TPA 2023 Program: Cullberg — Works by Deborah Hay featuring music by Graham Reynolds

Vincent Van der Plas, Horse, the solos (2021).

Photo: Shaon Chakraborty

Welcome to Texas Performing Arts!

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

This season, we’ve made 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 season, 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

Injured? We’re here to help.

Beyond the Performance

At Texas Performing Arts, we make sure engagement with the arts extends beyond the stage — a place where students, faculty, and the Central Texas community can connect, gather, and share ideas. Through workshops, discussions, masterclasses, and more, we strive for everyone to be able to feed their artistic spirit.

Our 22/23 Season kicked off in September with a full lineup of inspiring and adventurous performances, which will continue through April. Here are just few highlights of our campus and community activities from this fall.

Members of Brooklyn’s acclaimed Sandbox Percussion led a masterclass with the Butler School of Music’s Percussion Studio.

Martha Gonzalez, collaborating resident artist with playwright Virginia Grise in Riding the Currents of the Wilding Wind, guided a songwriting workshop with the Draylen Mason fellows from Austin Soundwaves.

Theatre students from Georgetown’s middle schools got a peek behind the scenes of Texas Performing Art’s stages.

UT Alum Evita Arce, a company member of SW!NG OUT, taught a Lindy Hop masterclass for dance students in the UT Department of Theatre and Dance.

Mexico’s Makuyeika Colectivo Teatral led a bilingual workshop at the Scottish Rite Theatre, culminating in an improvised rendition of a communal story.

Photo by TK

Photo by

Photo by TK

Photo by Sandy Carson

50 YEARS OF BMW M. THE 2023 BMW M850

On our 50th anniversary, we celebrate five decades of thrilling history. We dedicate this milestone to our avid fans, drivers, and all M enthusiasts. As we race into the future, we start a new era of emotion, electrification, and powerful technology.

Contact your Client Advisor at an Austin area BMW dealer to schedule a test-drive today.

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Photos by Sandy Carson

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 support 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.

Assistant Professor of Practice Karen Maness and Professor Emeritus 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’ Backdrop Recovery Project.

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.

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 digital archive and interactive teaching tool.

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

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 preserving 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 Donald MacDonald for the website.

While student training in these lost techniques continues 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.

McCullough Theatre

TEXAS PERFORMING ARTS PRESENTS

Cullberg — Works by Deborah Hay

The Match my choreographed body...revisited Horse, the solos

Cullberg is represented by Koen Vanhove, Key Performance Follow Cullberg on Instagram, Facebook and Youtube cullberg.com

Anand Bolder, Adam Schütt, Eleanor Campbell and Suelem de Oliveira da Silva in the 2019 Cullberg premiere of The Match .

Photo: Urban Jörén

ABOUT DEBORAH HAY

Deborah Hay was born in Brooklyn. Her mother, Shirley Goldensohn, was her first dance teacher, directing her training well into Hay’s teenage years. Three years of modern dance training with Bill Frank, a former member of the Nikolai Company, and years studying with Merce Cunningham and Mia Slavenska followed. In 1964, Hay danced with the Cunningham Dance Company during a six-month tour through Europe and Asia. Since 1961, she worked with other dancer/choreographers as part of Judson Dance Theater, focusing on large-scale dances involving untrained dancers.

In 1970 she left New York to live in a community in northern Vermont. She distanced herself from the performing arena, producing Ten Circle Dances, performed on 10 consecutive nights within a single community and no audience. The work was supported primarily

by museums and art galleries, beginning a long period of reflection about how dance is transmitted and presented. Her first book, Moving through the Universe in Bare Feet (Swallow Press, 1975), describes these dances.

In 1976 Hay left Vermont and moved to Austin, Texas, where, in 1980, the Deborah Hay Dance Company was established. Including herself, its’ members were Emily Burken, Heloise Gold, and Diana Prechter. While developing her choreography she instituted a yearly four-month group workshop that culminated in large group public performances in Austin and from these group works she distilled her solo dances. Her book, Lamb at the Altar: The Story of a Dance (Duke University Press, 1994), documents this unique process. Several National Endowment for the Arts Fellowships in Choreography and a 1981 Guggenheim Fellowship helped support her work during this period.

Hay then focused almost exclusively on solo work. The Man Who Grew Common in Wisdom, Voilà, The Other Side of O, Fire, Boom Boom Boom, Music, The Ridge, Room, and No Time to Fly were performed worldwide and also passed on to noted performers. My Body, The Buddhist (Wesleyan University Press), was published in 2000. It is an introspective series of reflections on the major life lessons that Hay learned from her body while dancing. In 2019 Wesleyan University Press published Using the Sky. The book follows the evolution

of her language, distilled through her own practice of performance and includes five dance scores.

Hay conducted 14 annual Solo Performance Commissioning Projects from 1998 through 2012, first on Whidbey Island in Washington state and then at the Findhorn Foundation Community, Moray, Scotland. A one-hour documentary about this groundbreaking experiment, titled Turn Your F*^king Head, was made in 2012. It was commissioned by Independent Dance, based in London, and published by Routledge Books.

In 2002 she applied what she had learned from 30 years of working with mostly untrained dancers to choreographing dances for experienced dancers and choreographers. In 2004 she received a NYC Bessie Award for her quartet The Match, commissioned by Danspace. In 2006 she choreographed “O, O” for five New York City choreographer/ dancers and later for seven French dancers of comparable experience. The Match was presented at the Montpellier Dance Festival in 2005. The Festival d’Automne, in Paris, presented The Match also in 2005, “O, O” in 2006, and If I Sing to You, in 2008. If I Sing to You was commissioned by the Forsythe Company and toured extensively in Europe and Australia. In 2009 the Toronto Dance Theatre premiered her work, Up Until Now, and in 2010 Lightening, a dance for six Finnish dancer/choreographers, premiered at the Helsinki Festival.

In October 2009 Hay received an

honorary doctorate in dance from the Theater Academy in Helsinki, Finland; 2010 U.S. Artist Friends Fellowship; 2011 artist’s grant from the Foundation for Contemporary Arts in New York. In April 2012, Hay became one of the 21 American performing artists to receive the inaugural and groundbreaking 2012 Doris Duke Artist Award.

Hay’s first museum installation, Perception Unfolds: Looking at Deborah Hay’s Dance, was curated by Annette DiMeo Carlozzi for the Blanton Museum of Art in 2014 in Austin, Texas. The installation traveled to Yale Art Museum and to the Academie der Kunst in Berlin.

In 2015 she collaborated with Laurie Anderson in an evening-length work, Figure a Sea, for 21 dancers and commissioned by Cullberg in Stockholm, Sweden. The same year France’s Minister of Culture and Communication awarded Hay the Chevalier de l’ordre des Arts et des Lettres.

Her work was presented at the 2018 MoMA exhibition, Judson Dance Theatre: The Work Is Never Done. A cast of 10 New York dance ‘stars’ performed ten, choreographed by Hay in 1968. The performance was accompanied by the band Gang Gang Dance. For the exhibition, Hay also performed A Lecture on the Performance of Beauty from 2003.

With seven other presentations of her choreography, Tanz Im August 2019 premiered two new works, Animals on the Beach, with Jeanine Durning, Vera Nevanlinna,

Photo by Nathan Bajar for The New York Times

Tilman O’Donnell, Christopher Roman, and Ros Warby and her solo, my choreographed body… revisited. A major addition to the August celebration was the German publisher Hatje Cantz’s publication, RE-Persepective: Deborah Hay, a book scanning her work since 1968. It includes photos, dance scores, articles by dance scholars, and her more recent texts.

A second retrospective of Hay’s work was presented at Mercat des les Flors in Barcelona, Spain in 2021.

In 2021 Stockholm’s Cullberg Company premiered Horse, the solos, with an original score by Austin-based composer/musician Graham Reynolds and lights and set by Amsterdam-based Finnish artist Minna Tikkainen. What was unique about the premiere was from the moment the seven dancers stepped onstage in costume, with the programmed lights and sound, there was not a living soul in the audience—no photographers, filmmakers, no techies, no choreographer, future presenters nor directors.

Anand Bolder, Adam Schütt and Eleanor Campbell in t he 2019 Cullberg premiere of The Match . Photo: Urban Jörén

Photo by Carlin Ma

by Deborah Hay 2004/2019

ABOUT THE MATCH

In 2019, Deborah Hay restaged her iconic masterpiece The Match for Cullberg, her first work as associate choreographer with the company. The dance is a quartet with four solos that appear within its structure. What is unusual is that the solos are spontaneously cast in each performance, in other words, it is not decided beforehand which dancer will step up to that solo when it must happen within the sequence of the choreography.

Funny and odd, The Match has been described as “a fascinating, vibrant battle of wits.” “My ongoing interest and excitement in working with Cullberg is its’ collective energy and openness to dancing together. Working within the company are an extraordinary number of individual dancers who exceed the threshold of bodily intelligence and move-

ment virtuosity,” says Deborah Hay. This restaged version of The Match premiered at Tanz im August in Berlin in August 2019, as part of the that festival’s celebration of Deborah Hay / RePerspective. Deborah Hay has been Associated Artist with Cullberg 2019-2022.

Deborah Hay choreographed The Match and premiered the work at Danspace, at St Mark’s Church in New York City in February 2004. It was made for a select group of highly experienced dancer/ performers: Ros Warby from Melbourne, Australia; Chrysa Parkinson and Wally Cardona, New York City; and Mark Lorimer, London. The Match contains meditation like exercises that invisibly bind the dancers to the material by creating a mental, emotional, and bodily rigor that is visible in performance. The work is built on the nature

Anand Bolder, Adam Schütt and Suelem de Oliveira in the 2019 Cullberg premiere of The Match

.

Photo: Urban Jörén

of experience, attention, and perception in the dancing body. As one major New York critic wrote: “There is no musical accompaniment, so the focus is on the dancers: their mystifying travels and relationships, both spatial and personal, and the satisfying way Ms. Hay distributes them about the space… in the strange and surprisingly handsome world of The Match.”

Deborah Hay herself summed up The Match in a question: “What if the potential to perceive time and space as unique and original from one moment to the next, is not a theme, or movement style, goal, or idea, but a frame for the performers

to engage their bodily intelligence through a choreography of material that challenges definition?”

The jury report from the BESSIE, aka the New York Dance and Performance Award, that was given to Deborah Hay in 2004 for The Match describes the piece as “a wondrously strange and impermanent meditation on disintegration, exploring realms from the ordinary to the preposterous by an interchanging cast of four characters.”

CRITICAL ACCLAIM

“The Match is a fascinating, vibrant battle of wits that unfolds through a silent score of movement.”

Suelem de Oliveira da Silva, Adam Schütt, Eleanor Campbell and Anand Bolder in the 2019 Cullberg premiere of The Match .

Photo: Urban Jörén

—

Gia Kourlas, TimeOut New York, 2004

“Seeing Deborah Hay’s The Match at Danspace Project at St. Marks Church this past weekend makes it clear that Hay is a National Living Treasure, having forged a unique mode of performance that lives vividly, unfolding before our eyes… it is the body/mind of the performer that is visible above all else, continually dancing on a razor’s edge of newness bringing exhilaration to dancer and audience alike.”

— Lisa Kraus, Dance Insider, 2004

“Pulling this off, all four dancers exhibited extraordinary physical control, matched only by their exceptional willingness to explore

this fascinating choreographic territory. Strange, funny, obvious, and obscure, the evening… gave me, in more ways than one, the time of my life.”

— Robert Faires, Austin Chronicle, 2005

The original creation of The Match was made possible, in part, with funds from the Danspace Project’s 2003-2004 Commissioning initiative with support from The Andrew W. Mellon Foundation. The Match was further developed through a residency provided by The Joyce Theater Foundation, New York City, with major support from The Andrew W. Mellon Foundation. The restaged version of The Match, in 2019, is produced by Cullberg.

my choreographed body...revisited

Premiere - Austin TX / January 28, 2023

my choreographed body...revisited has been in development for 52 years. Each performance is a premiere.

Choreography

Deborah Hay Duration

Dancer

Deborah Hay

Approximately 20 minutes, no intermission

Not a Cullberg production. Co-produced by PEAK Performances at Montclair State University and Tanz im August/HAU Hebbel am Ufer

Horse, the solos

US Premiere - Austin TX / January 28, 2023

Choreography

Deborah Hay

Music Graham Reynolds Lighting Design Minna Tiikkainen

Costume Design Behnaz Aram

Duration

Rehearsal

Director

Jeanine Durning

Dancers

Adam Schütt Anand Bolder Eliott Marmouset Freddy Houndekindo Johanna Tengan Louise Dahl Vincent Van der Plas

Approximately 60 minutes, no intermission

World premiere March 25, 2021 at Dansens Hus, Stockholm (without audience), September 29, 2021 at Stora Teatern, Gothenburg, Sweden (first time presented to an audience).

Horse, the solos is produced by Cullberg and co-produced with Mercat de les Flors, Barcelona, Spain

ABOUT HORSE, THE SOLOS

Horse, the solos relies on two common attributes of survival, risk and efficiency. Both are instrumental to the choreography of the dance. The ensemble’s mutual but individual experience of risk and efficiency within the constraints of the choreography is how their performance comes alive. The role of soloist within an ensemble creation is being questioned. An ensemble is usually considered secondary or in support of the soloist. The directing and coaching of Horse, the solos, endows each dancer as soloist throughout the dance.

Jeanine Durning has performed in my work since 2005 and is one of the current rehearsal directors with

Cullberg. She has been instrumental in the coaching and transmission of this dance. Her presence in Stockholm with the company during the length and breadth of the pandemic, while I stood before a monitor in my living room in Austin, TX, is vital to the life of this work.

Horse, the solos premiered March 2021. It was performed to a totally empty theater in Stockholm. There was no choreographer, rehearsal director, nor artistic director. There was not one technician, no photographers, future presenters, no documentarian of any kind. In costume, on stage, with lights and sound already programmed, the dancers soared, at least this is what they told me.

Deborah Hay Austin TX / November 2022

Photo: Shaon Chakraborty

Louise Dahl, Agniezska Sjökvist Dlugoszewska, Freddie Houndekindo, Horse, the solos (2021).

Photo: Shaon Chakraborty

ABOUT CULLBERG

Cullberg is the national and international repertoire contemporary dance company in Sweden, continuously co-creating to make contemporary dance relevant for the many. Together with choreographers and creative teams, we are exploring ideas on how dance can be defined, produced and presented. Those explorations are the pillars of a company that is constantly in motion at the heart of the international arena. From 2019–2022, Cullberg worked exclusively with three associated artists: Alma Söderberg, Deborah Hay and Jefta van Dinther. The core of the company consists of 17 extraordinary individual dancers with a central role in the creations. Cullberg’s works emerge from the times we are living in, as part of the socio-political environment including equality, diversity and sustainability. Cullberg is led by artistic director Kristine Slettevold and managing director Stina Dahlström. Cullberg is part of Riksteatern – The Swedish National Touring Theatre.

BIOS: CREATIVE TEAM & DANCERS ON US TOUR

Graham Reynolds (Composer). Austin-based composerbandleader-improviser Graham Reynolds creates, performs, and records music for film, theater, dance, rock clubs, and concert halls, with collaborators ranging from Richard Linklater and Jack Black to DJ Spooky and Jeffrey Zeigler. He recently scored Linklater’s Where’d You Go, Bernadette, Happy Jail for Netflix, Ballet Austin’s Grimm Tales, and multi-year commission from Ballroom Marfa, The Marfa Triptych. He is a company member with the internationally acclaimed Rude Mechs theater collective and resident composer with Salvage Vanguard Theater and Forklift Danceworks. Horse, the solos is Graham’s first project with Deborah Hay and Cullberg.

Minna Tiikkainen (Lighting designer) has made an international career in performing arts working mostly within the field of contemporary dance. Her strong yet minimalistic work often has a substantial significance for the totality of the performance. Her recent collaborators include names such as Deborah Hay, Anne Teresa de Keersmaeker, Tero Saarinen, Mette Ingvartsen, Nicole Beutler, Kate McIntosh and Jefta van Dinther. Tiikkainen has studied fine arts, lighting and set design and she received her MA in Lighting Design in 2001 from Theater Academy of Finland.

Behnaz Aram (Costume designer) was born in 1978 in Iran and moved to Sweden at the age of 7. She had an early interest for drawing and fashion design and studied at the London College of Fashion and later Middlesex University where she earned a BA Fashion Design Degree. When she returned to Sweden she started her own brand Behnaz Aram and worked as a costume designer and stylist. Behnaz has been head of the women’s collection at Whyred, for H&M’s &Other Stories and A Day’s March. She has styled artists and music videos, and created costumes for several large Swedish performing arts institutions. Horse, the solos is her second, of three, collaborations with Cullberg.

Jeanine Durning (Rehearsal director) Jeanine Durning’s career spans more than 25 years in the field of dance and performance. Her work has been described by The New Yorker as having both “the potential for philosophical revelation and theatrical disaster.” Jeanine has been invited to share her work in different contexts and countries through performing, teaching, and creating choreographies. In 2020, she was invited to join Cullberg as one of their rehearsal directors, overseeing and focusing on the transmission and practice of Deborah Hay’s work, as well as the work of Swedish choreographer, Alma Söderberg. Jeanine has had an ongoing collaboration with Deborah Hay since 2005, performing, coaching, and assisting in the processes of her choreographic works.

Adam Schütt (Dancer) was born 1980 in Sweden. He was educated at the Royal Swedish Ballet School 1996-1999, and joined the Royal Ballet in Stockholm after graduation. Between 2004 and 2006 he danced with Dansk Danseteater in Copenhagen. Adam has danced in choreographies by Mats Ek, Merce Cunningham, Tim Rushton, Birgitta Egerbladh, Susanna Leinonen, Pontus Lidberg and Matilde Monnier, as well as in works by Deborah Hay and Jefta van Dinther on Cullberg’s current repertoire. He has also created his own dance pieces for stage and video. Adam joined Cullberg season 2007/2008, and this season is his last with the company.

Anand Bolder (Dancer) was born 1988 in Arnhem, The Netherlands. His interest in dance began around the age of 12. He started his dance education at ArtEZ, Hogeschool voor de Kunsten in Arnhem in 2007, until 2012. Anand joined Cullberg season 2012/2013.

Eliott Marmouset (he/they) (Dancer) was born in 1994 in Fontainebleau, France. He is educated in Applied Art and Design Product in Paris as well as Dancer maker Bachelor at ArtEZ, in Arnhem, The Netherlands. Eliott joined Cullberg first as an apprentice in 2017 and returned as a professional from season 2019/2020. Aside of the company work he has collaborated with his sister Fanny Marmouset, Albert Quesada/Mercat de les Flors and La Fura dels Baus. Eliott also nurtures a practice of craft and painting

that revolves around the notion of body(ies) and is excited to see how his different interests will dialogue together in the future.

Freddy Houndekindo (Dancer) is an interdisciplinary artist positioned at the intersection of music, dance and performance. His artistic practice is rooted in street dance. He studied contemporary dance in the Conservatoire National superior de Musique et de Dance de Lyon, France and modern dance at the Folkwang Universität der Künste in Essen, Germany. As movement director and choreographer he was granted the Tanzrecherche NRW, in 2020, to support his artistic research. In 2021 he received the Riksteatern (The Swedish National Touring Theatre) grant to further investigate the relationship between film and dance. For his films he has received several international awards. His expertise and interest for multimedia has led him to further work with fashion as movement director with clients such as Vogue Scandinavia, H&M, WEEKDAY, HOPE, and CAP74024. Freddy joined Cullberg autumn 2018.

Johanna Tengan (Dancer) started dancing at a young age in her hometown Zaventem in Belgium. She pursued a professional education at ArtEZ University of the arts in Arnhem, The Netherlands. As an apprentice she collaborated with choreographers Ann Van den Broeck and Marina Mascarell. After school she went on to join Mute Comp. physical theatre where she worked with Kasper Ravnhøj. Johanna also developed her own work in several residency spaces and has been supported by Dansateliers Rotterdam and Witte de With Center for Contemporary Art. Besides dance Johanna enjoys being in nature and has a great passion for music. Johanna Tengan joined Cullberg season 2019/2020.

Louise Dahl (Dancer) is working within the field of dance and choreography with Stockholm as her base. In her work she is interested in developing new forms of subjective and kinesthetic experience that convey the transformative potential of the body. Louise has been working with artists like Cristina Caprioli, Deborah Hay, Alma Söderberg, Jefta van Dinther,

Katie Jacobson, Eliott Marmouset, Horse, the solos (2021).

Photo: Shaon Chakraborty

Frédéric Gies, Margrét Sara Guðjónsdóttir, Mårten Spångberg and Hana Lee Erdman. Louise has a Bachelor of Dance and Performance from DOCH, Stockholm University of the Arts. Louise Dahl joined Cullberg season 2020/2021.

Vincent Van der Plas (Dancer) started his dance education at De Kunsthumaniora in Belgium, and continued at Codarts in Rotterdam. As part of his education, Vincent joined Cullberg in the summer of

2012 as an apprentice. He has a strong interest in uncut try outs, all elements coming together around one spontaneous idea without knowing the exact outcome — dealing with the feedback of his choices on the spot. In his daily movement practice not being shy of questioning himself as an artist is embedded in the way he works. Humor is for him the most helpful tool in doing this. Vincent became a company member season 2013/2014.

Eleanor Campbell, Mohamed Y. Shika, Horse, the solos (2021).

Photo: Shaon Chakraborty

RESIDENT ARTISTS

Texas Performing Arts Residencies help Austin-based artists of international renown create new work. The residencies are laboratories for developing projects that will go on to have a tangible impact on American culture.

Virginia Grise

Award-winning playwright and director Virginia Grise makes work through a political and historical lens. With her collaborator Martha Gonzalez, Grise is developing Riding the Currents of the Wilding Wind. The music-driven performance is based on Helena María Viramontes’ 2007 novel Their Dogs Came with Them.

Deborah Hay Kenyon Adams

A legend in postmodern dance whose approach to movement changed how the world makes and views dance. Based in Austin since 1976, Deborah Hay recently established her archive at the Harry Ransom Center at UT Austin. Her latest work is a collaboration with Austinbased composer Graham Reynolds.

An interdisciplinary artist and creative director, Kenyon Adams seeks to reclaim or expand embodied ways of knowing, towards imagining and constructing sustainable futures. He is developing Compline, a ritual performance work with a vocal ensemble inspired by the “night prayer” from the early Christian church.

Vincent Van der Plas, Horse, the solos (2021)

. Photo: Shaon Chakraborty

Deborah Hay Archive at UT’s Harry Ransom Center

Award-winning choreographer Deborah Hay established her archive in 2021 at the Harry Ransom Center, an internationally renowned humanities research center and a major destination for the study of literature, film, music, and the performing arts at the University of Texas at Austin. A founding member of the Judson Dance Theater, Hay is recognized as a pivotal figure in the development of post-modern dance. Archival materials in more than 60 boxes span the breadth of Hay’s life and career, including music, films, photographs, letters, dance scores, and manuscripts for her published books, and are open for research.

Posters from Hay’s archive will be on view at the McCullough Theatre on Jan 28, and the exhibition Keeping the Score: The Deborah Hay Papers will open at the HRC on Feb 4. More at hrc.utexas.edu.

Hay performing at Tanz im August in Berlin, 2019. Photo by Camille Blake.

Hay in Shaking Awake The Sleeping Child, 1981. Photo by Ken Fryer.

Pages from Hay’s original score for The Aviator, 1989.

Texas Performing Arts Staff

Bob Bursey

Executive and Artistic Director

Bianca Hooi

Assistant to the Executive and Artistic Director

B USINESS OFFICE

Robert Cross

General Manager

Kristi Lampi

Associate Director, Business Operations

Leigh Remeny Business Operations Manager

DEVELOPMENT

Anna Langdell

Director of Development

Amy Burgar

Associate Director, Development

Miguel Robles Development Associate

EDUCATION & ENGAGEMENT

Tim Rogers

Director of Education and Engagement

Brenda Simms Program Coordinator, Education & Curriculum Development

FABRICATION & ACADEMIC PRODUCTION

Jeff Grapko

Director of Fabrication and Academic Production

Scott Bussey

Facility Manager and Senior Technical Director

J. E. Johnson

Associate Director, Fabrication

Karen Maness

Associate Director, Fabrication

Jason Huerta

Operations Manager, Fabrication

David Tolin

Project Manager, Fabrication

Carolyn Hardin Properties Manager

Hank Schwemmer Lead Fabricator

Ashton Bennett Murphy

Project Specialist, Fabrication

MARKETING & COMMUNICATIONS

Phil Rosenthal

Director of Marketing and Communications

Brady Dyer

Associate Director, Communications

Lizzie Choffel Cantu Senior Graphic Designer

Erica De Leon Marketing Specialist, Digital Media Romina Jara Marketing Manager

PRODUCTION

Jim Larkin

Director of Production

Blake Addyson

Production Supervisor

Kat Carson

Production Supervisor

Travis Perrin

Staging and Rigging Supervisor

Sarah Cantu

Master Electrician

Michael Shanks

Assistant Lighting Supervisor

Drew Millay

Audio Video Supervisor

Chris Braudt

Assistant Audio Video Supervisor

PROGRAMS & EVENTS

Eleanor Stefano

Associate Director, Booking and Sales

Amber Goodspeed

Associate Director, Event Management

Ellie Holm

Event Manager

TICKETING & GUEST EXPERIENCE

Tara Vela

Director of Ticketing and Guest Services

Amanda Adams

Associate Director, Guest Services

Shade Oyegbola Associate Director, Ticketing

Meredith Delay

Patron Services Manager

Dianne Whitehair

Ticketing Systems Manager

Basil Montemayor

Ticketing Manager

Texas Performing Arts is also proud to acknowledge the hundreds of part-time and volunteer staff who play a critical role in presenting our annual season of world-class performing arts events to the Austin community.

House Managers

Dina Black

Virginia Bosman

Margaret Byron Nancy Carrales

Sheri Dildy Janine Dos Remedios

Tony C Garcia

Sam Hallam Leslie Hawkins Carlos Hernandez-Heine Olga Kasma-Carnes

Charlotte Klein

Tamara Klindt

Sharon Kojzarek

Eric Lee

Lara Miller Mad Poarch Kimberly Reaves Jessica Reed Lee Rodgers Mary Ruiz Micah Sall

Student Employees

Alina Almaraz

Samia Arni Leah Austin

Sarah Bhalla Zoe Bihan Ezra-Rose Bolender Ciara Casarez Benjamin Cervantes Shivani Chidambaram Kathyrn Clark Audrey Clay Bridgette Clifford Samantha Cortez

Sydney DeMeyer

Melissa Elkins Sarah Elliot

Rodrigo Esquivel Herrera

Laine Farber

Grace Featherston Daniel Geld

Indigo Giles Isabelle Gilmore

Alisse Guerra

Joshua Hale Trace Hankins

Catherine Heeman

Faith Hilchey Isabella Hollis Nereida Jimenez Ari Jamison Haley Johnson Bindi Kaplan Lucy Kulzick

Abigail Lantis Austin Luchak Angela Mata Jonah Maughan Eliza Moldawer Samantha Moles Genevieve Monterroso-Syevens

Aria Morgan Lauren Mural Hannah Nelson Braden Newlun Lanna Nguyen Sam Oladejo Humberto Ortega Morgan Randall Zackary Reed

Gracie Sanders Hasina Shah

Andrea R Stanfill Castro Debra Thomas Kristine Tydlacka Leah Waheed Marty Watson Tonya Woods Sally Zukonik

Bryce Riggle

Natalia Rodenzo Lee Rodgers Sabrie Rodriguez Daniel Ruiz Bustos Victoria Salazar Simon Salinas Lance Shook Matthew Smith Nguyen Tang Jeffrey Tran Michelle Upham Isabel Velasquez Sydney Villaruel Jacob Zamarripa

Photo by TK

Leadership Board

The Texas Performing Arts Leadership Board is a group of volunteer leaders in the arts, business, and philanthropy. The Board is dedicated to expanding Texas Performing Arts’ world-class programming, positioning the organization as an international leader in the performing arts, and strengthening the bond between the performing arts and the communities we serve.

Donors

Board Members

Brian Haley, Chair Carly Christopher Jaime Davila Tamara Dorrance Dennis Eakin Deborah Green Michael Herman

Steve Kahng Nancy & Angus Littlejohn Chris Mattsson Lauren Reid Marc Seriff Lisa B. Thompson

Texas Performing Arts is a nonprofit supported by generous patrons and donors. We extend a special thank you to the following major supporters:*

$100,000+ Anonymous Carly & Clayton Christopher William & Anita Cochran

Dennis Eakin Deborah Green and Clayton Aynesworth

Caroline & Brian Haley H-E-B Tournament of Champions Abbey & Mike Herman Steve Kahng Angus & Nancy Littlejohn Julia Marsden Chris Mattsson

Susan & Robert Morse Marc & Carolyn Seriff St. David's Healthcare Texas Capital Bank Tocker Foundation

$50,000–99,999 Carolyn Rice Bartlett Charitable Foundation

Special gratitude to donors who have established endowments at Texas Performing Arts to provide long-term funding for mission-driven projects and programs:

Alex and Dee Massad Endowment Fund Arts Education Endowment Joann and Gaylord Jentz Endowment for Student Engagement

Kathy Panoff Texas Performing Arts Student Engagement Endowment Nancy Lee and Perry R. Bass Concert Hall Endowment William & Anita Cochran Endowment for Performing Arts Access & Education Phillip Auth Endowed Dance Fund for Texas Performing Arts Performing Arts Center Endowment for Performing Excellence Robert L. Tocker Endowed Excellence Fund for Student Volunteerism Topfer Endowment for Performing Arts Production Z. T. Scott Family Endowment for the Performing Arts

*Gifts pledged or received Sep 1, 2021 through Dec 1, 2022

Photo by Christopher Duggan, Courtesy of Jacob’s Pillow

Texas Inner Circle Members

Texas Performing Arts gratefully acknowledges the financial support of our members. Each year, members help fund robust education and engagement initiatives, affordable student tickets, and critical student employment opportunities that make Texas Performing Arts so much more than what you see on our stages.

BENEFACTOR’S CIRCLE

$10,000+ ChemCentric * Julie and Steve Avery Joe Batson Jeff and Katie Berkaw Dianne and Robert Brode Virginia and Gilbert Burciaga Dennis Eakin Kia * Joanne Guariglia Gretchen and Lance Kroesch Julia Marsden Mary G. Yancy

PRODUCER’S CIRCLE

$3,000–9,999

Donations made as of Dec 1, 2022

We regret that limited space does not allow us to list every member. For information on ways to give, please visit texasperformingarts.org/ membership, call the membership office at 512.232.8567, or email us at support@texasperformingarts.org.

*Corporate Circle members

Anonymous Drs. Lynn Azuma and Brian Hall Deepika and Somdipta Basu Roy Debra Bawcom Renee Butler and Kay Stowell Lee Carnes Edwina P. Carrington Suzanne and Bill Childs Colleen Clark John Coers Ronda & John Cullen Legacy Deo Aubrey and Bobby Epstein Jim Ferguson and Art Sansone Frost Bank * Jorge Garcia Phil and Lisa Gilbert Brian Gleason Brian Hampton Lisa Harris Gladys M. Heavilin Mary Ann and Andrew Heller Frank N Ikard Jr Kerry Keller Kyongmee Kim Chris and Melissa Knox Kelley Knutson and Carol Walsh-Knutson Cathy and James Kratz Dr. and Mrs. Thomas Loftus Sue and Gary Lowe Mary and Lynn Moak Kari Nations and Michael Gibertini Jacqueline and Shawn O’Farrell Wayne Orchid Janis and Joe Pinnelli Alicia Pounds Javier Prado and Family Debbie and Jim Ramsey Gina and Don Reese Chuck Ross and Brian Hencey

Michael Regester

Kenneth Sandoval

Syd Sharples

Robyn and Bret Siers

Laura and David Starks Shari and Eric Stein Carole Tower and Matthew St. Louis Louann and Larry Temple

Claudia and Bill Wilson Annie Zucker and Michael Regester

DIRECTOR’S CIRCLE

$1,500–2,999

Mandy and Heather Andress Bonnie L. Bain

Addison, Sydney, Kori, and David Baker

Carolyn R. Bartlett

Becky Beaver Carolyn and Andrew Birge Grizelda and Tim Black Casey Blass and Lee Manford Tahra and Michael Boatright Kara and Shelby Brown Peggy and Gary Brown

Kimberly Brown Shellie and Martin Campos Barbara Cappa Kelli and John Carlton Martha Carr

Carol and Shannon Casey Sue and Kevin Cloud Anita and William Cochran Niccolo and Natasha De Masi Margaret Denena and Cliff Knowles

Ken Dockser

Susan and David Donaldson Lyzz Donelson Barbara Ellis and Alex McAlmon Kevin Espenlaub and John Hampton Laura L. Estes and Joyce A. Lauck

Carol and Clint Fletcher Pamela and David Frager Sandra Freed Kelli Furrer

Susan Gammill Nancy Gary and Ruth Cude Cheryl and R. James George, Jr. Susan and Barry Goodman Melissa and Rick Gorskie Karen and Rowland Greenwade

Sven Griffin Cheri Gross

Juan M. Guerrero, M.D. Jeffery Hammerberg

Jennifer and Randall Harris Gunnar Hellekson Anne and Thomas Hilbert David Honeycutt Amy and Jeffrey Hubert Jeanine Hudson Rob Ignatowski and Daniel Pacheco Admiral and Mrs. B. R. Inman

Victoria Johnson Gary C. Johnson Kristie Johnston Helen Johnston

Maxx Judd and Donn Gauger K Friese & Associates*

Heather King Betsy and Matt Kirksey Sheila Kothmann

Loree and Burney LaChance

Calvin and Donna Lee Sue and Larry Lewellyn Mr. and Mrs. George F. Littlejohn Dracos Locario

Jennifer and Christian Loew Yadira and Delfino Lorenzo Peggy Manning

Art Markman

Leslie and Charles Martinez Richard McCathron Alexandra and Tom McKeone Ford McTee Christine Messina Jennifer and Jim Misko Melissa Moloney and Chris Walk

Brenda and John Mosher Miriam and Jim Mulva Nall Family Meri and Don Nelson Marcia Nelson Cathy Oliver

OroSolutions * Terri Pascoe Connie and Samuel Pate Michele and Roy Peck Shari and John Pflueger Machelle Pharr

Liz and Jon Phelan

Leslie Powell Sara and Dick Rathgeber Elinor and Edwin Reese Richie & Gueringer P.C. * Alec Rhodes Alyssa Russell

Susan Schaffer

Steve Schaffer

Nina and Frank Seely Vijay Sitaram

Aurigo Software Technologies * Balaji Sreenivasan Sid Steadman Lorri Stevenson Robert Stiles Bruce Stuckman Peter and Joan Swartz Caroline Tang Caroline, Olivia, and John Taylor John E. Thompson Heather and Jeffrey Tramonte Jonathan Tyner Erin Vander Leest and Tom Pyle

Sara-Jane and Daniel Watson Susan and Chris Wilson with Bonita Grumme Dr. Lucas Wong and Dr. Lisa Go

CENTER STAGE $600–1,499

Anonymous (8) Cynthia Abel Amy Adame Dwain Aidala Mark Aitala Emily Allen and Ron Altizer

Terry Amacher Page and Neal Amador Brian Amato Joann Anderson Joe Annis Sandy and Richard Apperley Christopher Arboleda and Jared Ellis Cecelia Arvallo

Tony Aventa Donna and Manuel Ayala

The Ballon Family Billy Bambrey

Jana and Barry Bandera Naomi Banks Miller

Elisa Barnes

Joshua Becker Dr. Steven A. Beebe James Benson April Berman Jay Bhattacharyya Carolyn and Jon Bible

Denis Blake

Stephanie and Michael Blanck

Amy Bodin Dave and Nancy Bourell

Robert Bracewell Steve and Jen Braud Brook and Gerald Broesche

Janice and Charlie Brown

Scott Brown and Cheri Lafrinea

Christy and William K. Browning

Robert Bush

Robert Butchofsky

Josie and Jim Caballero

Sam Caire

Kelly Canavan

Ms. Susie Capozza

Min Choe

Joann Cocoros

Sharon and Eric Cohan

Barbara Colley

Sarah Compton

Jeanette Cortinas

Mary Crouch

Jennifer and James Cuddeback

Justin D’Abadie

Elaine Daigle

Wilma Dankovich

Lorraine and John Davis

Nhu and Randall DeBastiani

Courtney and Adam Debower

Lisa and Paul Delacruz

Brad Diemer

Kathleen Dignan

Tracy DiLeo

Lucy Ditmore

Jennifer Dixon

Glenn and Britta Dukes

Maria Dwyer

Susan and David Eckelkamp

Michael L. Edwards

James Elacqua

Sheila Ellwood

Reva Enzminger

Jane W. Fountain

Drs. Donald and April Fox

Vivian and James Froncek

Katina and Matthew Gase 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

Jane Hatter

Lynda Haynes

John Hernandez

James Hester

Marjorie and David Hunter

Victoria Husband

Jennifer Ice

Kathleen and Jim Jardine

Robert Johnson

Anita and Ralph Jones

Susanna and Michael Khazhinsky

Hugh King

Susan and Richard Klusmann

Jan and Orion Knox

Aileen Krassner Kiehl and Michael Kiehl

John Kump

Dr. Jeffrey Lazar

Karen Leiker

Donn and Jeanette LeVie

Stacy Libby

Luis Lidsky

Jessie Lorenty and Erika Esquivel

Simon Lorne

Richard Maier Salman Manzur

Dick Marshall

Joyce Martin

Roxanne and Steve Martin

Olivia Martinez

Drs. Victor Martinez and Christopher Rose

Dr. and Mrs. Lawrence Masullo

Stephanie Mayes

Jim and Katie McClarty

Chris McClung

Denise McCullough

Frances Ellen and Paul Metzger

Lynn Meyer and Rick Clemens Pauline and Alfred Meyerson James W. Moritz Nicole and Kent Morrison

Denise Margo Moy Michelle and Eric Natinsky

Rachel Naugle

Marina Navarrete

Philip Neff

Brian Neidig

Margaret and Brian Nilson Wynnell Noelke

Lori Nunan Shaw

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

Terra and RJ Peters

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

Martin Ritchey

Jeanine and Dan Roadhouse

Alan Robinson and Susan Frentz

Laura Robinson

Cesar and Susan Rodriguez

Summer Rydel

Susan E. Salch

Al Sandoval

Julie and Richard Schechter

Diane Selkin

Christine and Anthony Sementelli

Lori Nunan Shaw

Amy Shipherd

Linda Simonson

Dustin Slack

Raymond Smith

Debbie Smolik

Kimberly and David Soloman

Toni and Ted Spalding

Karen Speier

Logan Spence

Richard Stanford Paul Stone

Geeta and David Suggs Suresh Sundarababu 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

Brooke Turner and Brian Johnson

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

Mr. and Mrs. Mark J. Williams

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 TK

D I N N E R B E F O R E T H E S H O W .

D R I N K S W H E N I T ' S D O N E .

The Perfect night in Austin starts with Upscale American bites at Acre 41, or classics from Burger Bar. After the final curtain, escape to Otopia Rooftop, the only rooftop lounge in the Campus District, for lite bites and sunthemed cocktails. Looking for a nightcap? Make your way to Bar AC, a Spanish tapas and wine bar with an outdoor terrace. Finally, enjoy restful sleep in comfortable luxury at The Otis Hotel or AC Hotel.

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DONATE $10 AND HELP A STUDENT’S DREAMS COME TRUE!

Texas Performing Arts offers discounted tickets to ensure that any student from any school can enjoy world-class performances. This is only possible through generous support from donors like you. You can give a student the chance to experience the power of the performing arts for just $10. Please donate today!

texasperformingarts.org/support