a Scherzo by the composer, it is fraught with dance themes of a raucous nature and is a brilliant distillation of the Scherzo genre. In it, one can hear the foot stomping of peasant dances. The third movement, Largo, demonstrates the essential greatness of Shostakovich. In large part elegiac, the movement is a brooding, probing interlude, expressively exploring the loftiest ideas of the symphony. The reflective lyricism gives way to an urgency and intensity. The solos for oboe and flute against the stark octaves in the harp combine to paint a picture of bleakness. The intensity increases to a climactic moment but it subsides on a note of resignation at the end of the movement. The final movement, Allegro non troppo, is a powerful Rondo with intimations of military marches; the timpani thunders forth and the brass blazes in a victorious tone. Following one last outburst, the symphony finishes in a reflective mood. In a tribute to his friend, Mstislav Rostropovich has remarked of Shostakovich:
SUN, FEBRUARY 19, 2017 AT 3PM
“Only those who have suffered very deeply can totally understand Dmitri Shostakovich’s music. He gave to the world not only a sense of great beauty, but also a feeling for the great difficulties and contradictions of the epoch in which we live.” ©1998 Columbia Artists Management Inc.
ABOUT THE ARTISTS Formed by the Council of Ministers of Ukraine in November of 1918, the National Symphony Orchestra of Ukraine is considered to be one of the finest symphony orchestras in Eastern Europe. Its first conductor was Oleksander Horilyj. Natan Rachlin was the artistic director of the Orchestra from 1937 until 1962. The NSOU was entrusted with the premier performances of the works of the following composers: Sergei Prokofiev, Dmitri Shostakovich, Aram Khatchaturian, Boris Lyatoshynsky, Valentyn Silvestrov, Myroslav Skoryk, and Evgen Stankovych. The orchestra has gained international recognition over a remarkably short period of time. After an appearance in Moscow, Dmitri Shostakovich commented: “This orchestra has as distinguished a group of performers as one would be likely to find anywhere. The ensemble of the orchestra is of the highest level. In addition, the various soloists and instrumental groups within the Orchestra play exceptionally and complement each other beautifully—as would the greatest of the world’s symphony orchestras.” The NSOU has performed in success-
ful concert tours throughout Australia, Austria, Bahrain, Belgium, Belarus, China, the Czech Republic, Denmark, France, Germany, England, Hong Kong, Iran, Italy, Japan, Kazakhstan, Lebanon, the Netherlands, Oman, Poland, Portugal, Russia, Slovakia, Spain, Switzerland, and the United Arab Emirates. Since April of 1999, Volodymyr Sirenko has been the artistic director and chief conductor of the NSOU. Since June of 2006, Alexander Hornostai has been its Managing Director and Producer. THEODORE KUCHAR, Conductor Laureate The multiple award-winning conductor Theodore Kuchar is the most recorded conductor of his generation. For the past 20 years, he has served as Artistic Director and Principal Conductor of two of Europe’s leading orchestras, the Janacek Philharmonic Orchestra (formerly the Czech Radio Orchestra) and the National Symphony Orchestra of Ukraine In the 2011-12 season he commenced his tenure as the Artistic Director and Principal Conductor of the Orquesta Sinfonica de Venezuela. An avid chamber musician, he served as the Artistic Director of The Australian Festival of Chamber Music (1990-2006), and as the Artistic Director of the Nevada Chamber Music Festival since 2005. Among Kuchar’s numerous accolades include BBC Record of the Year, Australian Broadcasting Corporation Record of the Year, Chamber Music America Record of the Year, Gramophone Magazine’s Editor’s
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NATIONAL SYMPHONY ORCHESTRA OF UKRAINE
Choice, the WQXR Record of the Year and a nomination for a Latin Grammy Award® (in the category of Best Instrumental Album of 2013). As an educator and orchestral trainer he has served as Resident Conductor of the Kent/Blossom Music Festival, the educational institution established by the late George Szell, in cooperation with The Cleveland Orchestra, since 2003. In 2006, he developed the annual conductor’s courses in cooperation with the Paris Conservatoire and hosted by the Janacek Philharmonic Orchestra in the Czech Republic. In March, 2012 he lead the Conductor’s Guild Workshop hosted by The Cleveland Institute of Music. During the period 19962003 he served as Professor and Director of Orchestral Studies at the University of Colorado, Boulder. During his tenure with the National Symphony Orchestra of the Ukraine, Kuchar conducted cycles of the complete symphony by Beethoven, Bruckner, Mahler, Prokofiev, Schubert and Shostakovich, and led 11 international tours to Asia, Australia, Central Europe and the United Kingdom. Under Kuchar’s direction, the National Symphony Orchestra of Ukraine became the most frequently recorded orchestra of the former Soviet Union. Between 1994 and 2004 the orchestra recorded over 80 compact discs. He remains as strong an advocate of composers of the present day as he does of the great composers of the past. Kuchar graduated from the Cleveland Institute of Music in 1982, as a student of Robert Vernon, Principal Violist of The Cleveland Orchestra. In 1981, he was awarded the Paul Fromm Fellowship from the Boston Symphony Orchestra at the Berkshire Music Center at Tanglewood, subsequently reinvited for the following summer.
ALEXEI GRYNYUK, Pianist Kiev-born pianist Alexei Grynyuk displayed tremendous interest in music from his early childhood and at just six years old started giving his first concerts. He attracted wide attention at the age of 13 when he won the first prize at the Sergei Diaghilev All-Soviet-Union piano competition in Moscow. By then he had already been touring Eastern Europe as a soloist as well as performing Mozart and Chopin piano concertos with Ukrainian orchestras. Later he went on to achieve numerous awards at international piano competitions including first prizes at the Vladimir Horowitz International Piano Competition in Kiev and the Shanghai International Piano Competition in China. Equally at home in classical, romantic and 20th-century repertoire Grynyuk has been invited to give solo recitals at many prestigious venues and festivals around the world. He has also been broadcast on: BBC Radio 3, Hessicher Rundfunk, Bayerischer Rundfunk, KRO4 Hilversum, Radio France, and televised on Ukrainian, Lithuanian, Chinese and Russian channels. Enjoying world-wide critical acclaim he was described by Le Figaro as a “…master of transparent and sovereign touch…astonishing personality and absolutely transcendental virtuosity.” After his performance with Maestro Barry Wordsworth Worthing Herald commented that “The mesmerizing fingers of Ukrainian pianist Alexei Grynyuk gave an unforgettable rendering of Rachmaninov’s Rhapsody on a Theme of Paganini that even the composer himself would surely have appreciated.” Grynyuk’s musical development was shaped by his studies at the Kiev Conservatoire under Natalia Gridneva and Valery Kozlov. He also won a scholarship to the Royal Academy of Music in London where he studied with Hamish Milne. His career has been generously supported by Alexis Gregory foundation which led him to perform recitals at the renowned piano series at the Metropolitan Museum of Art in New York and Chateau Vaux Vicomte in France.
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NATIONAL SYMPHONY ORCHESTRA OF UKRAINE VIOLIN I Maksym Grinchenko – Leader Markiyan Hudziy – Sub-Leader Olena Pushkarska Svyas\toslava Semchuk Bogdan Krysa Gennadiy Pavlov Roman Poltavets Oksana Kot Olena Poltavets Valery Kuzik Yevgeniya Sirenko Olga Mikhaylyuk Tetyana Pavlova Viktoriia Trach Svetlana Markiv Iurii Stopin Oleksii Sechen VIOLIN II Galyna Gornostai- Principal Valentyna Petrychenko Oleksandra Vasylieva Anastasiya Filippochkina Olena Bardina Ganna Fedchenko Liudmyla Guley Valentyna Voskresenska Andriy Mazko Sergiy Ursulenko Tetyana Nikonenko Nadiia Novikova Vasyl Bakalov Olena Litovchenko Liudmyla Guliei VIOLAS Oleksandr Pohoryelov Galyna Nemeczek Viktor Navrodskyi Oleh Trunov Orest Krysa Valentyna Lisovenko Bogdan Fesyuk Volodymyr Ponomarov Vira Ampilogova Maksym Bakeyev Anatilii Gavrylov
CELLO Olena Ikaieva – Principal Liliia Demberg Andrii Aleksandrov Tetiana Miastkovska Tamara Semeshko Mykola Dorosh Ihor Yarmus Ievgen Skrypka Tetyana Dondakova Olena Dvorska Alina Matoushek BASSES Volodymyr Grechukh – Principal Oleksandr Neshchadym Oleksandra Chaikina Butko Volodymyr Kaveshnikov Dmytro Golovach Ivan Lykhovyd FLUTES Oleh Sheremeta – Principal Myroslava Sirenko Igor Iermak Mykola Mykytei Larysa Plotnikova OBOES Gennadiі Kot – Principal Yurii Litun Viktor Chernigovskyi Viktor Mishchenko CLARINETS Petro Zabolotnyi – Principal Iurii Nabytovych Viktor Gornostai Oleksandr Avramenko BASSOONS Taras Osadchyi– Principal Oleksiy Yemelyanov Roman Chornogor Volodymyr Antoshin
HORNS Valentyn Marukhno – Principal Andriy Shkil Kostiantyn Sokol Boris Rudniev Iuliia Shevchenko Anzhela Zinchenko Evgen Churikov TRUMPETS Yuriі Kornilov – Principal Viktor Davydenko Grygorii Кozdoba Dmytro Kovalchuk TROMBONES Andriy Golovko – Principal Danylo Sydorov Mykola Artiushenko Andrii Zymenko TUBA Oleksiy Li PERCUSSION Dmytro Ulianov– Leader Danylo Shurygin Evgen Ulianov Gennadii Khlopotov Stanislav Ulianov Oleh Sokolov
STATE THEATRE OFFERS SINCERE THANKS TO
FOR ITS GENEROUS SUPPORT OF STATE THEATRE NEW JERSEY FAMILY DAY
MON, FEBRUARY 20, 2017 AT 10AM, 12:30PM, & 3PM
LIGHTWIRE THEATER MOON MOUSE: SPACE ODYSSEY
Created by
Director & Choreographer
Company Manager
Tour Manager, Ensemble
Marvin the Mouse
Ian Carney & Corbin Popp Ian Carney Eleanor Carney Johnathon Whalen Samantha Rounds
Ensemble
Danielle Coleman, Kevin Chick, and Jesse Forcha
Barry Mendelson
Executive Producer
FAMILY DAY SPONSOR
FAMILY SERIES LEAD SPONSOR
FAMILY DAY MEDIA SPONSOR
This program is made possible in part through a grant by the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.
LIGHTWIRE THEATER
ABOUT THE SHOW Marvin the mouse wants to be popular. Constantly bullied and picked on by the “cool” rats, he is labeled as a looser and a geek. As respite from the continuous badgering, he retreats into his science books and a world of fantasy. He longs to have adventures and to be the hero. Join Marvin on the space adventure of a lifetime. On a trip to the surface of the moon on his homemade rocket, he meets a strange cast of misfit creatures and learns of infinite peril and awesome beauty. Will Marvin make his dreams come true and bring him the glory and acceptance he craves?
ABOUT THE ARTISTS IAN CARNEY (Creator, Director, and Choreographer) is best known for his long run in Billy Joel and Twyla Tharp’s musical, Movin’ Out on Broadway. Born in New Hampshire and raised in New Orleans, he started dancing as a child, studying ballet in New Orleans and in New York City. He danced lead roles in The Nutcracker, Sleeping Beauty, and many other ballets. He has been a guest dancer, teacher, and choreographer in companies across the United States. While still performing, Ian earned a degree in English Literature from Tulane University. He is the co-creator of the family shows that continue to delight audiences around the world: Dino-Light, The Ugly Duckling, Lightwire the Show, and A Very Electric Christmas. Carney has appeared on television with Lightwire Theater on America’s Got Talent, TF1’s The Best Show in France, and as the winner of Tru TV’s season one of Fake Off. ELEANOR B. CARNEY (Company Manager) is riginally from New Orleans. She began her dance training with Harvey Hysell and Joseph Giaccobbe. She graduated from Southern Methodist University with a B.F.A. in dance and a B.A. in anthropology. She has danced professionally with Indianapolis Ballet Theater as well as the Lexington, Northwest Florida, Delta Festival,
and Montgomery Ballets. Career highlights include dancing Aurora in Sleeping Beauty, Desdemona in The Moor’s Pavane, the title roles in Romeo and Juliet, Cinderella, Giselle, and Coppelia and, of course, the Sugarplum Fairy in The Nutcracker. Carney is delighted to have appeared with Lightwire Theater on America’s Got Talent, France’s new hit show The Best on TF1, and most recently as the proud winner of Tru TV’s first season of Fake Off. CORBIN POPP (Co-Creator) is from Lincoln, Nebraska. He earned a degree in biochemistry at University of Nebraska-Lincoln, while also studying math, physics, and dance. Opting for dance, Popp performed in The Phantom of the Opera and Billy Joel and Twyla Tharp’s Movin’ Out on Broadway. He has toured throughout the U.S. with many shows and all over Europe with Tharp’s dance company. Popp speaks German, studied in Germany on a Fulbright scholarship, and recently graduated from dental school; yet, he still continues to perform and collaborate with Lightwire Theater. KEVIN CHICK (Ensemble) is a puppeteer and clown standup comedian. Most notable credits include: The Jim Henson Company, The Kimmel Center of Philadelphia, The Guthrie of Minneapolis, Southern Colorado Repertory Theater, educational theatre throughout South America, Mexico, and Argentina, “Coca-Cola” zero commercials, and political activist puppet videos with daily show writer, Lizz Winstead. Chick hails from Iowa and received his B.A. in theater from the University of Iowa. Most recently, he accomplished one of his dreams by blasting across the U.S. on his motorcycle. He would like to say a big thank you to his family for their continued love and support. DANIELLE COLEMAN (Ensemble) is very excited to join the cast of Lightwire! A New Orleans native, Coleman began acting in the city’s rising film industry. She spent a year studying at the Ivana Chubbuck Studio in Los Angeles and has been a member of SAG/AFTRA since 2010. Besides working
MON, FEBRUARY 20, 2017
on set, she is a certified yoga instructor and teaches in the New Orleans area. “Much love and gratitude to Lightwire for this new and exciting adventure!” JESSE FORCHA (Ensemble) is a seasoned veteran of the New Orleans theatre community. He was last seen in Hoofing for Heroes at the New Orleans Center for the Creative Arts and also at the Atlantis Resort in the Bahamas as a magician’s assistant for the world renowned magician, Rob Lake. Other favorite credits include 42nd Street (Andy), A Chorus Line (Mike), Curtains (Billy), Grease (Danny), The Sound of Music (Rolf), The Wizard of Oz (Tin Man), and many others. Forcha is part of the Gulf Coast Theatre on Tap where he does what he loves best, tap dancing. He is also a skilled clarinet, flute, and saxophone player. He would like to thank his parents and sisters for always encouraging his dream and a special thanks to his Aunt Kat.
Gr eat Fo od From Fr e s h Ingr e di e nts
SAMANTHA ROUNDS (Marvin) is from Las Vegas, Nevada. She is a 2016 graduate of the University of Oregon Clark Honors College with a B.A. in Dance. Rounds has an extensive movement background which includes dance, figure skating, kickboxing, and aerial circus arts. She is certified in Gus Giordano dance technique and is also a certified Zumba instructor. She enjoys drawing and playing the trumpet. While at the University of Oregon, she played trumpet for the Athletic Band all four years. She is thrilled to perform with Lightwire Theater, and she wants to thank her family and friends for their unwavering love and support. JOHNATHON WHALEN (Road Manager) is a New Orleans native. Whalen has been a member of Lightwire Theater for three years, performing in New Orleans at The National World War II Museum, Le Petit Theatre, Rivertown Theaters for the Performing Arts, and the Jefferson Performing Arts Society. He has a B.S. in Athletic Training from Southeastern Louisiana University and has also done set design and construction for several New Orleans theaters. “Thanks to all the members of Lightwire for making the work so enjoyable!”
Breakfast . Lunch . Dinner Sandwiches . Bakery . Catering 115 Easton Avenue, New Brunswick, NJ 08901 (732) 543- 0202 www.fritzsnb.com
FRI, FEBRUARY 24, 2017 AT 8PM
SHUT THE FOLK UP & LISTEN FEATURING KELLER WILLIAMS & LEO KOTTKE
This program is made possible in part through a grant by the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.
KELLER WILLIAMS & LEO KOTTKE
ABOUT THE ARTISTS LEO KOTTKE Acoustic guitarist Leo Kottke was born in Athens, Georgia, but left town after a year and a half. Raised in 12 different states, he absorbed a variety of musical influences as a child, flirting with both violin and trombone, before abandoning Stravinsky for the guitar at age 11.After adding a love for the country-blues of Mississippi John Hurt to the music of John Phillip Sousa and Preston Epps, Kottke joined the Navy underage, to be underwater, and eventually lost some hearing shooting at lightbulbs in the Atlantic while serving on the USS Halfbeak, a diesel submarine. Kottke had previously entered college at the U of Missouri, dropping out after a year to hitchhike across the country to South Carolina, then to New London and into the Navy, with his twelve string. “The trip was not something I enjoyed,” he has said, “I was broke and met too many interesting people.” Discharged in 1964, he settled in the Twin Cities area and became a fixture at Minneapolis’ Scholar Coffeehouse, which had been home to Bob Dylan and John Koerner. He issued his 1968 recording debut LP Twelve String Blues, recorded on a Viking quarter-inch tape recorder, for the Scholar’s tiny Oblivion label. (The label released one other LP by The Langston Hughes Memorial Eclectic Jazz Band.) After sending tapes to guitarist John Fahey, Kottke was signed to Fahey’s Takoma label, releasing what has come to be called the Armadillo record. Fahey and his manager Denny Bruce soon secured a production deal for Kottke with Capitol Records. Kottke’s 1971 major-label debut, Mudlark, positioned him somewhat uneasily in the singer/songwriter vein, despite his own wishes to remain an instrumental performer. Still, despite arguments with label heads as well as with Bruce, Kottke flourished during his tenure on Capitol, as records like 1972’s Greenhouse and 1973’s live My Feet Are Smiling, and Ice Water found him branching out with guest musicians and honing his guitar technique. With 1975’s
Chewing Pine, Kottke reached the U.S. Top 30 for the second time; he also gained an international following thanks to his continuing tours in Europe and Australia. His collaboration with Phish bassist Mike Gordon, Clone, caught audiences’ attention in 2002. Kottke and Gordon followed with a recording in the Bahamas called Sixty Six Steps, produced by Leo’s old friend and Prince producer David Z. Kottke has been awarded two Grammy® nominations; a Doctorate in Music Performance by the Peck School of Music at the U of Wisconsin, Milwaukee; and a Certificate of Significant Achievement in “Not Playing the Trombone” from the U of Texas at Brownsville with Texas Southmost College. KELLER WILLIAMS Williams’ story begins in Fredericksburg, VA, just south of Washington, D.C. There he was exposed to a wide variety of music at an early age, starting with country and bluegrass, and working his way up through hip-hop and go-go, a brand of funk particular to that part of the country. Once he began playing guitar, Williams’ sphere expanded to what he calls “the post-pseudo-skateboarder punk-rock rebellious type of thing, Black Flag and Sex Pistols and Ramones, Dead Kennedys, things like that. That slid into the more melodic college rock, like the Cure and the Cult, the Smiths, R.E.M.’s first five or six records. When he first started out, Williams played in regional bands but also performed as a solo artist, “me sitting on a stool playing covers, like a happy hour situation,” he says. “I’d get dinner and maybe tips. There were bands in high school and in college. But it turned out I could get the same money playing solo that I was getting with the band. Around that time I was also doing temporary jobs and I was making the same amount playing music as I was scraping mortar out of the cracks of cinder block walls for eight hours in the summertime at minimum wage. So it seemed like the obvious choice was to play music. I started to work and over the years I incorporated more technology. The looping thing started to happen and tickets were sold and people
FRI, FEBRUARY 24, 2017 AT 8PM
came to shows, so there wasn’t any reason to fix something that wasn’t broken.” What Williams calls “the looping thing” is actually a big part of what has made him such a compelling live performer. “Basically, I have these machines that are essentially delay units,” he explains. “What I do is step on a button and sing or play something. Then I step on the same button in time and it repeats what I just played or sang. Once that initial loop is created, I can layer on a bass line or a drum line and then have this layer that I just created in front of an audience that I could sing over and solo over. Nothing is pre-recorded. Everything is created onstage in front of the audience.” As years have gone by and he has continued to evolve, he has created more and more unique projects and collaborations with fellow musicians. In 2007 Keller formed a band of his own, Keller Williams with Moseley, Droll and Sipe which featured Keller on rhythm guitar and vocals, Jeff Sipe on drums, Keith Moseley on bass, and Gibb Droll on lead guitar
If it seems as if this is a man who never stops, that would be about right. He released the amusingly titled Thief early in 2010, and Kids, his sixteenth album, in the fall of that same year. A father of two himself, Williams was, of course, inspired by his own offspring but, he says, some of the songs were written before his children were born. “When Not For Kids Only by Jerry Garcia and David Grisman came out, I knew that there was hope for me with kids music,” he says. “I was really attached to that record.” For “Shut the Folk Up and Listen,” Williams goes back to his earliest roots: stripped down and loop-less with just him and his guitar and alongside one of his biggest musical heroes. The very special evening of music, which will feature a solo set by each artist, finds Keller performing a rare loop-less acoustic show. Attendees can also expect spontaneous collaborations between Williams and Kottke.
SAT, FEBRUARY 25, 2017 AT 8PM
LEWIS BLACK
THE RANT, WHITE, AND BLUE TOUR
PRESENTED BY STATE THEATRE NEW JERSEY AND LIVE NATION
This program is made possible in part through a grant by the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.
LEWIS BLACK
ABOUT THE ARTIST Lewis Black is one of the most prolific and popular performers working today. He executes a brilliant trifecta as stand-up comedian, actor, and author. Receiving critical acclaim, he performs over 200 nights a year to sold-out audiences throughout Europe, New Zealand, Canada, and The United States. Black’s live performances provide a cathartic release of anger and disillusionment for his audience. He yells so they don’t have to. A passionate performer who is more pissed-off optimist than mean-spirited curmudgeon. Black is the rare comic who can cause an audience to laugh themselves into incontinence while making compelling points about the absurdity of our world. He was born in Washington D.C. and raised in Silver Spring, MD. Colicky as a baby, it seems he was destined to be angry and easily irritated. His mother, a teacher, and his father, a mechanical engineer, instilled in both Black and his younger brother Ron the importance of education and the necessity to question authority; lessons which have influenced Lewis throughout his private and professional life. When Black was 12, his father took him to his first play and he quickly fell in love with the theater. This ultimately led him to pursue a career in drama. Degrees followed from the University of North Carolina and Yale Drama School, with a stint in Colorado owning a theatre with a group of friends in the interim. During his tenure at UNC, Lewis first ventured into stand-up, performing at Cat’s Cradle in Chapel Hill. Stand-up continued to be a steady presence as he pursued his career in theater. Black eventually settled in New York City and became the playwright-in-residence at the West Bank Café’s Downstairs Theatre Bar. In addition to overseeing the works on stage, he emceed every show. As the West Bank grew, so did Black’s skill as a stand-up and eventually, the fulfillment of performing stand-up outweighed that of working in the theater. Having found his public
voice, Black left the West Bank in the late 80s to pursue stand-up full time. In 1996, his friend Lizz Winstead tapped him to create a weekly segment for a show she was producing on Comedy Central called The Daily Show. The segment, a three minute rant about whatever was bothering him at the moment, evolved into Back in Black. In the midst of a rigorous touring schedule, regular TV appearances and movie roles, Lewis has written two best-selling books, Nothing’s Sacred (Simon and Schuster, 2005), Me of Little Faith (Riverhead Books, 2008), and I’m Dreaming of a Black Christmas (Riverhead Books, 2010). All garnered critical praise as well commercial success and spent numerous weeks on the New York Times best seller list. As a playwright Lewis has penned over 40 plays, many of which have been produced around the country. In addition to his professional pursuits, Black is dedicated to a number of charitable organizations. As a long time mentor with the 52nd Street Project, Lewis was roasted in Charred Black 2007 which drew the largest fundraising numbers in the Project’s history. He’s a member of their Advisory Board, is Co-Chair of their Capital Campaign and in 2000, the Ron Black Memorial Scholarship Fund was created in memory of his late brother. Today Black maintains residences in both Manhattan and Chapel Hill, NC. Still loyal to his alma mater, he’s worked with UNC students to create the Carolina Comedy Festival, a yearly festival on the UNC campus that not only highlights performances, but also provides workshops and lectures for budding comics, writers and performers. With his involvement at UNC, he continues a life-long commitment to education and the arts. In his leisure time, Black likes to play golf, even though golf hates him.
PANICO’S
BRICK
OVEN PIZZERIA BAR & GRILL
94 Church Street (Across from Panico’s Restaurant) phone: 732-545-6161 • fax: 732-545-6868 Delivery, Take-out, or Dine-in • Full Bar Private room available for up to 100 people
STATE THEATRE OFFERS SINCERE THANKS TO
SCOTT AND BARBRA FERGANG FOR THEIR GENEROUS SUPPORT OF STATE THEATRE NEW JERSEY AND AIR SUPPLY.
SUN, FEBRUARY 26, 2017 AT 8PM
AIR SUPPLY
UNDERWRITTEN BY
SCOTT AND BARBRA FERGANG
This program is made possible in part through a grant by the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.
AIR SUPPLY
ABOUT THE ARTISTS Graham Russell and Russell Hitchcock met on May 12, 1975, the first day of rehearsals for Jesus Christ Superstar in Sydney, Australia; they became instant friends with their common love for The Beatles and, of course, singing. After the shows’ performances at 10:30, they would play pizza parlors, coffee bars, and night clubs with just one guitar and two voices. They quickly gained a reputation for great harmonies and for original songs that Russell was constantly writing. They made a demo on a cassette of two songs, “Love and Other Bruises” and “If You Knew Me” and took it to every record company in Sydney. Everyone turned it down but one—CBS Records—who admired their unique style. They made a single in one afternoon and it shot to number one on the national charts. Air Supply was born! Back in Australia they had to start again and made a record called Life Support. On this record were some treasures of songs, including “Lost in Love” which went Top 10 in Australia and somehow found its way to music industry executive Clive Davis in New York. Davis immediately signed Air Supply to Arista Records and in 1980, “Lost in Love” became the fastest selling single in the world, leaping to the top of all of the charts. Now Air Supply was on their way. The second single was “All Out of Love,” and that went up the charts even quicker. Seven top-five singles later, Air Supply at that time had equaled The Beatles’ run of consecutive top five singles. The albums Lost in Love, The One That You Love, Now & Forever, and The Greatest Hits sold in excess of 20 million copies. The trademark sound of Russell Hitchcock’s soaring tenor voice and Graham Russell’s simple yet majestic songs created a unique sound that would forever be known as Air Supply.
However, it is the live shows that always hold audiences captive around the world. They were the first Western group to tour China, Taiwan, and countless other countries that before would not allow pop music across their borders. In 1983 they recorded “Making Love Out Of Nothing At All” by Jim Steinman which solidified the group as a permanent force in modern music. This song was released on The Greatest Hits album which soared past 7 million copies. “Lost in Love,” “All Out of Love,” “The One That You Love,” “Sweet Dreams,” and “Making Love Out Of Nothing At All” have each achieved multi-million plays on the radio. Air Supply began to tour with lavish productions in places that no one had been before. In South America and Asia they became a part of everyone’s life. In 1988, Air Supply was asked to participate in Australia’s bicentennial celebration and to play for HRH Prince Charles and HRH Princess Diana, where they learned both were already ardent fans. This engagement would be one of their most treasured moments in their career. In 1989, they recorded The Earth Is album selling over a million copies outside the U.S. In 2000, a new production company was founded to be devoted to Air Supply’s entire future product, called A Nice Pear, which gave them complete creative control. In July 2005, their live DVD, It Was 30 Years Ago Today celebrated 30 years of success around the world and in that same month, Air Supply smashed attendance records when, in Cuba, at one show they played to 175,000 people. In 2011, the duo continues to play more than 150 shows a year worldwide, including stops in England, Ireland, Israel, Philippines, Korea, Japan, Canada, the U.S., and beyond.
STATE THEATRE OFFERS SINCERE THANKS TO
FOR ITS GENEROUS SUPPORT OF STATE THEATRE NEW JERSEY AND THE SLEEPING BEAUTY
SAT, MARCH 4, 2017 AT 2PM & 8PM
THE SLEEPING BEAUTY RUSSIAN NATIONAL BALLET THEATRE Artistic Director: Elena Radchenko Music.................................................................................Pyotr Ilyich Tchaikowski Choreography.................................................................................... Marius Petipa Libretto............................................................ Marius Petipa and Ivan Vsevolojsky after stories....................................................................................Charles Perrault Sets...............................................................................................Lev Solodovnikov Costumes......................................................................................Simon Virsaladze Additional choreography and staging..............................................Iryna Kovalova Premiere: January 16, 1890 Marinski Theatre, St. Petersburg Princess Aurora................... Maria Klueva, Maria Sokolnikova, Alexandra Krukova Prince DĂŠsirĂŠ..........................Dmitriy Sitkevich, Eldar Sarsembayev, Nelson Pena King Florestan.............................................................................. Dmitry Romanov Queen............................................................................................. Natalia Ivanova Master of Ceremonies................................................................ Denis Onufriychuk Fairy Carabosse............................................................................ Evgeniy Rudakov Lilac Fairy........................................................Olga Gudkova, Hanna Zimovchenko Fairy Tenderness ........................................................................Elena Khorosheva Fairy Boldness................................................................................. Galina Ishenko Fairy Generosity..................................................................... Hanna Zimovchenko Fairy Carelessness........................................................................... Olga Sharikova Fair Canary.............................................................................................. Irina Tsoy 4 Gavalers...... Anton Baglikov, Ivan Zviagintcev, Konstantin Marikin, Nelson Pena Princess Florina........Hanna Zimovchenko, Malika Tokkozhina, Maria Sokolnikova Blue Bird........................... Vladimir Tapharov, Anton Baglikov, Eldar Sarsembayev White Cat....................................................................................Elena Khorosheva Puss-in-Boots......................................................................................Sergey Kotov Little Red Riding Hood...................................................................Daria Lednikova Wolf................................................................. Iaroslav Lishuk, Alexander Jakovlev
FAMILY SERIES LEAD SPONSOR
8PM PERFORMANCE SPONSOR
This program is made possible in part through a grant by the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.
THE SLEEPING BEAUTY
PROLOGUE ACT I The Spell —Intermission— ACT II, Scene One The Vision ACT II, Scene Two The Awakening ACT III The Wedding
PROGRAM NOTES The Sleeping Beauty, a crowning jewel of Marius Petipa’s career, is often considered the finest achievement of the Classical ballet. It is a grandiose and refined blending of the traditional mime, expressive pas d’action, and spectacular divertissements in a lavish theatrical setting. Tchaikovsky was delighted with the invitation to write the music for a ballet based on Charles Perrault’s well-known fairy tale. A baby princess, condemned at her christening by an evil fairy to prick her finger and die on her 16th birthday, is saved by the gift of the good Lilac Fairy, who declares the princess will only sleep until awakened by the kiss of a prince. The fairy tale, replete with a king and queen, fairies both good and evil, a beautiful princess and dream prince, magical stage effects, and courtly splendor, lent itself perfectly to the full evening ballet that was Petipa’s pride. Although different productions have cast the kingdom of King Florestan and his Queen in varying centuries, it is really a storybook kingdom set in the realm of the imagination. In the Prologue, the hall of the palace where the christening is about to take place is resplendent with color, and imposing with its high ceilings and great stone archways. The master of ceremonies, pages, heralds, ladies in waiting, and finally the King and Queen all promenade into the royal setting, looking most distinguished in their elaborate dress. Next, the fairies of the kingdom join the scene of
courtly pageantry with the Lilac Fairy, the six cavaliers, and the maids of honor entering last. All dance in honor of the King and Queen and baby Aurora, about to be christened. Each of the fairies dances her own solo, presenting a gift to the Princess. Just as the Lilac Fairy finishes her dance a strange and frightening rumble is heard. Its meaning soon becomes clear: the master of ceremonies has forgotten to invite the evil Fairy Carabosse! The grotesque woman, her face a white mask, her long dress black and tattered, enters in a huge black coach drawn by four ugly rats. In mime, she delivers the ominous curse that the Princess will prick her finger on a spindle and die. The master of ceremonies is in disgrace, the King and Queen are in despair. But the Lilac Fairy has not given her the gift. She steps forward and assures the royal court that on her 16th Birthday the princess will indeed prick her finger, but then fall asleep for 100 years. The Sleeping Beauty was the first of Petipa’s classics to be seen in Western Europe. Under the title The Sleeping Princess, it was presented by Serge Diaghilev (1872-1929) in London in 1921. In 1939, it was remounted in Great Britain and has been considered the foundation of the Classical ballet repertory in that country ever since. It has now been adopted worldwide, and performance of the leading role remains a kind of initiation rite for aspiring ballerinas. The Sleeping Beauty is a supreme demonstration of the challenge of Petipa’s style— steel point work, sharply accented spin-
ning turns, soaring leaps, high extensions, brilliant battery (beats in the air), daring lifts, and, in addition, it gives a fairy tale plot lavish stage treatment. The Sleeping Beauty was choreographed in strict association with Tchaikovsky’s music. There are themes developed and resumed throughout the ballet, and each act is a unity unto itself. Tchaikovsky willingly took instruction from Petipa as to the length tempo and character of each musical sequence (as he would also do in The Nutcracker). The themes—a young girl’s coming of age and the triumph of good over evil are developed dramatically and musically during the course of the ballet. Each of the three acts includes an Adagio for Princess Aurora, the first celebrating her girlhood, the second her falling in love, and the third her marriage. In these pas d’actions, Petipa makes fuller use than previous choreographers of the dramatic potential of the Classical ballet, as when Aurora’s curved (questioning) attitudes become sharp (exclamatory) arabesques and her balances grow steadily surer.
SAT, MARCH 4, 2017 AT 2PM & 8PM
er is immense and she cannot completely reverse the curse. However, she declares, though the Princess shall indeed prick her finger, she will not die, but instead sleep for 100 years until she is awakened by the kiss of a prince. Carabosse departs, and the curtain falls as the good fairies surround the cradle. ACT I The Spell Act I opens at Aurora’s 16th birthday party. All await the arrival of the Princess Aurora. The ballerina princess bursts onto the scene, dancing a brief and vivacious solo in the manner of a carefree young girl. She is then ceremoniously introduced to the four princes who have come to seek her hand. The Rose Adagio, the famous pas d’action expressing a young girl’s blossoming into womanhood, is about to start. One after the other, each of the suitors turns and displays her while she accepts a rose from each of them (hence the title, Rose Adagio). She pirouettes slowly and
ABOUT THE SHOW PROLOGUE King Florestan declares a grand christening ceremony to be held in honor of the birth of his daughter, Princess Aurora, named after the dawn. An entourage of six fairies are invited to the Christening to be godmothers to the child. As the fairies are happily granting gifts of honesty, grace, prosperity, song and generosity, they are suddenly interrupted by the arrival of the wicked fairy Carabosse, who is furious at the King’s failure to invite her to the ceremony. The King and Queen begin to remonstrate, and the Master of Ceremonies, Catallabutte, intervenes to take responsibility, whereupon Carabosse rips off his wig, laughing. With spite and rage, Carabosse declares her curse on Princess Aurora: she will prick her finger on her 16th birthday and die. But all is not lost: the Lilac Fairy, fortunately, has not yet granted her gift to the Princess. She acknowledges that Carabosse’s pow-
BALLET • TAP • JAZZ MODERNE • POINTE MUSICAL THEATER • HIP HOP PIANO & VOCAL TRAINING
THE SLEEPING BEAUTY
accepts each rose; one prince supports her while the next offers his flower. The Princess continues dancing a joyful solo until her attention is suddenly distracted by a strange woman dressed in black who offers her an unfamiliar object. Before anyone can stop her, Aurora seizes the dreaded spindle. The unwary Princess pricks her finger, grows weaker, and falls to the floor in a swoon. Just as those assembled lapse into despair, the Lilac Fairy steps forward. Waving her wand soothingly, she reminds them that the Princess will only sleep and she casts everyone into deep slumber along with her. The Lilac Fairy summons a forest of thorns, thickets, and enormous shrubbery to grow around the sleeping court. ACT II Scene One: The Vision Act II takes us to a neighboring kingdom 100 years later. Prince Charming and his lord and lady friends are out for a hunt. The cheerful retinue amuse themselves with dances and games, but the Prince is tired of everyday diversions and stays behind to wander about alone. Suddenly the Lilac Fairy floats in on a boat with gossamer sails. She offers to show the melancholy Prince a vision of Aurora. The Prince is utterly enchanted by the sight of the Princess dancing lyrically and romantically amidst a tableau of fairies and nymphs, bathed in a bluish light. He pursues her but can only hold the Princess in his arms for a moment before she eludes him and disappears. She is after all only a spectral image conjured up by the Lilac Fairy. The Fairy offers to take the Prince across the lake, through the dense and tangled forest, to the castle where the real Princess lies asleep. Scene Two: The Awakening The Prince approaches the canopied bed set on a high platform and, as the music heightens, he plants the awakening kiss. Aurora greets him. The King and Queen appear from either side of the stage and welcome the awakened Aurora and her Prince with joy.
ACT III The Wedding The final act ushers us into a sumptuous hall, graced with statuesque columns and a circular gold staircase crowned by a blue sky. It is here that the Royal wedding of Prince Charming and Princess Aurora will take place. A full series of celebratory divertissements is performed by the inhabitants of fairyland. The celebration climaxes with the Grand Pas de Deux danced by the Prince and Princess. They are regal, formal and confident dancing together. Finally, Aurora whirls into the Prince’s arms and dives toward the floor; the Prince catches her around the waist and supports her in the famous inverted pose known as the fish dive. All join the bride and groom for a spirited mazurka and the Lilac Fairy, standing in their midst, bestows her blessing on the happy couple.
ABOUT THE ARTISTS The Russian National Ballet Theatre was founded in Moscow during the transitional period of Perestroika in the late 1980s, when many of the great dancers and choreographers of the Soviet Union’s ballet institutions were exercising their new-found creative freedom by starting new, vibrant companies dedicated not only to the timeless tradition of classical Russian Ballet but to invigorate this tradition as the Russians began to accept new developments in the dance from around the world. The company, then titled the Soviet National Ballet, was founded by and incorporated graduates from the great Russian choreographic schools of Moscow, St. Petersburg, and Perm. The principal dancers of the company came from the upper ranks of the great ballet companies and academies of Russia, and the companies of Riga, Kiev, and even Warsaw. Today, the Russian National Ballet Theatre is its own institution, with over 50 dancers of singular instruction and vast experience, many of whom have been with the company since its inception.
SUN, MARCH 5, 2017 AT 8PM
PAT BENATAR & NEIL GIRALDO A VERY INTIMATE ACOUSTIC EVENING
MEDIA SPONSOR
This program is made possible in part through a grant by the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.
PAT BENATAR & NEIL GIRALDO
ABOUT THE ARTISTS PAT BENATAR Pat Benatar has always been a rule-breaker and a trail-blazer, she remains a bold and distinctive artist both on stage and on record, and now, after more than three decades in rock ‘n’ roll, she’s a bonafide living legend. A four-time Grammy® winner, Benatar is a classically trained mezzo-soprano. During the early days of MTV Benatar was one of the most heavily played artists on the popular music channel. Her hits continue to be as unforgettable now as they were at the dawn of MTV, when Benatar emerged, fearless, fighting, and forging a path for other female rock stars around the world. Born Patricia Andrzejewski in Brooklyn, New York and raised in Lindenhurst, Long Island, she started singing in elementary school and never stopped, working on her craft throughout her teens. At 19, after six months in college, she dropped out to marry her high school sweetheart Dennis Benatar. The couple would eventually divorce in 1979. In 1973, Benatar quit her job as a bank teller to pursue a singing career full time after being inspired by a concert she saw in Richmond, VA. She packed everything she owned into her car and headed back to NYC alone, with only $2500.00 in her pocket. And she never looked back. One night in 1975, Benatar decided to try an open mic night at Catch a Rising Star. She was 27th in line to go on and didn’t hit the stage until 2:00am but she sent the crowd reeling. Hearing the room explode, the owner of the club, Rick Newman, rushed in to see who could possibly be commanding such a response from the room. When the band was finished, Newman approached Benatar and demanded, “Who ARE you?” Thus began their relationship as manager and artist; a working relationship which would continue for nearly 15 years. In the spring of 1979, producer and writer, Mike Chapman, introduced Benatar to Neil Giraldo, an up and coming guitarist. Chapman felt Benatar needed a musical director and partner who could establish a
more aggressive sound and thought Giraldo was the perfect choice. In Giraldo, Benatar found someone as strong as her, someone who could match the same fire-power, someone who could inspire her, while being inspired by her. Their connection was instantaneous…it was indeed, a perfect fit. Of the 10 Grammy Award® ceremonies in the 1980s, Benatar was nominated nine times; for “We Belong” and “Invincible” in 1984, “Sex as a Weapon” in 1986, “All Fired Up” in 1988 and in 1989 for “Let’s Stay Together.” She won an unprecedented four consecutive Grammy Awards® for Best Female Rock Performance from 1980 to 1983 for her second LP, Crimes of Passion, and the songs “Fire and Ice,” “Shadows of the Night,” and “Love Is a Battlefield.” In August 2003, Benatar released Go, her first album of new songs in seven years. Benatar described the record as a “contemporary guitar-driven record” and “the natural progression of where we should be.” Pat Benatar is acknowledged as the leading female rock vocalist of the ‘80s—a feat marked by her unprecedented winning of four consecutive Grammy Awards® between 1980 and 1983, as well as three American Music Awards—but Benatar and Giraldo remain a rock ‘n’ roll powerhouse today, selling out concerts and still wowing audiences after over three decades in music together. Theirs is a chemistry that will, undoubtedly, be thrilling music-lovers forever. NEIL GIRALDO Neil “Spyder” James Giraldo has been a professional musician, producer, arranger, and songwriter for over four decades now, changing the face of the pop charts throughout the 1980s with his collaborator, muse, and wife, Pat Benatar. More than just an explosive, steel bending guitar player, Giraldo’s innovative vision helped him create the signature Benatar sound from its inception. His impressive back catalog includes more than 100 songs written, produced, arranged, and recorded for Benatar, as well as many hits he helped create for John Waite, Rick Springfield (Number One, Grammy®-winning classic “Jessie’s Girl”
SUN, MARCH 5, 2017 AT 8PM
and Top Ten hit “I’ve Done Everything For You” included), Kenny Loggins (Top 20 hit “Don’t Fight It”—also Grammy®-nominated), Steve Forbert, The Del Lords, Beth Hart, and countless others. Giraldo began his career in 1978, as a key member of the Rick Derringer band, after beating out 200 other guitarists for the position. It wasn’t long before Derringer discovered his piano playing prowess and quickly put those skills to work in the studio as well, while recording Guitars and Women. Neil Giraldo was born in 1955 in Cleveland, Ohio. Eternally immersed in the Sicilian culture of their ancestry, parents Anthony and Angela bought Giraldo his first guitar at the age of six, in the hope that he and big sister Priscilla might serenade the family with songs from the old country. His Uncle Tim, who was only four years older, had different ideas, however, and introduced Giraldo to bands like The Yardbirds, The Kinks, The Rolling Stones, and all the other great guitar-driven rock ‘n’ roll bands of the 1960s. It was a move that was to change his path forever. Finding new and innovative ways to shadow path his way into songs, Giraldo formed a habit early on of, not just playing along with his favorite artists, but writing different parts for himself within those tracks. Today, Giraldo’s career is as dynamic as ever, as he is in the process of completing two books—one auto-biographical novel and one coffee table book—as well performing in a new band project with Scott Kempner from the Del Lords/Dictators. He is also further expanding his Bel Chiasso entertainment company, which develops a variety of television and film projects. In addition, he has also opened up his large vault of unreleased, unfinished songs and will be completing and releasing various new tracks with Benatar, as well as with other artists, in the coming months. Whether, it’s in support of the vocal, or a guitar solo, or jumping from piano to guitar and back again, Giraldo’s gift is knowing how to always up the power in a song, increase the excitement and keep himself and Benatar as creative as they’ve ever been.
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THE CLASSIC ROCK SHOW A-Z OF ROCK WORLD TOUR
This program is made possible in part through a grant by the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.
THE CLASSIC ROCK SHOW
ABOUT THE ARTISTS Following the huge success of its 2015 and 2016 20 Greatest Guitar Riffs tours, and as further testimony to the enduring popularity of Classic Rock music, the critically acclaimed stage production The Classic Rock Show returns to the U.S. in 2017 to deliver up its eagerly awaited new show, the A-Z of Rock. Performing the greatest songs from right across the alphabet of Rock, The Classic Rock Show’s world class band powers through Classic Rock’s finest moments, from AC/DC and Aerosmith to Eric Clapton, The Eagles, ELO, Lynyrd Skynyrd, Meatloaf, and Queen to The Who,
Zeppelin, ZZ Top and everything in between, performed with note-for-note precision that truly brings the original iconic and era defining recordings back to life on stage, with a huge sound and light show to match plus much, much more! Anthem after anthem, riff after riff, and power chord after power chord—The Classic Rock Show takes you on a musical journey through two and a half hours of foot-stomping fun, culminating in a show-stopping guitar duel that is definitely not to be missed.
FRI, MARCH 10, 2017 AT 8PM
DENNIS DEYOUNG THE MUSIC OF STYX
This program is made possible in part through a grant by the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.
DENNIS DEYOUNG
ABOUT THE ARTIST Dennis DeYoung is a founding member of the rock group Styx. The Chicago-based band originated in 1962 when brothers John and Chuck Panozzo joined 14 year old DeYoung in the basement of his childhood home to form one of America’s most successful and enduring bands. Styx has sold over 35 million albums worldwide and DeYoung has written eight of their nine Top 10 singles. Styx was the only band to ever record four consecutive triple platinum albums. For over five decades, DeYoung has been a singer, songwriter, keyboardist, and record producer. He wrote and sang several classics including: “Lady,” “Come Sail Away,” “Best of Times,” “Mr. Roboto,” “Show Me the Way,” “Desert Moon,” “Don’t Let It End,” and the 1979 People’s Choice Award-winner, “Babe.” His singing talents have made his voice one of the most recognizable in the world. DeYoung has recorded seven solo albums including Desert Moon, whose title track achieved Top 10 status. DeYoung continues to tour with his band around the world. DeYoung made his Broadway debut in 1993, starring as Pontius Pilate in Andrew Lloyd Weber’s Jesus Christ Superstar’s 25th Anniversary Reunion Tour. While performing in Superstar, DeYoung was approached by Atlantic Records to sing and produce 10 On Broadway, a compilation of his favorite Broadway songs. DeYoung’s passion for American musical theater and composers like George Gershwin and Lerner and Lowe inspired him to write a musical based on Victor Hugo’s classic novel, The Hunchback of Notre Dame. Nashville Tennessee Repertory Theater mounted a full production of Hunchback in the fall of 1997 to glowing reviews. In 2006 DeYoung received the Just Plain Folks Music Awards for Best Theater
Album, The Hunchback of Notre Dame...A Musical, and for Best Contemporary Song, “Who Will Love This Child.” In 2003, DeYoung performed and recorded an expanded version of his Rock Symphony show at the historic Chicago Theater. This CD, Dennis DeYoung and the Music of Styx Live with Symphony Orchestra, has been certified platinum in Canada In recent years DeYoung’s songs have continued to enjoy remarkable popularity. His compositions have been featured in over 30 television shows including: The Simpsons, Freaks & Geeks, Dharma and Gregg, E.R., King of Queens, Sex and the City, Will and Grace, Las Vegas, Cold Case, That 70’s Show, Saturday Night Live, and numerous others. The piece de resistance however was when “Cartman” sang “Come Sail Away” on the groundbreaking series South Park. DeYoung’s songs have been featured in 15 major motion pictures including; Virgin Suicides, Big Daddy, Detroit Rock City, Disney’s Atlantis, and The Wild, The Karate Kid II, the Shrek 2 DVD, Mr. Woodcock, Underdog, and Fun With Dick and Jane etc. Four songs of DeYoung’s were used in The Perfect Man, in which he also made a cameo appearance. Volkswagen turned “Mr. Roboto” into a hit national commercial. In 1999, Hippo Records released The Ultimate Collection, a compilation of select songs from DeYoung’s solo albums Desert Moon, Back to the Word, and Boomchild. DeYoung is a native of Chicago. In January of 2017 DeYoung will celebrate 47 years of marriage to his high school sweetheart Suzanne. He and Suzanne have raised two children and continue to live in the Chicago area.
HUB CITY
STATE THEATRE OFFERS SINCERE THANKS TO
THE LEIST FAMILY FOR THEIR GENEROUS SUPPORT OF STATE THEATRE NEW JERSEY AND THE FIVE IRISH TENORS.
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THE FIVE IRISH TENORS
UNDERWRITTEN BY
THE LEIST FAMILY
This program is made possible in part through a grant by the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.
THE FIVE IRISH TENORS
ABOUT THE PROGRAM Direct from Dublin, Ireland The Five Irish Tenors Perform “Voices of Ireland,” a unique program that blends Ireland’s traditional vocal heritage with vibrant, contemporary songs. In “Voices of Ireland,” The Five Irish Tenors present a dynamic program of joy, passion, spirit, and love performed by this magnificent group of Ireland’s leading tenors. Act One Down by the Sally Garden The Piano Man Star of the County Down Toora – Loora – Looral In A Lifetime Against All Odds Bring Him Home New York State of Mind Your Song Boolabogue Spanish Lady You Raise Me Up Mamma — Intermission— Act Two The Rose of Tralee She Moved Through the Fair Clair Stranger in Paradise My Wild Irish Rose Green Green Grass of Home Bridge Over Troubled Waters When Irish Eyes are Smiling Isle of Hope Hey Jude I Hear You Calling Me Danny Boy
ABOUT THE ARTISTS DAVID MARTIN, Tenor Lyric Tenor David Martin is described as possessing “a beautiful Italian Bel Canto quality in his voice, with a fantastic vocal range, and performs with incredible stamina, agility, and flexibility.”
He studied and performed at the Dundalk Dramatic Society, the Leinster College of Music & Drama in Dublin, and at Il Corso Di Canto E Perfezionamento Lirico. Martin has performed the lead tenor roles in productions of The Lilly of Killarney, The Gypsy Baron, and Pink Champagne. Other performances include tenor roles in operas, such as La Fille du Regiment, La Boheme, Cavalleria Rusticana, I Pagliacci, Lucia Di Lammermoor, La Traviata, Tosca, and more. He has performed in the UK, Europe, and major theatres in Ireland, performing in such shows as The Mario Lanza Story and The John McCormack Story. Martin was a member of the Three Tenors Ireland for seven years performing in many venues in Ireland and the UK until 2013. MORGAN CROWLEY, Tenor Morgan Crowley has performed in opera, concert, theater, musicals, TV, film, radio, and recordings across five continents. Recipient of awards and distinctions including John McCormack and Luciano Pavarotti Awards, London Critics Choice Award, International Voice of Musical Theatre nomination, he has appeared on a Grammy®-winning CD, two Tony®-nominated shows, and an Oscar®-winning screenplay. Following his debut at Covent Garden’s Royal Opera House at only age 20, he played roles in operas including Die Zauberflote, Orpheus, Street Scene, Dido & Aeneas, Tosca, La Belle Helene, Amahl & The Night Visitors, Albert Herring, and Candide, among others. He is currently Associate Director of Opera in the Open and Guest Lecturer at DIT and RADA. His concert repertoire spans hundreds of composers, medieval to modern—notable engagements include the Academy Awards, the Grammy Awards® and National Entertainment Awards. West End/Broadway/international theatre credits include Chicago, Ragtime, Riverdance, Sweeney Todd, Spring Awakening, Hairspray, Spelling Bee, Carousel, West Side Story, Cirque du Soleil, Scrooge, and the title role in The Phantom of the Opera. Television and film credits include Eastenders, The Tudors, Far & Away, Bound, Letterman,
SAT, MARCH 11, 2017 AT 8PM
Yule Be Wiggling, Quest For Camelot, and Lovejoy. CIARÁN KELLY, Tenor Ciarán Kelly is a graduate of the Royal Irish Academy of Music (RIAM), Dublin. He made his opera debut at the RIAM in January 2007, singing ‘Don Curzio’ in a production of Le Nozze Di Figaro, and subsequently sang with the Downpatrick Opera Fringe Festival, Opera Theatre Company, and Lyric Opera. Touring activities have included the Celtic Woman 2012 U.S. tour and various international tours with Anúna. In 2014 Kelly founded the A Capella Irish group Ardú, who specialize in traditional Irish and popular song. In 2010, Kelly sang as a soloist in the historic performance of Handel’s Messiah, a joint performance between St. Patrick’s and Christ Church Cathedrals in Dublin. In 2012 he performed the lead role in Nicolini’s Le Due Gemelle in Piacenza, Italy with singers from Italy, Japan, Korea, and Armenia. He performed the lead role in a specially commissioned short opera in Derry for the arrival of the Olympic Torch, Number Seven, composed by Seán Doherty. Most recently, Kelly un-
dertook the narrator role in Monteverdi’s Il Combattimenti Di Tancredi e Clorinda and in 2013 completed a National Tour with Opera Theatre Company’s production of Carmen performing the role of Remendado. ALAN LEECH, Tenor A Graduate of University College Cork, Alan Leech was appointed as tenor to the Irish National Chamber Choir in 2002. With them he has toured extensively both nationally and internationally. Career highlights to date in this role include performing for U.S. President Barack Obama at the White House, David Lang’s Little Match Girl Passion, and Gerald Barry’s Long Time and ‘Schott & Sons, Mainz.’ International touring has included Russia, Brazil, China, Lebanon, as well as several European tours. As well as chamber music choirs, Leech has also performed with most of Ireland’s leading orchestras and choruses in oratorio and concert performances. He has also performed with Opera Cork, Opera South, Anna Livia Opera, and Opera Ireland. Since 2007 the AOIC have invited him to work as tenor coach with the Irish Youth Choir, and recently as a vocal coach with the exciting
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THE FIVE IRISH TENORS
new Irish Youth Chamber Choir. In 2012 Alan was invited to join the teaching staff of the Ulster Youth Choir. Combining singing, pedagogy and conducting skills has led to many invitations to work with a varying range of choirs and ensembles nationwide. GEORGE HUTTON, Tenor Irish Tenor George Hutton, well known for his performances of rousing Irish traditional melodies, has toured Canada, Belgium, and Holland with the renowned Choral ensemble Anúna. In addition to the “Irish” vocal repertoire, Hutton has performed at the Royal Albert Hall, London as part of the BBC Proms with the BBC Youth Chorus, and in Mozart’s Mass at the National Concert Hall, Dublin. His variety of performances exemplifies an emerging style connecting classical and Irish traditional vocal music. It is through Irish traditional vocal music that George shines, having absorbed the melodies of Luke Kelly, The Dubliner’s, and The Irish Tenors from
which he finds inspiration. The raw emotion and passion he has for Irish traditional music can be found in pieces such as “Raglan Road” and “The Auld Triangle.” FEARGAL MURRAY, Pianist Born in Derry, Ireland, Feargal Murray studied music at Edinburgh University followed by a Masters at Goldsmiths College London. His versatile piano skills range from classical through Irish to pop. He has played/recorded with many Irish artists such as Phil Coulter, Finbar Wright, Anthony Kearns, The Celtic Tenors, Celtic Woman, and more. He has toured the world and played at Red Rocks, Radio City, Carnegie Hall, Greek Theatre, Royal Festival Hall, The Roundhouse, and The Royal Albert Hall. He was choir director for Celtic Woman’s A Christmas Celebration: Live From Dublin and producer for several Camille O’Sullivan albums. Additionally he has co-written songs with Brendan Graham and Jimmy Mac Carthy (Top 10 U.S.
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Billboard Charts for The Celtic Tenors “Still By Your Side”), and has arranged for the Irish Film Orchestra. He has composed and performed an award winning musical adaptation for the Royal Shakespeare Company. He has also composed and performed for London’s Shakespeare’s Globe Theatre alongside actor Aidan Gillen (Game of Thrones/The Wire). He is currently co-writing with the iconic Australian songwriter Paul Kelly and Camille O’Sullivan creating a new show celebrating the Irish 1916 Centenary, supported by Culture Ireland. DANNY FORDE, Pianist/Musical Director/Arranger Danny Forde is a composer, songwriter, music director, and multi-instrumentalist from Dublin, Ireland. He studied piano and composition at Berklee College of Music on a Fulbright scholarship and holds a masters’ degree from Trinity College Dublin. He trained in piano at DIT Conservatory of Music, Dublin. Forde is a passion-
ate performer, and regularly performs his songs with his Irish-Scandinavian Trio, Karmacloud, and as a solo artist. He has performed extensively across Ireland and abroad with various music groups. His music has been aired and performed live on Irish TV and radio. Forde composes songs and music for the visual media, and is regularly commissioned for theater and contemporary dance. His professional theater work includes composition for Unspoken (Project Arts, Centre, Dublin), MONSTER/ CLOCK (Smock Alley Theatre), and The Aeneid (Project Arts Centre) by Collapsing Horse Theatre, Near Death: A Grim Reaper Musical (Greene Theatre, Boston—winner Berklee College Musical Songwriting competition), and more. In 2013 he worked with film composer Lucas Vidal in Los Angeles, assisting on scores for a number of major motion pictures.
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DONATIONS SUPPORT YOUR STATE THEATRE State Theatre New Jersey is dedicated to presenting an incredible array of performances to inspire and delight our diverse community. From Broadway to comedy, family events to concerts, orchestras to dance, and beyond, ticket revenues cover only 65% of our operating expenses. Our family of donors plays a vital role in bringing the best artists from around the world to our stage in New Brunswick and helps sustain the power of live performance at The State!
GIFTS TO STATE THEATRE NEW JERSEY State Theatre New Jersey, a not-for-profit organization, is deeply grateful to the many individual, corporate, and foundation donors that gave to our Annual Giving program from 2/1/16-2/1/17.
INSTITUTIONAL SUPPORT $200,000+ Johnson & Johnson Family of Companies The Middlesex County Board of Chosen Freeholders New Jersey State Council on the Arts $100,000+ The Blanche & Irving Laurie Foundation Robert Wood Johnson Foundation The Star-Ledger / NJ.com $50,000+ Bank of America The Heldrich Investors Bank Magic 98.3 NJ101.5 $25,000+ The Horizon Foundation for New Jersey The Karma Foundation RBC Wealth Management United Airlines University Pain Medicine Center 105.5 WDHA
$10,000+ Frank & Lydia Bergen Foundation Boraie Development Thomas & Agnes Carvel Foundation Colgate-Palmolive E. J. Grassmann Trust The Hyde & Watson Foundation Ingredion Incorporated The George Link Jr. Charitable Trust Magyar Bank The Lester & Grace Maslow Foundation The Curtis W. McGraw Foundation MetLife Foundation New Jersey Department of State, Division of Travel and Tourism The Presser Foundation The Provident Bank Foundation John Ben Snow Memorial Trust TD Charitable Foundation Union Foundation Wells Fargo The Xerox Foundation
$5,000+ Anonymous Chubb Group of Insurance Companies Deluxe Corporation Foundation The Harold I. & Faye B. Liss Foundation M&T Bank Miller’s Rentals New Millennium Bank The George A. Ohl, Jr. Trust Plymouth Rock Assurance PNC Foundation PSEG Foundation TD Bank Victory Worldwide Transportation The Wawa Foundation
Friend of The State Doug and Diane Garback~ The Garback Agency Carolyn and Dave Horn Richard and Larisa Leist Mr. and Mrs. John A. McCrane Susan and Brent Podlogar
Frank and Karen Raia Dave Retcher Todd A. Shamy and Joey Grinkley Peter and Maggie Stavrianidis Matthew and Tracy Taylor Donna and Jack Walcott Joseph and Kristine Yelencsics
$2,500+ Credit Suisse Gilbane Building Company MagyarBank Charitable Foundation Roberts Florals Silver Line Building Products Xerographic Document Solutions
CHAIRMAN’S COUNCIL VISIONARY CIRCLE ($25,000+) Mr. and Mrs. Robert E. Campbell Andrew J. Markey DIAMOND CIRCLE ($10,000+) Mr. and Mrs. Omar Boraie Andrew Chen and Heidi Mass
PRESIDENT’S COUNCIL PLATINUM CIRCLE ($5,000+) Ann and Lou Asbaty Isa and Michael Beck Samer and Susan Boraie Mr. and Mrs. Robert J. Ciatto Sharon Cyktor Susan and Steven Darien Stephan DeMicco and Jeanne M. Fox Mary Ellen Dundon Scott and Barbra Fergang William and Constance Fortenbaugh James A. and Elizabeth E. Hance Mr. and Mrs. Timothy W. Harbison Mr. and Mrs. Robert W. Harkins Mr. and Mrs. Edward J. Hartnett Bill Herman Carol Jefferson Joseph Light Richard and Cheryl McDonald Patrick and Mary Ellen Morris Sherard and Naomi Murphy Kenneth G. and Jennifer J. Osterman Jaime Raskulinecz and Linda Varas Warren and Wendy Zimmerman GOLD CIRCLE ($3,000+) Joan A. Appelson Joseph and Xenia Balabkins Michael and Meredith Bzdak Campbell Family Foundation
Peter and Nancy Cornell E & G Foundation, In Memory of George W. and Edith H. DeVoe Russell and Stephanie Deyo Mr. and Mrs. John Fischer John and Jeanne Fitzgerald The Freed Family Anna Marie and Michael Gewirtz Thomas and Annette Griffoul Judd and Carol Hamlin Ms. Eileen Harkins Stephen K. Jones David Kapulsky Mr. and Mrs. Bradley Korbel Charles and Ruth Larsson Barbara and Len Littman Andrew and Pamela Lovasz Mr. and Mrs. Duncan L. MacMillan Joseph and Maxine Macnow Ed and Lidia Moragas Derek and Jacqueline Patterson Linda A. Piscadlo Theresa Ragozine Ron and Lisa Rapolas Salvatore J. and Bernice A. Romano Judy and Jack Steinweis Stolzer Family Foundation Ms. Robin E. Suydam and Mr. Paul Corkery Scott Sweeney
Lisa and Thomas Uzzo Wendy Wiebalk and Steve Cahn SILVER CIRCLE ($2,000+) Anonymous Brian and Lauren Agnew Mark and Valerie Berkowitz Henry and Lisa Bignell Gil Blitz Anthony and Wendy Carter Tom and Laurie Carto Mario and Jennifer Chiarella Lisa Blair Davis Henry A. Dombrowski Jeff and Janine Erickson Robert and Lily Erwin Steve and Ann Garvey Mitch Horowitz and Andrea Greenberg Horowitz Christian and Christine Jensen Marylu Korkuch Ann and John Kosco Gabriel and Jacqueline Lavigne Howard and Cheryl Malitz Rita Paszamant Richard A. Patt MD Rona Solberg Art and Eva Stevens Peter and Karen Tarricone Dr. and Mrs. P. Ashley Wackym
Patron’s Council members Alan and Theresa Chew pose for pictures with performers from Shanghai Acrobats of the People’s Republic of China at the Annual Donor Appreciation Evening pre-show reception on November 18, 2016.
President’s Council members attended the annual dinner in their honor on the State Theatre New Jersey stage and, along with members of the staff and Board, were entertained with a special performance by Bobby Bandiera & Friends.
The Boraie Donor Lounge is a hub of activity before performances, as President’s Council members gather in the elegant space to greet familiar faces over cocktails and meet fellow theatergoers.
DONATIONS TRANSFORM YOUR COMMUNITY We believe everyone should have the opportunity to engage with live performing arts and outstanding educational programming. Each year State Theatre New Jersey provides nearly $650,000 in free and subsidized tickets, programs, and services to the community. Members enable us to make these vibrant programs accessible to students, children, and adults of all backgrounds. With the support of individual donors we continue to create extraordinary performing arts experiences that last a lifetime!
PATRON’S COUNCIL GUARANTOR ($1,000+) Anonymous Esta Aranoff Brother International Corporation Alice A. DeVoe and John Szabo Franklin Mutual Insurance Philip George and Carolyn Timmons Lonnie Gietter Dr. Alvin and Joyce Glasgold Todd Harvey Jean and Claude Heller Kinder Morgan Foundation Michael and Suzanne Lindemann Mr. and Mrs. John Lucs Mr. and Mrs. Daniel McDonnell Million Dollar Round Table Foundation Thomas Oates Frank Santiago and Dana Farrell Senator Bob Smith and Ellen Smith James Tuttle Dr. and Mrs. C. E. Van Norman Frank J. Wilson BENEFACTOR ($500+) Anonymous (4) Paul Adams Aetna Roofing Corp. Judi Batren William and Nancy Beachell Jeff Baeudette Peggy Berry Robert and Jane Berry Mr. and Mrs. Robert Bolanowski Mr. and Mrs. John A. Bradley II Peter and Eva Braedel
In Memory of George Buchman – Mrs. Jean A. Demko-Buchman Richard P. and Joan Burt Michael Cassidy Richard Cooke Ms. Ruth J. Crawford and Ms. Michelle Gorda Mike and Kate Downey Robert Fazen The Frazee’s Don and Kelly Gallagher Michael Giantini Paul Goldman Mr. Sidney and Dr. Sharon Granetz Fran and Richard Habib Russell Harkavy Donna Hartzel Kevin Hoagland James Horowitz Cynthia Jankech Jerry and Barbara Judin Bonnie Kass-Viola Theresa Lanuto Ravikanth Kolla Nick and Michele Lombardi Dr. and Mrs. Joseph Lukacs Dr. Barry H. Lustig Deborah Anne and Edward Magaziner Joseph F. Marazzo Stephanie Martin Farryn Melton Michael Graphics, Inc. Carol Miller Frank Monte Tina and Victor Ngai Rev. and Mrs. Osy and Julia Nuesch Margaret Palermo Mr. and Mrs. John A. Papa Bonnie Petrock Russell and Janet Piparo Mr. and Mrs. Igor Portnoy Leo V. Priola, RN Joseph Quinones Jr.
Ann and Robert Rafano Exceptional Dentistry Craig Ratner, DMD In Memory of our Dear Friend and Philanthropist: Louis Cyktor Jr. Carolyn and David Rothrock Stephen Sasso Anthony and Janis Scelsa & James and Diane Downey Janie and George Schildge Shawn Scott Drs. Anthony and Rosanne Scriffignano Irving and Claire Sinai Dr. and Mrs. Patrick Sinko Kate Sweeney Angelo J. and Rosalind Valetutto May Van Norman Dan Vickery Mr. Adam White Melanie Willoughby PATRON ($250+) Anonymous Martin Abschutz Dr. Deborah S. Alexander Mr. and Mrs. Terrill M. Brenner Cadillac Bob Matthew A. Brown Mark and Stephanie Carey Laura A. Cisar and Robert Gowin Jonathan Clayton Benjamin and Marie DelVento Robert Dour Ms. Ilona S. English Lian Farrer Barbara Fisk Stuart and Joane Fox, in Honor of William Herman Deborah S. Freedman Leonard P. and Lois J. Fromer III
Bryan and Susan Garruto Lois and Mel Gelade Patrick and Ann Marie Hill Gurdon W. Hornor Alina and TJ Klein Wayne and Debi Klokis Jennifer Kushinka Michael and Sara Levine Robert W. and D. Nadine Mack Mr. and Mrs. G. Magliocca Mr. and Mrs. Richard Marko Dr. and Mrs. Douglas M. Masi Larry and Pam Mayewski Stanley Mendelson, in Memory of Isabelle Mendelson The Mero Family Donna Marie Monek Michael and Diane Moskal Carmen and Beth Nastus Naomi Nierenberg Doris and Dennis O’Dea Anthony A. Panko John Petrolino Mr. and Mrs. Gerald Post On-Tech Consulting Dr. Peter J. Schroeck and Dr. Alexander E. Pichugin Stephan and Leslie Sekulich Cantor Wayne Siet, Temple Shaari Emeth Mike Stair UFCW Local 464A Blanquita B. Valenti Mr. and Mrs. Robert Valentine Linda Van Derveer Allan and Bonnie Warton
Local preschool students from Mt. Zion Pre-K in New Brunswick join performers on stage after a performance of A Brown Bear, A Moon & A Caterpillar: Treasured Stories by Eric Carle. A partnership with the New Brunswick School district saw a total of 1,964 students provided with free tickets and 64 classes received copies of the books of the performances they saw on stage.
PATRON’S COUNCIL (CONTINUED) FAMILY & FRIENDS ($100+) Anonymous (2) Gail and Jeffrey Aaron Carol Adelman Jennifer Albers Tom and Marie Andreano Delia Ardastra Mr. and Mrs. Lyn Baer Vicki Baglivo Carole J. Banfield Stephanie Bartz Richard and Susan Benitz Albert and Mildred Bieber Charles Billy Justin Black and Andrea Mckaronis Mr. and Mrs. Lewis M. Bloom Sandy Book Michael Boxer Bill Braden Kimberly Brancato Gino Braneiforte Jan and Gary Broder Joseph and Christina Bulman Kevin Burns Mark and Frankie Busch Anthony Casale Jr. and Karen M. Michane Neil J. Casey Mr. and Mrs. Thomas Christie Stan and Lorraine Ciemniecki Patrick Cimmino Robert Diday and Susanne Clark Cathleen Clifford The Coller Family Bruce and Robin Corini Ellen and Cliff Cramer Jessica Daniels Henry and Amira De Fex Carol Dobos James Dolan Nancy Duffy Egenton Family Claudia Elliott and Donato Diamente
Sandi and Allan Ellis Lois and Mort Farrah John Fedors, Jr. Lenore and Harvey Feldman Jay Felsenstein Robert Fischer Tina Flesch James and Diana Flaherty Stephen Foley and Elisabeth Kaplan Marie Forkin Bonnie and Sheldon Freidenreich Marie Galdi Angela Gash Esther George Karen Giacobbe Ria and Frank Gifford Russell J. Gilkeson Craig and Eileen Glaser Iris Goldin, in honor of Laura Baron Myron Goldman Warren Gooderman Iris and Jeff Green Gwendolyn and Michael Greenberg Brett Greiner Brenda Hagan Mr. and Mrs. Hans O. Hansen Raymond T. Hanson, in Memory of Joyce Hanson Lucille C. Heller Robert and Linda Higgins John and Judy Hoffman Sharon Horner David and Jan Houtman Ms. Barbara Howard Harry, Kathy, and Kara Hudson John Indyk Michael Inzetta Mr. and Mrs. A. Jodidio Lola Kamp, in Honor of Adelaide Zagoren and Ruth Marcus Patt
Dr. Basil and Katherine Kasimis Dr. and Mrs. Melvin Katz Mary Ellen Kaulius Leonard and Bonny Kelter Susan Kingsley Iris I. Kislin Suzanne Klein Joyce Kosa William and Eleanor Kover Miriam W. Lampen Stephanie Landrieu Bernardette S. Larsen Rosemarie Larsen Anthony Lehan Muriel F. Levine Karen and David Levinsky Barbara and Milton Loeb Margaret Marcinko Sharon and Lou Marczak Doug and Pat McKenzie J. McNulty Mr. and Mrs. J. A. Miller Tom, Diane, and Chris Miller Drs. Robert and Sandra Moss Richard J. Moylan Ed Mulholland Barbara Nathan Mr. and Mrs. Thomas Olson Mr. Eugene F. O’Neill Celeste Onka John Osborn Ostrowitz & Ostrowitz, Esqs. Ralph Pantozzi Glenn and Judy Parker Victor Pashkevich Evelyn Petercsak Pam Piotrowski Paul Polukord James and Delores Pope Robert S. Pritchett Jo Ann and Tony Razzano David E. Reuss Monica Riccardello Frances E. Robinson Bruce and Adrienne Rogove
Buena Rosenbloom Michael and Arlene Ross Brent and Jann Ruben Bruce and Debbie Ryno Richard P. Salvas Ronald R. Sauers Karen Schmitt Ronald and Nina Schmitt Vanessa Sciorra Chuck and Deborah Seeley Natalie Sessa Patricia Shiffner Mr. and Mrs. Michael Sleppin Park Smith Jr. Snyder Family Arnold Sooklall Eugene and Kathleen Soucek John and Alexis Stashkevetch Susan and Ed Steinfeld Anne Stewart Colleen Stitt Mr. Tamas Tamas Dr. Barbara A. Tocco Mr. and Mrs. John Toth Peter and Mary Beth Ventrice Elizabeth A. Vincent Larry Wehr Martin Weissman Renee Whiteman Sherron Williamson John and Harriet Worobey Bill and Therese Wyman Gabriel and Donna Yandoli Allison Yessin Phyllis Zarko Mr. and Mrs. Sheldon Zone
MATCHING GIFT COMPANIES ADP Aetna American Express Ameriprise Financial Arch Chemicals Inc. AT&T Foundation AXA Foundation Bank of America Bank of New York Bristol-Myers Squibb Company CAN Insurance Charles Schwab & Co., Inc. Chubb & Son Cigna HealthCare Cisco Systems, Inc. Citigroup Coca-Cola Company Colgate-Palmolive Company Duke Energy Corporation Eli Lilly and Company Elsevier Science, Inc.
ExxonMobil Chemical Company FMC Good Government Program GAP GE Foundation General Mills Give With Liberty Glenmede Trust Company Goldman Sachs Honeywell Horizon Blue Cross Blue Shield IBM IDT IFF Foundation Ingredion Johnson & Johnson Family of Companies John Hancock Mutual Life Insurance Co. JP Morgan Chase Kimberly Clark Kraft General Foods
Lucent The McGraw-Hill Companies Merck Partnership Merrill Lynch Microsoft Mondrian Investment Partners The Pew Charitable Trusts PepsiCo Pfizer Foundation Prudential Financial Robert Wood Johnson Foundation State Farm Companies Tyco UBS Unilever The Vanguard Group Verizon Wells Fargo Bank Xerox YAHOO!
THE ENCORE SOCIETY State Theatre New Jersey’s Encore Society honors those who believe in our mission and, in addition to Annual Giving contributions, support us by including the State Theatre in their will, as a beneficiary of an IRA, retirement plan, or insurance policy or by creating a charitable trust or other planned gift. We thank the following individuals for their vision and continued support. If you have included the State Theatre in your plans or for more information about The Encore Society, please contact Linda Van Derveer at 732-247-7200, ext. 594 or lvanderveer@statetheatrenj.org. Anonymous Connie Breech Gerald Campagna Alisson Canavera Andrew Chen and Heidi Mass Steve DeMicco and Jeanne Fox Scott and Barbra Fergang
John and Jeanne Fitzgerald Friend of the State Theatre Douglas and Diane Garback Bill Herman Estate of Klaus Peter Kuchel Richard and Larisa Leist Mr. Andrew J. Markey
Ken and Jenny Osterman Dave Retcher Laura Rothkopf Claire and Irving Sinai Linda Van Derveer May Van Norman Warren and Wendy Zimmerman
ENDOWMENTS Endowment guarantees financial stability by providing reliable income, year after year, to support State Theatre New Jersey’s programs, and is thus the perfect charitable investment opportunity for the donor who wishes to ensure permanence and excellence. Following are our endowed funds of $50,000 or more: Regina and John Heldrich Symphony Endowed Fund Betty Wold Johnson Endowed Fund J. Seward Johnson, Sr. 1963 Charitable Trust Endowed Fund
Robert Wood Johnson 1962 Charitable Trust Endowed Fund David Lloyd Kreeger Endowed Fund George F. Smith Charitable Trust Endowed Fund
Barbara B. Voorhees Symphony Endowed Fund Donna and Jack Walcott Symphony Endowed Fund
THE RICHARD B. SELLARS FUND FOR ARTISTIC EXCELLENCE Established in honor and memory of Richard B. Sellars (1915-2010), leader of the campaign to preserve State Theatre New Jersey for future generations, the Sellars Fund provides vitally needed funds for original productions and performance enhancements to increase the artistry and excellence on the State Theatre stage. Ms. Betty Wold Johnson Mr. and Mrs. Andrew J. Markey Professor August J. Molnar
The R. B. Sellars Foundation, in memory of Richard B. Sellars Senator Bob Smith and Ellen Smith
William and Lora Tremayne Adelaide M. Zagoren Warren and Wendy Zimmerman
The centerpiece of State Theatre New Jersey’s community outreach is the Artistin-Residence program featuring Glenis Redmond, who performs her poetry and inspires participants to voice their life experiences in writing workshops. The annual eight-week residency has taken her to over 130 sites throughout New Jersey—including schools, senior centers, libraries, residential treatment facilities, and correctional institutions—and touched the lives of more than 16,000 people of all ages, backgrounds, and circumstances.
THANK YOU TO OUR GENEROUS FAMILY OF DONORS! Members sustain our artistic programming and community outreach while receiving special privileges like advanced ticketing, invitations to behind-the-scenes events, exclusive Boraie Donor Lounge access, artist meet-and-greets, and show underwriting. For more information on how to join our Patron’s Council and make a difference yearround, please contact Leah Anglum, Manager of Patron Relations and Development Operations at 732-247-7200, ext. 512 or langlum@StateTheatreNJ.org. To inquire about President’s Council membership, kindly contact Linda Van Derveer at 732-247-7200, ext. 594 or lvanderveer@StateTheatreNJ.org.
GOVERNOR’S COUNCIL The State Theatre New Jersey Governor’s Council includes former members of our Board of Trustees who remain active in the life of The State. We appreciate their support and continued dedication to our mission. Ann Asbaty Madiha Boraie Sharon Cyktor
Constance Fortenbaugh Elizabeth Hance Joseph Light
Nancy MacMillan Andrew J. Markey Richard McCormick
Robin Suydam Peter Tarricone
MAJOR CAPITAL GIFTS State Theatre New Jersey is deeply grateful to the following donors who have made major capital gifts to the theater for production and technology equipment, instruments, cash reserves, and building renovations. These gifts of $25,000 and above assist in fulfilling our mission and attaining higher levels of excellence in serving our patrons. Madiha & Omar Boraie and Boraie Development Company/ Boraie Donor Lounge Family of Ben & Marie Bucca/ Green Room Dave & Carolyn Horn/Renovation of the Theatre & HD Equipment The Hyde and Watson Foundation/ HD Equipment and Sound System
J. Seward Johnson Trusts/Technology, HD Equipment, and Sound System The Blanche & Irving Laurie Foundation/Technology, Equipment, and Sound System Margrit McCrane & McCrane Foundation/Concert Grand Piano and Piano Restoration
Middlesex County/Renovation of the Theatre New Jersey Cultural Trust/ Cash Reserve Fund RTS Unified Communications & Stewart Filmscreen Corporation/ HD Equipment
GENERAL INFORMATION TICKET OFFICE: 15 Livingston Ave, New Brunswick, NJ 08901 Telephone: 732-246-SHOW (7469) Fax: 732-745-5653 Ticket Office Hours: Mon-Fri: 10am-6pm; Sat: 1pm5pm; Sun: Closed unless there is a performance. On weekends, the State Theatre New Jersey Ticket Office is open at least 3 hours prior to any performance we ticket. For all performances we ticket, the Ticket Office is open at least one half hour past curtain and open through first intermission, when applicable. ORDER ONLINE 24/7: StateTheatreNJ.org FIRE NOTICE: The red exit sign nearest to your seat indicates the shortest routes to the street. In the event of fire or other emergency, please do not run—walk to that exit. LOST AND FOUND: If you discover that you have lost something during the performance, please contact the Director of Event Services in the lobby or call the theater at 732-247-7200, ext. 521. CELL PHONES/CAMERAS: Please note that ipads, go pros, selfie sticks, tripods, monopods, cameras with detachable lens and recording devices are not permitted in the theater at any time. Guests who do not adhere are subject to ejection without a refund.
THEATER POLICIES: Guests who arrive after a performance has begun will be seated at the discretion of the Theater Manager during an appropriate break in the performance. Please note this may not be until intermission, so guests should always plan to arrive early. Guests who must leave the theater during a performance are encouraged to do so during a break in the performance, and are subject to being held in the lobby until another suitable performance break. Please be sure to have your ticket on you at all times. If you do not have a ticket to show you will be asked to leave. Food and drink are allowed in the theater for select performances, check with an usher before entering the theater. Outside food and drinks are strictly prohibited from entering the theater. Smoking is strictly prohibited in all areas of the theater. State Theatre New Jersey has a zero tolerance policy regarding aggressive or abusive behavior at any time at State Theatre. Guests who engage in fighting, throwing objects, using foul/abusive language or gestures, attempting to enter restricted areas or engaging in other behavior detrimental to the experience of other guests will be immediately ejected from the venue. Please refer to our guest code of conduct at: StateTheatreNJ.org/your-visit/guest-code-of-conduct
STATE THEATRE ACCESSIBILITY SERVICES Only the orchestra level is wheelchair accessible. Patrons can make arrangements for accessible seating through the Ticket Office when purchasing tickets. The theater is equipped with an assistive listening system that improves sound clarity and ampli fication. The lightweight, wireless headsets may be borrowed free of charge at either coat check or the gift shop.
Large-print programs are available free of charge for most perform ances. Ask for your copy at the lower-lobby bar. Deaf and hearing-impaired patrons may contact the State Theatre through the NJ Relay Service at (TTY) 800-852-7899. If you know someone who loves the arts and would benefit from these services, please share this information.
SEASON SPONSORS
VOLUME 29, ISSUE 5 | FEBRUARY-MARCH 2017 ADVERTISE IN OUR PROGRAM! Contact us today to find out how you can affordably align your organization with the excitement of live entertainment and put your company front and center among our growing customer base. For information, call 732-247-7200, ext. 534.
OFFICIAL AIRLINE OF THE STATE THEATRE
BOARD OF TRUSTEES Scott Fergang CHAIR
John S. Fitzgerald TREASURER
Peter Stavrianidis SECRETARY
Brian D. Agnew Henry D. Bignell Sam Boraie Luis De La Hoz Stephan DeMicco Douglas M. Garback, Sr. Craig J. Guiffre C. Judson Hamlin Jacqueline Hancock-Pena Timothy W. Harbison Bill Herman Richard J. Leist Edward Moragas Patrick Morris Sherard Murphy Susan Podlogar Frank Raia Matthew Taylor Wendy Wiebalk, Esq. Warren R. Zimmerman EMERITUS MEMBERS
Joan Schwartzman Paul Smilow, MD EX OFFICIO MEMBERS
The Honorable James M. Cahill, Mayor, City of New Brunswick Ronald G. Rios, Freeholder Director, County of Middlesex
STAFF ADMINISTRATION Thomas J. Carto President & CEO
FINANCE Ann C. Zawartkay, CPA, CGMA VP & Chief Financial Officer
Marlene Canavera Executive Assistant to the President & CEO
Patricia Lanza l Accounting Clerk & Volunteer Coordinator
PROGRAMMING
Joseph Rodriguez u General Ledger Accountant
Brian O’Boyle u VP of Programming & Executive Producer EDUCATION & OUTREACH Lian Brooke Farrer 9 VP of Education & Outreach Erik Stratton Education & Outreach Associate EXTERNAL AFFAIRS Anna Marie Gewirtz Senior VP & Chief of External Affairs DEVELOPMENT May R. Van Norman Senior Director of Development
TICKET OFFICE Don McKim C Director of Ticketing Services Alison A. Hegarty u Ticket Office Assistant Manager Anna Synek u Inventory Control Supervisor Susan Blumert Z Ticket Office Sales Associate Blanca Rosas Bilingual Ticket Office Associate AUDITORS Mercadien, PC Certified Public Accountants
Linda Van Derveer u Director of Major Gifts & Planned Giving
OPERATIONS Dave Hartkern 9 VP & Chief Operating Officer
Lisa Patterson Capital Campaign Director
Tim Bailey C Facility Manager
Leah J. Anglum l Manager of Patron Relations & Development Operations
PRODUCTION Joe Stoltman Director of Production
Alisson Canavera u Manager of Special Events
Craig Werner 9 Master Electrician, Lighting Designer
Audrey E. Carmeli Manager of Corporate & Foundation Relations MARKETING Howard Levine Senior Director of Marketing Kelly Blithe l Director of Communications Tracy Furr C Creative Director
Willie Weist l Head Audio Michael G. Sivetz Z Master Carpenter Richard Stanek Z Head Technician William K. Pocsik Head Flyman
Jason Paddock Director of Event Marketing
FRONT OF HOUSE Jessica Trechak l Director of Event Services
Hanna Wasserman Marketing Coordinator
Dan Lyons u Concessions Manager
Sara Mackay Graphic Designer u l C Z 9
Indicates 5+ years of service Indicates 10+ years of service Indicates 15+ years of service Indicates 20+ years of service Indicates 25+ years of service
Garry Owen u Sales Manager & Ticket Concierge Gary Frangione u Group Services & Ticket Concierge
State Theatre New Jersey is proud to be associated with the professional technicians of IATSE Local #21
“THE BEST COMEDY of the season”
– The New York Times
Bad Jews
by Joshua Harmon directed by Jessica Stone
March 21 – April 9
ORDER: 732.246.7717 | GSPonline.org GEORGE STREET PLAYHOUSE 9 Livingston Avenue, New Brunswick, NJ 08901 David Saint, Artistic Director • Michael Mastro, Resident Artistic Director Kelly Ryman, Managing Director Grant funding has been provided by the Middlesex County Board of Chosen Freeholders through a grant award from the Middlesex County Cultural and Arts Trust Fund. This program is made possible in part by funds from the New Jersey State Council on the Arts/ Department of State, A Partner Agency of the National Endowment for the Arts.
A LEGACY
of Quality Continues
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The Star-Ledger and its New Jersey affiliates have been recognized by: AMERICAN SOCIETY OF NEWS EDITORS THE DEADLINE CLUB AWARDS THE GEORGE POLK AWARDS ASSOCIATED PRESS SPORTS EDITORS CONTEST NEW YORK STATE BROADCASTERS ASSOCIATION AWARDS FOR EXCELLENCE AMERICAN COPY EDITORS SOCIETY NATIONAL HEADLINE CONTEST SOCIETY OF NEWS DESIGN AWARDS OF EXCELLENCE WORLD PHOTOGRAPHY AWARDS NEW JERSEY SOCIETY OF PROFESSIONAL JOURNALISTS AWARDS EDDIE AWARDS THE PULITZER PRIZES NEW YORK EMMY® AWARDS NEW YORK PRESS PHOTOGRAPHERS ASSOCIATION AWARDS NEW JERSEY PRESS ASSOCIATION AWARDS
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MEET & GREET WITH A ROCK STAR! President’s Council Members Stephan DeMicco (Trustee) and Jeanne Fox backstage for a meet and greet with rockstar Melissa Etheridge before she took the stage by storm on January 13.
MAD SCIENCE! On January 20-21, Doktor Kaboom (aka actor David Epley) took audiences, at both the school day and public performances, on an amazing educational tour of the modern scientific method, using humor and comedy while demonstrating spectacular applications of the physical sciences. Photos by Nancy Swolensky.
New Jersey’s ONLY Nationally Ranked CHILDREN’S HOSPITAL RWJBarnabas Health Celebrates Recognition in Pediatrics The Bristol-Myers Squibb Children’s Hospital (BMSCH) at Robert Wood Johnson University Hospital was once again named one of America’s “Best Children’s Hospitals” by U.S.News & World Report. Congratulations to the BMSCH team, Rutgers Robert Wood Johnson Medical School, Rutgers Cancer Institute of New Jersey, Children’s Specialized Hospital and the physicians in the community on this remarkable achievement.
The Shape of Nonconformity
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