2022 Program: Virginia Grise / Flor de Toloache / Sandbox Percussion

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Welcome to Texas Performing Arts!

Thank you for joining us! We’re thrilled to welcome you back to experience the best in new performance from around the world as part of the Texas Performing Arts 2022–23 Season.

This season, we’re making a bold return to presenting international artists, with nine countries represented in the season. We are also amplifying our longstanding commitment to large-scale dance works, with visits from four major companies. Alongside these visiting productions, we wanted to showcase artists who call Austin home. Through our artist in residence program, you can take a peek behind the curtain of creativity as interdisciplinary artist and creative director Kenyon Adams, playwright Virginia Grise, and choreographer Deborah Hay develop and present their latest projects. New this year, the youngest audiences can experience adventurous art through our new series of creative performance for families.

The 22/23 Texas Performing Arts Season complements our always-popular Broadway in Austin series and our Texas Welcomes lineup of concerts and comedy. Please sign up for our newsletter and see everything we offer at texasperformingarts. org. New shows are added all the time. We hope you can join us for another performance soon!

Bob Bursey Executive & Artistic Director

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Larger Than Life

The Texas Performing Arts Fabrication Studios are where The University of Texas at Austin students from any major can leverage their passion and creativity to make something amazing. We are educators, guiding and empowering students in fabrication practices for live performance, film, television, themed attraction, and art installations. We leverage traditional fabrication knowledge with cutting-edge technologies to develop and support the next generation of great artists.

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Made possible by the generous donations of J.C. Backings and the ADG Archives Backdrop Recovery Project

Digitization project will make historic Hollywood film backdrops accessible to fans around the world

Texas Performing Arts’ Hollywood Backdrop Collection has garnered international attention in the past few years, as interest has grown in this important art form. Thanks to generous sup port from donors, the collection will soon be available to view and explore online.

These assets make up the largest and most extensive educational collection of Hollywood motion picture backdrops in the world.

The collection includes backings from iconic and critically acclaimed films such as National Velvet (1944), The Sound of Music (1965), Ben Hur (1959) and North by Northwest (1958). Following national coverage of the project on CBS’ Sunday Morning with Jane Pauley in February 2020 and two subsequent exhibitions hosted on the stage of Bass Concert Hall the following year, the Boca Raton Museum of Art opened Art of the Hollywood Backdrop in April 2022. The exhibition has attracted international media coverage, from the Wall Street Journal to the Times of London.

Bob Bursey. “Sharing the collection digitally will allow us to celebrate these masters of illusion and perspective while inspiring the next generation of artists with access to material never before available.”

The website will showcase the backdrops in high-resolution detail, amplifying and preserv ing the techniques of backdrop painting and restoration pioneered by Hollywood’s uncredited lead scenic artists. Texas Performing Arts has captured direct instruction from Hollywood’s top motion picture scenic artists Michael Denering, Joe Francuz, and Don ald MacDonald for the website.

Richard Isackes lovingly documented the history of the film backdrops in their award-winning publication, The Art of the Hollywood Backdrop (Regan Arts 2016). A cache of 68 historic paintings was generously donated to Texas Performing Arts by J.C. Backings and the Art Directors Guild Archives’ Back drop Recovery Project.

With generous support from Susan & Robert Morse, Texas Performing Arts is now digitizing the collection to make it even more widely available. A new website will launch and will serve as both dig ital archive and interactive teaching tool.

“It’s an exciting next step.” says Texas Per forming Arts’ Executive and Artistic Director

While student training in these lost techniques con tinues in Texas Performing Arts’ Fabrication Studios, the digital archive will share detailed instruction for future caretakers how to preserve, stabilize and restore these works as the project continues to expand. The digitization of the collection will also help contextualize the work by connecting the backdrops to the iconic films in which they were featured, reaching audiences around the world.

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Assistant Professor of Practice Karen Maness and Professor Emeritus

Oct 20, 2022

Bass Concert Hall Stage

a todo dar productions —

Riding the Currents of the Wilding Wind Performance Lecture

Writers:

Musical

Riding the Currents of the Wilding Wind is a National Performance Network (NPN) Creation Fund Project cocommissioned by Pregones/Puerto Rican Traveling Theater, Movimiento de Arte y Cultura Latino Americana, Center for Imagination in the Borderlands at Arizona State University, Cornell University’s Department of English and Critical Race Theory Series, Las Maestras Center for Xicana[x] Indigenous Thought, Art and Social Practice at UC Santa Barbara, the Alliance for California Traditional Arts and NPN with support from the Doris Duke Charitable Foundation, Ford Foundation, the National Endowment for the Arts and the Andrew W. Mellon Foundation’s National Playwright Residency Program administered in partnership with HowlRound Theatre Commons. This performance lecture, developed in residence at Texas Performing Arts at the University of Texas at Austin and The Clarice Smith Performing Arts Center at the University of Maryland, is a project of a todo dar productions and has been made possible in part, through the sponsorship of Pregones/Puerto Rican Traveling Theater, with funding by the New England Foundation for the Arts’ National Theater Project, with lead funding from The Andrew W. Mellon Foundation and additional support from the Doris Duke Charitable Foundation.

Gonzalez &

Grise

Martha Gonzalez

Kendra

Tylana Enomoto, Martha Gonzalez, Juan Perez Video

Yee Eun Nam

Orellana

Photo by Netza Moreno

ABOUT THE ARTIST VIRGINIA GRISE

From panzas to prisons, from street theatre to large-scale multimedia performances, from princess to chafa – Virginia Grise writes plays that are set in bars without windows, barrio roof tops, and lesbian bedrooms.

Her published work includes Your Healing is Killing Me (Plays Inverse Press), blu (Yale University Press), The Panza Monologues co-written with Irma Mayorga (University of Texas Press) and an edited volume of Zapatista communiqués titled Conversations with Don Durito (Autonomedia Press). Virginia is a recipient of the Herb Alpert Award, Yale Drama Award, Whiting Writers’ Award, the Princess Grace Award in Theatre Directing, and the Jerome Fellowship from the Playwrights Center. She is an alumna of the Soho Rep Writer/Director Lab, the Women’s Project Theatre Lab and the NALAC Leadership Institute.

In addition to plays, she has created an interdisciplinary body of work that includes multimedia performance, dance theater, performance installations, guerilla theater, site-specific interventions, and community gatherings. Virginia has taught writing for performance at the university level, as a public school teacher, in community centers, women’s prisons, and in the juvenile correction system. She holds an MFA in Writing for Performance from the California In stitute of the Arts and is The Mellon Foundation Playwright in Residence

at Cara Mía Theatre in Dallas, Texas, Hodder Fellow at Princeton University, and a Matakyev Research Fellow at the Center for Imagination in the Borderlands at Arizona State University.

ARTIST STATEMENT VIRGINIA GRISE

The first poem I ever read publicly was in the juvenile detention center in Austin, Texas. Over fifteen years later, this has continued to have a lasting impact on my work. Prisons, both literal and metaphorical, the boxes people try to put us in, and state violence are tropes that recur in my writing and the performances I direct. I make theater, in part, as an attempt to liberate myself from confinement, conventional rules, norms, and structures, an attempt to imagine freedom.

I have never arrived anywhere in a straight line so I don’t know how to tell a story in that way. Stylistic elements that have become characteristic of my work, such as circular storytelling, overlapping narratives, repetition and the collapsing of time and space reflect how I move in the world. In South Texas, we dance in a circle coun terclockwise. In the back of dark bars without windows, I learned how a community takes over space, how a people move, transcend the present moment; how a people dream. I want to write and direct plays that are in a constant state of motion: music playing, voices overlapping, and bodies that can’t stop dancing, which to

me is the same as dreaming.

ABOUT THE ARTIST MARTHA GONZALEZ

Martha Gonzalez is a Chicana artivista (artist/activist) musician, feminist music theorist and Associ ate Professor in the Intercollegiate Department of Chicana/o Latina/o Studies at Scripps/Claremont Col lege. A Fulbright (2007-2008), Ford (2012-2013) and Woodrow Wilson Fellow (206-2017), her academic interests have been fueled by her own musicianship as a singer/songwriter and percussionist for Grammy Award (2013) winning band Quetzal. Quetzal has made considerable impact in the Los Angeles Chica no music scene. The relevance of Quetzal’s music and lyrics have been noted in a range of publications, from dissertations to scholarly books. As a result, Quetzal have represented Chicano in spaces such as the U.S. Library of Congress and The Kennedy Center in September of 2011 as a part of their “Homegrown” music series. Furthermore, the traveling exhibit “American Sabor: Latinos in U.S. Popular Music” sponsored by the Smithsonian Institute, featured Quetzal as leaders and innovators of Chicano music. As a musician, Gonzalez has collaborated, and/ or toured with artist such as Los Lobos, Los Van Van, Jackson Brown, Susana Baca, Perla Batalla, Jaguares, Ozomatli, Jonathan Rich man, Los Muñequitos de Matanzas, iCubanismo!, Taj Mahal, Tom Waits, Los Super Seven, Lila Downs, Raul Malo, Rick Treviño, Son De Madera, Relicario, Chuchumbe Charanga

Cakewalk, The B-side Players, Teatro Campesino, Aloe Blacc, Maya Jupiter, and Laura Rebolloso. Quetzal’s latest release is titled “Puentes Sonoros” (Sonic Bridges) on Smithsonian Folkways (2019). Gonzalez along with her partner Quetzal Flores has been instrumen tal in catalyzing the transnational dialogue between Chican@s/ Latin@ communities in the U.S and Jarocho communities in Veracruz, Mexico. Remaining active within the community, Gonzalez has been implementing the collective songwriting method in correctional facilities in schools, prisons, deten tion centers and college classrooms throughout California, Arizona and Seattle WA. She has won numerous teaching awards and is currently serving her third year as an ASU Gammage resident artist. In these ways her performance back ground, music pedagogy and transnational music movement experience has influenced Gonzalez’s scholarship. The promise of Gonzalez’s scholarly work has been recognize through publication in various academic presses. Most recently, “ ‘Coyote Hustle’: Street Vendors and Gentrification in Boyle Heights” was published on Kalfou (Spring 2017) and “Caminos y Canciones in the City of Los Angeles” was published in The Tide Was Always High: The Music of Latin America in Los Angeles edited by Josh Kun (University of California Press). Most recently, and as a testa ment to the body of music and community work Gonzalez has accomplished on and off the stage, in the summer of 2017 Gonzalez’s

tarima (stomp box) and zapateado dance shoes were acquired by the National Museum of American His tory. Professor Gonzalez’s first book manuscript, Chican@ Artivistas: Music, Community and Transborder Tactics in East Los Angeles was published by UT Austin Press in the fall of 2020. Gonzalez lives in Los Angeles with her husband Quetzal and their son-Sandino.

Photo courtesy of Pablo Aguilar

Flor de Toloache

Shae Fiol Vihuela, Vocals

Mireya Ramos Violin, Vocals, Guitarrón

Media Sponsor: KLZT-FM

texasperformingarts.org

Photo by Kelvin Pagan Photography

and

will delight even the staunchest

purist, but

will be lured in by the group’s

style.”

ABOUT FLOR DE TOLOACHE

Latin Grammy®-winning, all-fe male group, Flor de Toloache mixes tradition and innovation, breaking boundaries with their edgy, versatile, and fresh take on traditional Latin American music. Their diverse ethnicities and musical backgrounds transcend culture and gender by forging new paths. The group has graced international stages from Mexico to Japan and has extensively toured the USA and Latin America. Having released three studio albums to date, the talented New York ensemble recently released Florecita Rock-ERA, a compilation of unforgettable anthems inspired by the great rock classics, which left their mark on the group’s sound. They also released Soleda, their first single of their forthcoming album.

Flor de Toloache, es una agrupación totalmente femenina ganadora de un Latin Grammy®. El las combinan tradición con sonidos inovadores rompiendo fronteras y con sus versiones vanguardistas y versátiles dan un nuevo giro a la música tradicional Latino Améri cana. Sus diversos orígenesy an tecedentes musicales trascienden la cultura y el género para forjar nuevos caminos. La agrupación ha aparecido en escenarios interna cionales desde México hasta Japón incluyendo unagira extensa los Estados Unidos. Flor de Toloache ha lanzado tres álbumes discográficos hasta la fecha, incluyendo Florecita Rock-ERA, una compilación de

himnos inolvidables inspiradosde los grandes clásicos del rock, que dejaron sus huellas en el sonido y estilo evidente de la agrupación. Recientemente lanzaron Soledad, el primer single de su próximo álbum.

Photo by Shaon Chakraborty

Photo by Kelvin Pagan Photography

Nov 5, 2022 McCullough Theatre

Sandbox Percussion — Andy Akiho’s Seven Pillars

Composed by Andy Akiho

Performed by Sandbox Percussion Ian Rosenbaum, Jonny Allen, Terry Sweeney, Victor Caccese

Stage Direction and Lighting Design by Michael Joseph McQuilken

WARNING: This performance features strobe lights, and could potentially trigger seizures for people with photosensitive epilepsy.

The commission of Seven Pillars has been made possible by the Chamber Music America Classical Commissioning Program, with generous funding provided by The Andrew W. Mellon Foundation and the Chamber Music America Endowment Fund, and also by the Barlow Endowment for Music Composition at Brigham Young University.

Media Sponsor: KMFA-FM

Photo by Nathan Bajar for The New York Times

ABOUT SEVEN PILLARS

Seven Pillars by Andy Akiho explores the free spaces created within an organized structure. This evening-length work, comprising seven quartets and four solos, began with its central movement, Pillar IV. Originally commissioned as a stand-alone work, this piece contained a rigorous structure and motivic content that Akiho felt compelled to expand beyond its 10-minute capsule. Pillar IV became the nucleus for Seven Pillars, containing the DNA from which the other six quartets are built.

The macro-structure of Seven Pil lars is made up of two simultaneous processes. The first is an additive process where each movement introduces a new instrument that is then incorporated into the subsequent pillars. To balance this expansion, there is a symmetrical structure on either side of the central movement, Pillar IV.

The reflecting movements— Pillars I & VII, Pillars II & VI, Pillars III & V—share formal elements, motives, pitch sets, and other musical elements, but Akiho is the first to say that this is not the point of Seven Pillars. Rather, this structure creates space that can be populated

with emotion and imagination. Even the reflecting movements are occu pied by wildly different aesthetics despite sharing an underlying logic. While still observing the mac ro-structure, these free spaces are first seen in the solo movements. The solos have a more improvisatory form, elaborating on the pillars, go ing off on tangents, or transporting us to somewhere else entirely. They are the skin to the pillars’ bones, but, as we zoom in further, this soft tissue permeates every moment of this meticulously crafted work.

Pillar I unapologetically throws us into the world of Seven Pillars. The building blocks of the piece are

flying around like shrapnel, colliding and combining with each other to eventually congeal into a cohesive whole. The timbral color of this movement is equally elemental, offering the starkest palate of unpitched, articulate, and raw sounds.

The first solo, Amethyst, is scored for vibraphone, and it transports us away from the cacophony of Pillar I into the colorful, dreamlike world of pitch and brightness. Be ginning with lyricism and subtlety, Amethyst eventually works itself into a frenzy. In the aftermath of this turmoil, the movement floats away into the cosmos of Pillar II.

Photo by Carlin Ma

Pillar II is an otherworldly experi ence generated from Akiho’s reimag ining of what the vibraphone and crotales can be. It begins with glow ing, amorphous sounds. The resolu tion on these sounds is made finer and finer as the piece progresses, until they become sharply defined. The glowing waves of light at the start of the piece become sparkling photons of light at the finish.

Pillar III brings us back to earth with its firm rhythmic underpin ning. Interlocking figures dance around each other and then snap into unison. We are treated to Akiho’s version of a backbeat—in 13 beats rather than in 4—which is layered with complex variations that culminate into a fire-alarm of sound. As with Amethyst, this irreconcilable tumult collapses into a sedated coda, recuperat ing from the previous blows.

The second solo, Spiel, intro duces the glockenspiel, but not as it’s ever been heard before. This glockenspiel kicks down the door and delivers a relentless message, dazzling with its speed and agility. Eventually it disappears into thin air as if nothing had happened.

The stage is now set for the nucleus of the whole piece, Pillar IV. Every theme presented thus far is here, tightly woven into an impenetrable lattice structure. No event is out of place, this movement is the gears of the clock. Even in its moments of ambiguity, Pillar IV has a straight-faced de termination that is unflappable.

mARImbA, the third solo of Seven Pillars, introduces the marimba to our sound palette. It begins starkly, with a single bowed pitch that looks back to the sounds that began Pillar II. This gives way to

a distant chorale — soft, deep, rolled marimba chords interrupted by a distant vibraphone melody. The piece ends with an aria. This improvisatory and melodic section jumps back and forth from the very bottom to the very top of the marimba, pushing and pulling as it fades away into a distant memory.

Pillar V is a sadistic game. The marimba is now an integral part of the sound world with its rich depth, and the piece has also begun retrac ing its steps by reflecting the forms of previous movements. In Pillar V we hear the same hexatonic scale that we heard in Pillar III, but now it is used as the foundation for a bass line ostinato. With each repetition, this piece swells like a festering wound, and where Amethyst and Pillar III left off in their self-devour ing crescendos, Pillar V continues. A singular build which lasts the latter two-thirds of the movement presses forward relentlessly. Pillar V ends with a manic, obsessive, acceler ating repetition of its six pitches.

Pillar VI is the delirious fe ver-dream following Pillar V. A motif like the twitchy ticking of a clock in the high marimba is battled by unsettled unison gestures. These finally give way to a weightless feeling in the middle of the move ment. The final section of Pillar VI is profound in its unique simplicity within the context of Seven Pillars. Unison repeated pulses anchor a high marimba descant that reaches and grasps for unattainable heights. These pulses fade away and so too does the desperate melody.

The fourth and final solo, car TogRAPh, is also the penultimate movement in Seven Pillars. Scored for a multi-percussion setup (a

‘trap’ set) consisting of a variety of pitched and unpitched sounds, carTogRAPh is a virtuosic display of rhythmic complexity and agility. The work is extroverted and exuberant, oftentimes sounding as if it could take the place of the drum solo in a rock concert. At the moment the listener feels like they could tap their foot or predict what comes next, the music shifts beneath their feet. Titled accordingly, carTogRAPh requires the performer to navigate a highly detailed map of musical twists and turns in this exhilarating demonstration of dexterity.

Pillar VII is full of nostalgia. This is thanks in part to the simple three-note melody that permeates the whole movement, as well as the familiar themes that are reca pitulated within this movement. Formally, Pillar VII is nearly a carbon copy of Pillar I, but rather than stark unpitched sounds, Pillar VII is pop ulated with all the vivid colors that

have been discovered throughout the piece. By now, we’ve come to expect the gradual build that has propelled so many of the previous movement forward, but Pillar VII finds its own way to deliver on this front. Rather than breaking itself under the duress and intensity, Pillar VII transcends itself. Notes that were dizzyingly fast now seem comforting, and with each successive layer we gain confidence, not concern. This movement, and the entire Seven Pillars, finishes with the performers executing over five thousand notes in the final three minutes alone. It’s like taking off in a rocket, and we all are passengers.

— Jonny Allen

Photo by Kjell van Sice

Photo by Carlin Ma

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Brad Diemer

Kathleen Dignan

Tracy DiLeo

Lucy Ditmore

Glenn and Britta Dukes

Maria Dwyer

Susan and David Eckelkamp

Michael L. Edwards

James Elacqua

Jared Ellis

Sheila Ellwood

Jane W. Fountain

Drs. Donald and April Fox

Vivian and James Froncek

Jon and Joanna Geld

Breanna Giannoules

Sharon and Richard Gibbons Glenn and Nancy Gilkey Laura and John Gill Danny and Harriet Gleason Craig and Becky Griffin Jana and John Grimes Martin Grygar and Travis Maese

Dr. Suchitra Gururaj and Joe Carey Maria Gutierrez and Peter Nutson

Tizzle Bizzle Hallock Cindy and John Hanly Amy and Peter Hannan Darcy and Rick Hardy Family

Laura Harvey Lynda Haynes

James Hester

Marjorie and David Hunter

Victoria Husband

Jennifer Ice Kathleen and Jim Jardine

Robert Johnson

Anita and Ralph Jones

Hugh King

Susan and Richard Klusmann Jan and Orion Knox

John Kump Dr. Jeffrey Lazar Karen Leiker Donn and Jeanette LeVie Luis Lidsky

Jessie Lorenty and Erika Esquivel Simon Lorne Richard Maier Salman Manzur Dick Marshall

Joyce Martin

Olivia Martinez

Drs. Victor Martinez and Christopher Rose Dr. and Mrs. Lawrence Masullo Jim and Katie McClarty Denise McCullough Frances Ellen and Paul Metzger Pauline and Alfred Meyerson

James W. Moritz

Nicole and Kent Morrison Denise Margo Moy Michelle and Eric Natinsky Rachel Naugle Marina Navarrete

Brian Neidig

Wynnell Noelke

Dan and Deborah O’Neil Eric and Allison Olson Augustine Park Paulina Pastrana

Kelly Payne

Robert Pender Karen and Wes Peoples Cindy Perez Brian and Adele Peterman

Lisa and Kyra Peterson

Nancy and Frank Petrone Tami Pharr

Allen and Tonya Place

Bonnie and James Pohl Carla and Steve Portnoy Wanda Potts

Kate and Scott Powers Eric Rabbanian Luis Ramirez

Tracy Rawl Marquette Maresh Reddam

Dawn and Thomas Rich Jeanine and Dan Roadhouse

Alan Robinson and Susan Frentz

Cesar and Susan Rodriguez

Summer Rydel

Al Sandoval

Julie and Richard Schechter Christine and Anthony Sementelli Lori Nunan Shaw Amy Shipherd Linda Simonson Dustin Slack Raymond Smith Debbie Smolik Kimberly and David Solomon Toni and Ted Spalding Karen Speier Logan Spence Richard Stanford Paul Stone

Geeta and David Suggs Dona and Ali Tabrizi Matthew Tanzer Bri Thatcher and Andy Modrovich Mackenzie and Burwell Thompson Stacy and Michael Toomey Alice Toungate

Michael Tracy Gregory Tran Claudia and Luis Trejo Keith Uhls and Dan Hutchison Saradee and Melvin Waxler Kenneth R. Webb

Chrissie Welty Marie and Phil Wendell Leslie and Dana West Leslie and Bryan Weston Nancy Whitworth Spong Michael Wilen

Carolyn Williams

Mike Wilson

Tanya Winch Amy Wong Mok Kevin Wood Marian Yeager Lena Yoo and Gerry P. Cardinal III Mitch and Jeannette Young Susan Zane

Photo by Christopher Duggan, Courtesy of Jacob’s Pillow

Photo by TK

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Photo by Ben Kauffman

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