VALLEY PERFORMING ARTS CENTER APRIL–MAY 2017 AT CALIFORNIA STATE UNIVERSITY, NORTHRIDGE MARTHA GRAHAM DANCE COMPANY 2 A NOTE FROM THE EXECUTIVE DIRECTOR O n May 13, VPAC welcomes back the Martha Graham Company. Two years ago, this most storied of American dance companies performed to a sold out house at VPAC. Shortly afterward I asked Janet Eilber, the company’s Artistic Director, what she would most want to do when they return to VPAC, prompting an inspiring exchange about the importance of music to Martha Graham herself. In the early and mid-20th century, of course the company only performed with live music, and Graham herself was responsible for commissioning some of the most innovative and important composers of the era to create new works for her company. The upcoming program, Martha Graham and American Music, will feature three of those pieces. In the last half century, as we have increasingly come to rely on recorded music to accompany dance, something can be lost—the spontaneity, the raw energy and the complete multi-sensory experience. VPAC is proud to provide you that experience on May 13, and to pair the Martha Graham Company with conductor Christopher Rountree and the Los Angeles-based musical ensemble wild Up. This performance was made possible by a grant from the National Endowment for the Arts (NEA), from their multi-disciplinary grants program. $20,000 from the federal agency offsets the additional costs of pairing live music with dance at VPAC. You may know that the NEA is under attack, facing grave cuts or even elimination. Without jumping into the political fray, I point out the tiny percentage of the federal budget this agency represents—one analysis suggests that the annual NEA budget is less than the cost of a single military helicopter. I hope you’ll take a moment to consider the importance of the arts to our national fabric, the thread that binds us by timeless beauty and colorful diversity. Without the National Endowment for the Arts, we will persevere. But something important will be lost. Warmly, Thor Steingraber, Executive Director Valley Performing Arts Center 3 SHARE YOUR EXPERIENCE! Check-in on Facebook, tag us in your Instagram photos, Snapchat your moments or trend with us on Twitter. / VPACatCSUN President, CSUN Dr. Dianne F. Harrison Vice President of Administration and Finance, CSUN Colin Donahue Executive Director, VPAC Thor Steingraber Associate Executive Director, VPAC Terence McFarland 4 Sally Adelblue Juliana Alvarez Michael Bergantzel Anthony E. Cantrell Eli Falk Jose Felix Cynthia Gonzales Sheryl Jones Lakhpreet Kaur Matthew Lengyel Zachary Leuchars Annikki Lotta Charles Matthew Tomas Medina Zac Northcraft Cameron O’Hanlon Nick Oldham Maria Paredes Christian Parker Michael Ryan Alberto Sistos Joey Solano Justin Souza Nicki Sun Anabel Villalobos WELCOMING YOU TO VALLEY PERFORMING ARTS CENTER TAJ EXPRESS CONTENTS 10 DOC SEVERINSEN AND HIS BIG BAND 16 TAJ EXPRESS: THE BOLLYWOOD MUSICAL REVUE 28 MAN OF LA MANCHA 36 MARTHA GRAHAM AND AMERICAN MUSIC 24 LILA DOWNS WITH MONSIEUR PERINÉ Davidson & Choy Publicity | Gary W. Murphy Public Relations Cover: Martha Graham Dance Company by Hibbard Nash; P.03: Thor Steingraber by Luis Luque; P.04-5: Taj Express courtesy of CAMI; P.09: Luis Luque by Adrian Garcia; P.10: Doc Severinsen courtesy of Doc Severinsen; P.13: Doc Severinsen courtesy of Doc Severinsen; P.14: Vanessa Thomas courtesy of Vanessa Thomas; P.16: Taj Express courtesy of CAMI; P.21: Taj Express courtesy of CAMI; P.22-23: Taj Express courtesy of CAMI; P.24: Lila Downs by Elena Pardo; P.26: Monsieur Periné courtesy of Monsieur Periné; P.29: Man of La Mancha courtesy of McCoy Rigby Entertainment; P.36: Martha Graham Dance Company by Costas; P.43: Martha Graham by Cris Alexander; P.46-47: wild Up by Luis Luque; P.56-57: Great Hall by Luis Luque; P.50: Taj Express courtesy of; P.51: Art Gallery by Pascal Giacomini; P.52: Porter Pavilion by Joey Solano; P.53: Usher Holding Tickets by Steve Babuljak; P.55: Bistro on the Terrace by Joey Solano. 5 VALLEY PERFORMING ARTS CENTER DONORS 20162017 Thank you for supporting Christi Robinson ’07 your annual contributions! Judith S. & John F. Rothman CHAMPIONS Manja & Dennis K. Swanson VPAC’s 2016–2017 Season with & John Robinson Dr. Raul Ruiz $25,000$49,999 The Colburn Foundation Debbie Valera & Milt Valera ’68 $10,000$24,999 Carol Colburn Grigor David Lee $1,000$4,999 Linda & Jeffrey M. Abell & John Behring Randolph A. Rice ’75 Irene & Dr. Stuart D. Boyd Hon. D. ’11 Bob Stiefel Joan Reynolds Boyett Enzer ’83 Dr. Gail F. Fonosch ’68 Heart of/Neiman Marcus Foundation Horace Heidt Big Bands Foundation Sherry Lapides Virginia Mancini Anne M. Payne ’65 & John T. Payne Carolyn Clark Powers 6 & Dr. James E. Mertzel Parry Weet O’Brien Elizabeth A. Purcell Karen D. Enzer ’82 & Earl S. Robert Mendow Rosalyn & Neal Berg Irene Markham Boyd of Texas & Alan Lowy The Mortimer Levitt Foundation Chuck Berney & Family Communities Foundation Helen Gordon Lowy M.P.H.’75 Paul J. Beress ’69 Family Foundation Robert F. & Susan Pfeiler Brown J. Kiddoo ’69 Harriet & Dr. Eric R. Leibovitch Marianne Mertzel Jane Berk & James G. Berk ’81 $5,000$9,999 Patricia A. Kiddoo & Dr. Robert Dr. Shari Tarver-Behring Dr. Marlene Bane Kathleen P. Martin PATRONS & Dr. Irving Klasky Melissa Lovelady Bill Berg Anthony & Jeanne Pritzker Dr. Sandra L. Klasky ’77 Jeffrey Baker & Rodney Davis Marla Lefton ’83 & Cary Lefton Seljuk Kardan Suzan L. Brownlee & Dr. Don R. Brownlee Ed K. Burke ’59, M.A. ’69 Margot & Joe Calabrese Catherine & Dr. Donald Cameron Ph.D. Deborah & Robert M. Myman ’67 & Edward O’Brien Paradoxical Pictures Inc. Maria S. Paredes Dr. Mary T. Pattiz & Norman Pattiz The Hon. Joy & Dr. Gerald Picus Barbara & Sheldon Pinchuk Monika & Terry D. Poe Joyce & David Primes Dr. Cynthia Z. Rawitch & Robert J. Rawitch ’67 Allison Clago Andrea Reinken ’80 Jilanne Fager ’63, M.A. ’72 JoAnn & Len Roth Dr. Bonnie Faherty Dr. Carol Shubin Jennifer & Royce Diener & Richard Fager & Edward G. Feldman Fred Fisher & Don Reinken Dr. Paulette Shafranski Charlene M. Sievers ’74 & Mike Sievers Thomas J. Ford Thor Steingraber Yvonne L. Green Marcella & Richard Tyler Deanna & Jim Gorman Tama Holve Jon & Susan Joyce Linda & Judd T. Swarzman Valley Presbyterian Hospital Sharon & Irwin Winston Florentina West VALLEY PERFORMING ARTS CENTER DONORS 20162017 FRIENDS $500$999 Dr. Annette A. Besnilian ’13 & George G. Besnilian Elaine Berke Aliza & Michael Lesser Jean O. Buesing Barbara & Gary Luboff & Gregory P. Buesing Andreas Marbach ’76 Patricia J. Burg elody ansfield 9 Sandra & Ronald Friedman Rosemary & Gerald Capodieci Patricia & Robert Miller Michael W. Gilbert Eileen Cordi ’75 Irving Novick Linda Kleiger Susan Levy D’Anna Steven H. Medof Karla S. Escobar ’09 Francine Oschin ’84, MA ’85 Ruth L. Forman MA ’79 Charlene Sievers ’74 Toni Hertz Renee Tepper Ms. Karyl A. Hirschmann ’76 Jill Shinderman ’16 & Robert Jones ’95, MA ’04 Mary F. Scott Fuller Family Foundation Wendy Kelman Regina Chinweze & James M. Cordi Dmitry Rachmanov Norma Rahl Dr. Yi Li Guadalupe Diaz ’99 Natalie & Jeffrey M. Noblitt Anna Monica K. Fabic ’14 Edward & Peggy Robin Lila Geller & Mike Sievers Shelley B. Rivlin ’68 Nicholas S. Rolf ’05 Michael C. Ryan Helene Schacter Roberta & Dr. Ronald Schaffer Vivienne Steele Lindsay A. Hill ’82 Alma R. Zatarain Linda K. Jones ’90, MA ’04, EdD $100$499 Jean Katz Nancy & Dr. James Allen Marisa Morabito Brenda Kanno & Frank R. Silkwood Evy & Fred Scholder Ligia E. Toutant ’03 & Dr. William P. Toutant Betty J. Bailey Dr. Barbara Kornblau ’74 Eva Unite Leslie & Thomas Beers Ludonna M. Loney ’82 Charitable Foundation Judy Benedict & Dr. Donald Kornblau Woodland Hills Rotary Club VPAC AMBASSADORS ADVISORY BOARD Jeffrey Baker Deanna Gorman The Hon. Joy Picus Irene M. Boyd Tama Holve Barbara Pinchuk Joan Boyett George A. Johnson Andrea Reinken ’80 Susan Pfeiler Brown Sherry Lapides Christi Robinson ’07 Ed K. Burke ’59, M.A. ’69 Marla Lefton ’83 Dr. Carol Shubin Helen Gordon Lowy M.P.H. ’75 Ellen R. Stohl ‘94 Rodney Davis Donald Cameron Alan Lowy Dr. Shari Tarver-Behring Jilanne Fager ’63, M.A. ’72 Francine Oschin ’84 Marcella Tyler 7 VPAC SPOTLIGHT I am Valley Performing Arts Center’s house photographer and a proud CSUN alumnus. As a student at California State University, Northridge, in 2012, I was top of my class in the photography program and became president of the photography club. I started working at VISCOM, CSUN’s creative a ency, and ecame their first lon term photographer. Subsequently, I was hired by CSUN’s Art Department. In 2015, VISCOM/CSUN Art Department assigned me to photograph the campus takeover of DIAVOLO|Architecture in Motion, who were artists performing at Valley Performin rts enter. This as the first time I had the opportunity to work with Valley Performing Art Center (VPAC). VPAC fell in love with the pictures I took and invited me to photograph a few other events and encouraged me to apply for the Mary Bayramian Arts Scholarship intern position. I applied and was awarded the scholarship and had the privilege to be a photography intern at VPAC for one year. During that time I worked with the VPAC marketing team, who pushed me to learn new skills and foster my success. One of my proudest achievements, while being an intern, was being published by the Los Angeles Times for the first time and ettin the opportunity to photo raph orld reno ned artists in one of the most beautiful performance halls in Los Angeles. After my internship with VPAC, I graduated with a BA in Arts, with an emphasis in photography. I was very blessed after graduation, when VPAC promoted me to be their house photographer in the upcoming season. I love going to work at VPAC every day because I am surrounded by people who love their jobs. There are no two days alike at VPAC, as it’s always an adventure to be unraveled on the day of a performance. Luis Luque VPAC In-House Photographer Luque Photography 9 10 DOC SEVERINSEN PROGRAM VPAC CELEBRATES DOC’ S 90TH! DOC SEVERINSEN AND HIS BIG BAND THURSDAY, APRIL 13 | 8PM MEDIA SPONSOR KJAZZ 11 DOC SEVERINSEN on Amherst. He received a Grammy Award lowed by a big band trumpet blast, was the Band for his recording of Doc Severinsen and “Heeeeere’s Johnny!” That lead-in, fol- for Best Jazz Instrumental Performance—Big landmark of late night television for three The Tonight Show Band-Volume I. the announcer was Ed McMahon and the Allende, Mexico, ostensibly to retire from decades. The “Johnny” was Johnny Carson, bandleader was Doc Severinsen. Beginning in October 1962, The Tonight Show with Johnny Carson ruled the night air for 30 years. On May 22, 1992, it came to an end.... ithin a ee of the final telecast, Doc Severinsen and His Big Band were on the road, and to this day audiences across America love and respect Doc and His Big Band, In 2006, Doc moved to San Miguel de performance. Within weeks, he was jamming ith the ma nificent uitarist il utierre . He now tours regularly with Gil in a quintet called The San Miguel Five, performing a mix of Latin, Gypsy jazz and standards, to exceptional acclaim. They released their most current CD, Oblivion, in January 2014. Severinsen’s accomplishments began in his not just because he shared their living room hometown of Arlington, Oregon, population: of Doc’s love of the Big Band repertoire. 7th, 1927, and was nicknamed “Little Doc” with them for so many years, but because His musicianship keeps this iconic Ameri- can music fresh to this day. Their repertoire includes Ellington and Basie standards, pop, jazz, ballads, big band classics and, of course, The Tonight Show theme. Severinsen can still blow hard with his horn and hit the high notes, a result of his continued commitment to the practice studio and the refinement of his craft. But as a band leader, Doc continues to surround himself with the best in the business, and he’s only too happy to give them a turn in the spotlight. A Grammy Award-winner, Doc has made more than 30 albums—from big band to jazz fusion to classical. Two critically acclaimed Telarc CDs with the Cincinnati Pops Orchestra showcase his multifaceted talents from Bach to ballads. The Very Best of Doc Severinsen reprises 15 of Doc’s signature pieces. His other recordings include Unforgettably Doc with the Cincinnati Pops on Telarc and the Grammy nominated Once More With Feeling 12 600. Carl H. Severinsen was born on July after his father, Dr. Carl Severinsen, a dentist. Little Doc had originally wanted to play the trombone. But Doc Sr., a gifted amateur violinist, urged him to follow in his father’s footsteps. Doc Jr. insisted on the trombone, which turned out to be unavailable in tiny Arlington’s music store. And so a trumpet it would be. A week later, with the help of his father and a manual of instructions, the seven-year-old was so good that he was invited to join the high school band. At the age of 12, Little Doc won the Music Educator’s National Contest and, while still in high school, was hired to go on the road with the famous Ted Fio Rito Orchestra. However, his stay with the group was cut short by the draft. He served in the Army during World War II and, following his discharge, landed a spot with the Charlie Barnett Band. When this band broke up, Severinsen toured with the Tommy Dorsey and Benny Goodman bands in the late ’40s. After his days with Barnett and Dorsey, DOC SEVERINSEN 13 Doc arrived in New York City in 1949 to become a staff musician for NBC. After years of playing with NBC’s many studio bands, Doc was invited to play a gig in the highly respected Tonight Show Band. The band leader at the time, Skitch Henderson, asked him to join that band in 1962 in the first trumpet chair. Five years later, Doc became the Music Director for The Tonight Show and the rest is history. His loyalty to Johnny Carson and Ed McMahon never faltered, and the warm camaraderie between the three was an enormous part of the show’s success. When Johnny decided to retire from The Tonight Show, Doc and Ed said their goodbyes as well. Of course, free from the nightly grind of the TV studio, Doc Severinsen had far more time to expand his musical horizons and continues to keep an extensive touring schedule. In addition to his San Miguel 5 appearanc- es, Doc tours regularly with his own Big Band and continues to perform with symphony orchestras all over the country. Over the years he has been Principal Pops Conductor with the Phoenix Symphony, the Milwaukee Symphony, the Minnesota Orchestra, the Colorado Symphony, the Pacific Symphony and the Buffalo Philharmonic. Doc performs on a S.E. Shires Severinsen Destino III, a trumpet he developed with Steve Shires and the S.E. Shires Company in 14 VANESSA THOMAS Massachusetts. The factory has 25 craftsmen who are professional working brass players and totally understand what is involved in making great brass instruments. The S.E. Shires Company features a line of trumpets that includes the S.E. Shires Severinsen Destino III, which was developed through Doc’s supervision until his exacting standards of quality and sound were achieved. Doc continues to make regular visits to the factory. Today, Doc has not lost his flair for the outrageous fashion statement or his trade- mark wit. But his gregarious nature has never interfered with the fact that he has been one of the greatest trumpeters and musicians of Alan Baylock. classical music, jazz, big band and now even include Pops concerts with Doc at Detroit transcended his celebrity and rejoiced in his phony, Rochester Philharmonic and Milwau- the last 60 years, respected in the worlds of world music. In the end, Doc Severinsen has remarkable ability to simply play his trumpet as well as he can. Which has proven to be good enough for the millions of people who count themselves his fans. VANESSA THOMAS (Soprano/Mezzo Sopra- no) regularly performs as Doc Severinsen’s vocalist in his symphony pops shows Here’s Upcoming performances this season Symphony, Plano Symphony, Alabama Symkee Symphony. Vanessa Thomas resides in Lawrence, Kan- sas, where she maintains a voice studio and performs regularly in the Kansas City area. THE BIG BAND Doc and Doc’s Greatest Hits, Doc Severinsen and His Big Band tours, Jingle Bell Doc and Vocalist: VANESSA THOMAS as singing in recital all over the country. Alto Sax: ERIC MARIENTHAL BRIAN SCANLON Tenor Sax: BOB SHEPPARD KEVIN GARREN sical genres, including jazz, musical theater, Baritone Sax: GREG HUCKINS where she is heard. Trumpet: WAYNE BERGERON DAN FORNERO KYE PALMER LARRY HALL Trombone: ANDY MARTIN FRANCISCO TORRES Doc the Halls holiday pops concerts, as well Thomas’ voice has been heralded as the newly discovered, present-day Frank Sinatra (theaterjones.com); she is known for her seamless 4-octave range. She has an unusual versatility and command in a variety of mu- opera, and more, delighting audiences everyRecent credits include the world premiere of John Brown by Kirke Mechem (composer of the famed opera Tartuffe). Recent engagements have seen Thomas performing with Doc at Hollywood Bowl, Cincinnati Pops, Ft. Worth Symphony, Utah Symphony, Minnesota Orchestra, Milwaukee Symphony, Kansas City Symphony and Buffalo Symphony. Thomas Bass Trombone: BEN DEVITT Severinsen, Ed Shaughnessy, Mike Metheny, Piano: BILL CUNLIFFE and Luis Conte. She has sung under the Bass: TREY HENRY Julius Rudel and Robert Spano, and worked Drums: BRIAN MILLER has performed with such notable players as Ernie Watts, Wayne Bergeron, Byron Stripling baton of James Conlon, John Morris Russell, with arrangers Dick Lieb, Adi Yeshaya and 15 16 TAJ EXPRESS PROGRAM TAJ EXPRESS: THE BOLLYWOOD MUSICAL REVUE WEDNESDAY, APRIL 19 | 8PM STUDENT MATINEE GENEROUSLY SPONSORED BY CAROLYN CLARK POWERS 17 PROGRAM PRODUCERS / MANAGEMENT CREW Producer ...............................................................................................................Shruti Merchant Executive Producer ........................................................................................... Pranav Merchant Technical Director .............................................................................................. Stephan Alcaraz Stage Manager .....................................................................................................Aruna Poojary Lighting Director .............................................................................................. Miguel Fernandez Sound Director ................................................................................................... Alessio Comuzzi On-tour Sound Director....................................................................................... Riccardo Dondi On-tour Company Manager ................................................................................. Erik Birkeland CREATIVES Director ................................................................................................................Shruti Merchant Director of Choreography ............................................................................ Vaibhavi Merchant Writer ........................................................................................................................ Toby Gough Chief Assistant Director ......................................................................................Ankush Dhawan Choreographer ....................................................................................................Shruti Merchant Choreographer ............................................................................................. Rajitdev Easwardas Choreographer ...................................................................................................... Deepak Singh Choreographer .......................................................................................................Tejaswi Shetty Choreographer .........................................................................................................Pratik Utekar Choreographer ......................................................................................................... Rahul Shetty Music Composer, Original Title Track ........................................... Salim & Sulaiman Merchant Music Director ..................................................................................................... Abhijit Vaghani Background Score ................................................................................................ Monty Sharma Costume Designer ......................................................................................................Bipin Tanna Head of Wardrobe ............................................................................ Mohammad Yusuf Shaikh Make-up Artist ....................................................................................... Dinesh Suvarna Koraga Voice Over ................................................................................................................ Denzil Smith Tour Direction: Tim Fox and Alison Ahart Williams Columbia Artists Management LLC New York, NY www.cami.com 18 PROGRAM ACT ONE 1. THE SWANS OF GODDESS SARASWATI An invocation of the goddess of knowledge, wisdom and music. 2. BOLLYWOOD AT THE OSCARS A.R. Rahmans double Oscarwinning smash hit song “Jai Ho” from the film Slum Dog Millionaire is the inspiration for composers all over India. 3. THE BEETHOVEN OF BOLLYWOOD Shankar, a young aspiring film score composer, is given the dream job of writing the music for the new Bollywood romance, Taj Express. 4. THE SILVER SCREEN SIREN Shankar writes three sizzling hits for the Bollywood diva. The heroine of the film, Kareena Kaboom, is India’s hearthrob, but deep in her heart she dreams of escaping her celebrity status. 5. THE KING OF THE STREETS AND THE RHYTHMS OF THE GODS Arjun, hero of the movie, runs a classical dance school for street children, to break the cycle of gangland violence in Mumbai. Here they dance for Lord Ganesh, to remove all obstacles from their lives. 6. MONSOON RESCUE Two worlds collide as Arjun saves Kareena from a potential disaster. Shankar and his studio musicians create the music of their meeting. 7. THE CALL OF ADVENTURE 3. WISDOM OF THE POETS In their first encounter in the refuge of his dance school, Arjun offers Kareena the keys to freedom. Kareena and Arjun journey to Kanyakumari, the southernmost tip of India. 8. GANGLAND MUMBAI 4. RHYTHM OF CHANGE Shakaal, the villain of the Underworld, wants to take Arjun’s dance school to be part of his nightclub empire. The conflict between these two gangs erupts in an epic dance battle of the streets. Shankar and musicians performs the music of Kareena’s spiritual enlightenment. 9. BOLLYWOOD BRAINSTORM 5. THE GARDEN OF LOVE Kareena finds purity in the blooming of the lotus flower as Saraswati blesses their union. 6. REVELATION Back in the studio the musicians create the music for Kareena Kaboom’s Award night party. Shakaal arrives to confront Arjun and Kareena but an astonishing secret is revealed. 10. TONIGHT’S THE NIGHT 7. OPEN THE GATES All the Bollywood stars walk the red carpet at Kareena Kaboom’s award night party. The palace of Ranthambore welcomes home the missing prince of the land. 11. OPPOSITES ATTRACT 8. HANDS BIND HEARTS Kareena can’t stop thinking about Arjun and imagines him there. The rituals of love in an Indian wedding. 12. BYE BYE BOLLYWOOD 9. LOVE.DANCE.SING. Arjun and Kareena escape the glare of publicity, but the Bollywood party rages on. The adventure begins. No Bollywood film is complete without a Punjabi number. ACT TWO 1. DANCE OF CREATION Kareena takes the first step of her journey in the temple of Lord Shiva, in Varanasi, the world’s oldest city. 2. FIND KAREENA! 10. THIS IS THE END Taj Express, the film is released and the reviews are out. 11. ROLL THE CREDITS The cast and crew all join together to dance together at the end of the shoot. Actors, dancers, musicians, camera crew, makeup and costume celebrate the making of the great adventure romance, Taj Express. Shankar and musicians create music for Kareena and Arjun’s Journey. 19 PROGRAM ACTORS MR. MIKHAIL SEN (Narrator) MR. HITEN SHAH (Arjun) MS. TANVI PATIL (Kareena Kaboom) MUSICIANS CHANDAN RAINA Guitarist ANISH KALE Percussionist AVADOOTH PHADKE Flautist MALE DANCE PERFORMERS ASHISH GAKWAD ASHISH VAKANI DEVENDRA SINGH GAURAV PATHAK HIMANSHU PARIHAR TAJ EXPRESS is the love story between Kareena, a beautiful actress, and Arjun, a hand- some hero of the streets. t first it seems that they are from opposite worlds, but their love for dance brings them together. Arjun rescues KIRAN WAGHCHAWRE MOHSIN SHAIKH NIRAJ LAMA RAHUL SONAWANE SAHIL MAYENKAR SURESH CHAVAN FEMALE DANCE PERFORMERS ANKITA SHETH BEENA PATEL HETAL SETA KAVITA KHILLARE KHUSHBU VAKANI PUJA BANARJI PRIYA SHETTY RESHMA BELOSE SADHWI MAJUMDER SHRADDHA DANDGE SNEHA SINGH enment. She must rediscover the essence of dance, poetry and meditation and the meaning of true love. For this discovery, she must leave Bollywood and the world she knows behind. Traveling on board one of India’s iconic young people from the streets and offers them steam engines, Arjun and Kareena escape on a freedom from the pressures of being a celebrity and magical land. a training in classical dance. Kareena longs for as well as a showbiz relationship that her pro- thrilling adventure across this colorful, exotic The ourney ta es them from the film studios ducer is forcing her to adopt for publicity. Deep of Mumbai to the southernmost tip of India, story of Goddess Saraswati is the allegory for Punjab, ending with a fabulous wedding in the in her heart she is searchin for fulfillment. The her story, the pursuit of knowledge through rejection of material possessions and subsequent escape from the clutches of Lord Brahma. Arjun no s the path she must ta e to find enli ht- 20 from the temples of aranasi to the fields of royal palaces of Rajasthan. No Bollywood story is complete without a villain and this story is no different. Shakaal, an underground mob boss, has a vendetta against TAJ EXPRESS Arjun and a mission to bring Kareena back to the lo al theatre scene first hand. Tourin n the final dramatic encounter, Sha aal and no led e in the field of direction and Bollywood or destroy them both. is defeated and Arjun is revealed to be an undercover prince who marries Kareena in a internationally she has gained experience production of stage shows. With Taj Express, she has created a fabulous, opulent, Indian wedding. path-breaking song, dance and drama ex- Shruti Merchant began her career assisting audiences of all ages, world-over. Shruti hopes SHRUTI MERCHANT (Producer/Director) her sister ai ha i erchant in films such as Dhoom, Lakshya, Baghban, Kuch Na Kaho, Kal Ho Na Ho, Devdas and Jab Tak Hai Jaan. She made her debut as a choreographer and won travaganza that will entertain and enthrall to have Taj Express tour every big and small city around the world to give audiences a true fla or of ndia. VAIBHAVI MERCHANT (Director of Chore- the Big Entertainment Award for best Chore- ography) Vaibhavi Merchant is one of Bolly- Ricky Bahl. granddaughter of pioneering Indian choreog- ography for the song “Thug Le” from Ladies Vs Prior to directing Taj Express, she toured ith tra elin musicals for o er fi e years as a touring choreographer. He has performed in countries such as Australia, UK, Switzer- land, South Africa, Spain, France, Singapore and the United States, to name a few, and it was during this time that she experienced wood’s leading dance choreographers. The rapher Shri B Hiralal, Vaibhavi’s journey with dance began at an early age. During her career, Vaibhavi has choreographed dance numbers in numerous hit olly ood films. She has been awarded a National Film Award for her choreography in “Dhol Baaje” from Hum Dil De Chuke Sanam. Her recent hits include Bhaag 21 Milkha Bhaag, Dhoom-3, Fan, Sultan and TOBY GOUGH (Writer) An award-winning Befikre. Vaibhavi was also the choreography international music theatre writer and direc- has been touring globally for the past 10 years. such as The Merchants of Bollywood, The Bar at director for The Merchants of Bollywood, which With Taj Express, Vaibhavi has worked to- ward bringing the magic of the story on stage through the expression and grace of various dance forms. PRANAV MERCHANT (Executive Producer) Pranav Merchant has spent his life building businesses in varied industries including real estate and entertainment and guiding them to profita ility. is passion for the international musical business brings Pranav on board the Taj Express, where he hopes to introduce audi- tor, Toby Gough is the creator of hit musicals Buena Vista, Lady Salsa, Soy de Cuba, Hemingway’s Havana and Havana Rumba! He is also currently working on two new musicals—Miami Libre with Cuban artists living in Miami in collaboration with the Grammy nominated super group Tiempo Libre and a new hip-hop project, in the Dharavi Slums of Mumbai. He recently produced the Cuban Gypsy project album with world music guru Damian Draghici and other legends of Cuban and Gypsy music. Toby is director of Brazil! Brazil!, Irish Celtic ences in India and abroad to the true essence and Irish Celtic Generations Musical. He has showcase Indian talent. As the Executive Pro- conflict transformation pro ects in Sri an a, of India while creating a global platform to ducer, Pranav has been dedicated to getting some of the Indian entertainment industry’s most gifted talents involved in Taj Express Pranav’s vision for Taj Express is to have performed in every country around the world and to evolve the show into seasons that will have audiences hungry for more every time Taj Express is back in town. 22 created pioneering community engagement Yugoslavia, Africa and Australia. He directs a world music theatre venue, The World Festi- val, in collaboration with Brian Cox and Peter Gabriel, which won the Spirit of the Festival lifetime achievement award. e is also the recipient of fi e Scotsman irst Prize Awards at The Edinburgh Festival and two Spirit of the Festival Awards, two Total TAJ EXPRESS Theatre Awards, the Guardian International this promising young musician. Grammy Award for his work with Tanzanian acknowledged not only within the Bollywood Theatre Award and has been nominated for a musicians, the Zawose Family. SALIM & SULAIMAN MERCHANT (Music Composers) Salim and Sulaiman are a re- nowned Indian music composer duo credited with a host of chart-topping hits. In the past decade the duo has composed music for loc uster olly ood flic s such as Chak De India, Fashion, Neal ‘n’ Nikki and Rab Ne Bana Di Jodi, to name a few. With the title track “Taj Express,” which was composed exclusively for the show, Salim and Sulaiman have created a score that features traditional Indian sounds while maintaining a lo al fla or. ABHIJIT VAGHANI (Music Director) Having His productions are greatly appreciated and film industry and its audiences, ut interna- tionally as well. The national and international acclaim that he has achieved in such a short span of time only proves his dedication and passion for the world of music. His work as a music producer in latest hit movies, Sarab- jit, Fan, Ki & Ka, Kapoor & Sons and Bajirao Mastani, displays inspirational productions, hich reflect his passion, dri e and the a ility to create unimaginable harmony. BIPIN TANNA (Costume Designer) Taj Express is Bipin Tanna’s second experience with a mu- sical on stage in addition to various Bollywood movies and TV shows. Designing costumes for the show was an started his career with fun and spunky jingles, extensive and intriguing project for him, which stream Bollywood, scoring absolutely thrilling 500 accessories featuring exquisite details, Abhijit Vaghani made a beeline into main- and record-breaking backgrounds and tracks for blockbusters. His eccentric sense of style and individuality equipped the scenes with precision and character. Interpreting visual scenes into intricate sounds comes naturally to resulted in over 1,000 costumes and more than colors, glamour and bling. One of the goals of the show is to put Indian textiles on the international map, and Taj Express is as much a journey through the vast array of Indian textiles as it is through India. 23 24 LILA DOWNS LILA DOWNS LILA DOWNS WITH MONSIEUR PERINE SATURDAY, APRIL 22 | 8PM 25 MONSIEUR PERINÉ A multiple Grammy Award-winning artist, LILA DOWNS has one of the world’s most singular voices and innovative approaches to music. Born in the state of Oaxaca, México, she is the daughter of a Mixtec Indian woman, Anastasia Sanchez, who ran away from her vil- lage at 15 to sing in Mexico City cantinas, and a University of Minnesota professor Allen Downs, who saw her singing and fell in love. Lila grew up both in Minnesota and Oaxaca, and studied classical voice and cultural an- al Mexican and native Mesoamerican music, singing in Spanish, English, and the languages of the Mixtec, Zapotec, Maya and Nahuatl cul- tures. Her tremendous voice and the originality of her compositions create a musical concept that is highly innovative and unique. Some might classify Lila simply as a Mexican artist, but there is no real way to categorize her music except to say it is an exciting fusion of international sounds and musical genres. Lila’s lyrics are often striking commentaries thropology at the University of Minnesota. Her on social conditions, reflectin mi ration and and are as varied as the ancient cultures that spotlighting her concerns over the erosion music and ocal artistry ha e many influences serve as her inspiration. For two decades she has toured throughout the world with her multinational band, La Misteriosa, reinter- preting the roots of music, such as blues, jazz, soul, cumbia, rock, rap and klezmer music. She weaves various musical forms with tradition26 the search for roots as a core human need, of civil rights and justice, escalating threats against journalists and activists, the excess in modern life, lost love and more. In the midst of her exploration of such important issues, Lila Downs is able to make audiences laugh, cry and sing passionately along with her. She makes an important and deep connection with her fans, airy yet virtuosic instrumental foundation am very fortunate,” said Downs. “People who of modern Bogotá. It’s the perfect backdrop to who are of all ages, races and backgrounds. “I follow our music belong to all walks of life. Every day we connect with them.” Lila Downs has performed at many of the world’s most prestigious festivals and venues, has been invited to sing at the White House, and performed on the Latin Grammys 2012 telecast, as well as the 75th Academy Awards televised ceremony, performing with Caetano Veloso the Oscar-nominated song “Burn It Blue,” from the movie Frida. Her music has also een included in se eral other feature films such as The Counselor, Tortilla Soup, Real Women Have Curves, The Three Burials of Melquiades connects 1930’s Paris with the youthful spirit showcase Catalina Garcia’s sugar-sweet, sun- shiny vocals at the very center of their signature “swing a la Colombiana” style. With the help of the illustrator José Arboleda and their own fashion designer, the band has created a world of their own that comes to life in their music, their artwork and, of course, their performances. LILA DOWNS MUSICIANS Lila Downs—Vocals, Guiro, Jarana Paul Cohen—Tenor Saxophone, Clarinet George Saenz Jr—Trombone, Accordion, Keyboard Estrada, Carlos Saura’s Fados, Mariachi Gringo Josh Deutsch—Trumpet she has collaborated in recordings and concerts Luis Guzman—Bass and Hecho en Mexico. Other artists with whom include Mercedes Sosa, Santana, Juanes, Bun- bury, Cafe Tacuba, Wynton Marsalis, Angelique Kidjo, Juan Gabriel and Los Tigres del Norte. Lila has recorded nine studio albums, garner- ing a Grammy and four Latin Grammys. She is currently completing a new album scheduled for a 2017 release. One of the leading bands in Colombia’s new music scene, MONSIEUR PERINÉ won the Latin Grammy Award for Best New Artist and earned a Grammy Award nomination for their most recent album, Caja de Música. Rooted in gypsy jazz and celebrating the tradition of Django Reinhardt, Monsieur Periné’s fresh style adds Rafael Gomez—Guitar Sinuhe Padilla Isunza—Chaquiste, Jarana, Quijada de Burro, Zapateado Yayo Serka—Drums Nakeiltha Campbell—Percussion MONSIEUR PERINÉ MUSICIANS Catalina García—Lead Vocals Santiago Sarabia—Guitar/Strings Nicolás Junca—Guitar Adinda Meertins—Double Bass Miguel Guerra—Percussion Darwin Paéz—Drums Jairo Alfonso—Saxophone, Clarinet Abstin Caviedes—Trombone a variety of Latin elements to the mix. Incorpo- CREW and samba, the band performs on traditional Alex McIntire—FoH Audio rating genres like cumbia, son, bolero, tango South American instruments from the charango to the bandoneon, and Latin percussion. Their Gustavo Vargas—Monitors Dan Weingarten—Lighting Director/Video Kat Cook—Tour Management 27 MAN OF LA MANCHA 28 PROGRAM MAN OF LA MANCHA BOOK BY DALE WASSERMAN LYRICS BY JOE DARION MUSIC BY MITCH LEIGH MCCOY RIGBY ENTERTAINMENT LA MIRADA THEATRE FOR THE PERFORMING ARTS FRIDAY, MAY 5 | 8PM SATURDAY, MAY 6 | 3 & 8PM SUNDAY, MAY 7 | 3PM MEDIA SPONSOR KUSC 29 CREATIVE TEAM all time, spawning numerous national and stage version of One Flew Over the Cuckoo’s scores include Cry for Us, Sarava, Chu Chem DALE WASSERMAN (Book) penned the international productions. His other Broadway Nest, which was based on the novel by Ken and Ain’t Broadway Grand. He is the recipient was seen on Broadway twice: in 1963 with a Drama Critics Circle Award and the Contem- Kesey. The drama, set in a mental hospital, cast led by Kirk Douglas as Randle P. Mc- Murphy and in 2001 with Gary Sinise as the rebel patient McMurphy and August: Osage County’s Amy Morton as Nurse Ratched. Wasserman’s Broadway career began in 1954 as the production stage manager for The Azuma Kabuki Dancers and Musicians; that production played a brief revival in 1955 for which Wasserman was the lighting designer. It was the classic musical Man of La Mancha—based on Mr. Wasserman’s teleplay , Don ui ote that solidified his career. The musical, which featured music by Mitch ei h and lyrics y oe Darion, played fi e road ay en a ements. The first, in 196 , starring Richard Kiley as Don Quixote, ran 2,328 performances; revivals were seen in 1972, 1977, 1992 and 2002. The musical is of numerous awards, including the New York porary Classics Award from the Songwriter’s Hall of Fame for “The Impossible Dream,” and he is the first composer to recei e the ale rts Award for Outstanding Achievement in Musi- cal Composition. He has also been honored as the only living composer whose work was in- cluded in the Metropolitan Opera’s Centennial Celebration. Mr. Leigh produced and directed Yul Brynner’s farewell tour of The King and I. In September, 2000, the Music school at Yale University was named Leigh Hall. JOE DARION (Lyrics) has worked in every field in hich ords are put to music, from popular songs to works for the concert stage. His opera based on Don Marquis’ immortal characters, Arch and Mehitabel, was turned into the Broadway musical Shinbone Alley, for which Mr. Darion supplied the book and lyr- also a staple at regional theatres around the ics. Popular songs for which he has supplied Award for “The DuPont Show of the Month”; Partners” and “Midnight Rain,” have sold country. His screen work won him a WGA he was also nominated for a 1961 Emmy Award for that same program. Dale Wasser- man was born Nov. 2, 1917, in Rhinelander, WI. He married Martha Nelly Garza in 1984; a previous marriage to actress Ramsay Ames ended in divorce. MITCH LEIGH (Music) composed Man of La Mancha, which originally opened on Broadway in 196 and ent on to in fi e Tony ards, including Best Musical. Man of La Mancha ran for 2,328 performances on Broadway, making it one of the greatest musical successes of 30 the lyrics, including “Ricochet,” “Changing in the tens of millions. One of the most popular has been “The Impossible Dream,” the hit song from Man of La Mancha, which won Darion the 1965-66 Tony Award for the best lyrics of the Broadway season. He also supplied the lyrics for the Broadway musical Illya Darling that as adapted from the film Never on Sunday. Among Mr. Darion’s more serious works, written with Ezra Laderman, are the oratorio opera Galileo and And David Wept, the cantatas A Handful of Souls and the Questions of Abraham and the mass A Mass for Cain. In addition to the Tony, he has Choice Award). Pasadena Playhouse: Mask, Gabriel Award, the Ohio State Award and the (Ovation Award). Denver Center: White received the Drama Critics Circle Award, the International Broadcasting Award. GLENN CASALE (Director) Broadway: Peter Pan starring Cathy Rigby (Tony Award nomination est e i al hich as filmed by A&E and garnered two Emmy Awards. Can-Can (Ovation nominated) Radio Gals Christmas (Denver Critic’s Choice Award). Goodspeed: 7 Brides (Connecticut Critic’s Circle Award); Oregon Shakespeare Festival: Animal Crackers. JEFF RIZZO (Musical Director) is pleased Off-Broadway: The Property Known as Garland to be making his debut for McCoy Rigby Studio 54 (Drama Desk Lucille Lortel Award musicals in many U.S. cities, Japan and starring Adrienne Barbeau and Dragapella at nominations for Best Production). Interna- tional: Disney’s The Little Mermaid; Beauty and the Beast (Netherlands, Germany, Italy, Spain, Japan and Russia) The Wiz, Regional: Disney’s Entertainment. He has conducted countless China. Most recently: White Christmas at the Ordway Center in Saint Paul, H2$ and Mary Poppins at Theatre Under The Stars in Houston, and Cabaret at the Sacramento Mu- Hunchback of Notre Dame, The Little Mermaid, sic Circus. Jeff experienced the 2011 Tokyo Diamond Phillips. Wrestlers starring Mark Joseph…Dreamcoat. He toured China in 2007 Ballroom; Camelot with Rachel York and Lou Harmon and George Clooney; Bingo!, From the Top starring Carol Burnett. Los Angeles Ovation Award-winning Best Musical Anything Goes starring Rachel York, Brent Barrett, Sally earthquake and the nuclear meltdown doing with 42nd Street, as well as the two-year run of the 2002 US National Tour, which played Segerstrom Hall and the Ahmanson. Jeff as the audition accompanist for the film of Struthers and Fred Willard. Camelot starring Dreamgirls. He musically directed Madison with Jason Alexander; Television: ABC TV’s Roseanne, the subsequent national tour Michael York, The Prisoner of Second Avenue The Faculty starring Meredith Baxter and The Wayans Brothers. PATTI COLOMBO (Choreographer) Broadway: Peter Pan w/ Cathy Rigby (Tony nominated Best Revival). Emmy-nominated choreography for A & E television production. National Tours: Dr. Doolittle w/ Tommy Tune. Seussical, the Musical w/Cathy Rigby. 7 Brides (Elliot Norton Award [Boston]). Guys and Square Garden’s The Wizard of Oz starring and the Grammy nominated cast recording starring Mickey Rooney and Eartha Kitt. He was associate conductor of the U.S. premiere of Sunset Boulevard starring Glenn Close at the Shubert Theatre in Los Angeles. Jeff toured three years with Annie, as associate conductor of the 2nd National Tour and conductor of the 4th National Tour. He has served on the faculty of the American Dolls. International Tours: UK Tour: 7 Brides Music and Dramatic Academy (LA campus) for China & Europe: China Goes Pop Director/ scores for Jailbirds on Broadway, Wanna Play?! Director/Choreographer. Choreographer. Regional: Paper Mill: Kiss Me Kate, 7 Brides, On the Town (N.J. Critics 13 years. As a composer his work includes the (published by Baker’s Plays) and a new musical version of A Christmas Carol. With partner Eric 31 Andrist, he co-founded the Musical Theatre Entertainment; productions include Billy ramento, California, and graduated from the Notre Dame and First Date. He has a long- Guild. Born in Utica, New York, raised in Sac- Elliot, First Date, Rent, The Hunchback of University of Southern California, Jeff makes standing relationship with Sacramento Music JULIA FLORES (Casting Director) Twen- productions in the last fi e years. Stephen has his home in Valley Village. ty-two seasons with McCoy Rigby Entertain- ment and La Mirada Theatre for the Performing Arts. MRE productions include touring productions of The Little Mermaid, Peter Pan Circus where he has designed more than 10 also spent many years designing for industrial theatricals and exhibits for clients like Nike, AT&T and Ralph Lauren. His design for The Pro Football Hall of Fame’s The Game for Life, starring Cathy Rigby, Camelot starring Lou a fully immersive hologram theater, has been starring Carl Anderson. Onstage Series pro- garnered many awards and nominations from Diamond Phillips and Jesus Christ Superstar ductions include American Idiot, Spring Awakening and Floyd Collins. Additional credits include productions for Boston Court Theatre, A Noise Within, The Pasadena Playhouse, Theatreworks, Denver Center Theatre, Ensemble lauded throughout the industry. Stephen has the Los Angeles Ovation Awards, Broadway World and the Los Angeles Critics Circle from which was honored with the Bob Z Award for Career Achievement in Scenic Design. LEON WIEBERS (Wardrobe Designer) has Theatre Company, B Street Theatre, Universal designed productions in the U.S. and interna- Theatre, San Jose Repertory Theatre, Portland South Korea examining traditional dress. His Studios, Los Angeles Philharmonic, 24th Street Center Stage and Reprise!. Dedicating this to the best parents ever, my amazing Mom and Dad, Emilio and Lupe Flores. I love you both more than words can say. STEPHEN GIFFORD (Scenic Design) is a Los Angeles based scenic designer whose work has been seen from Philadelphia’s Walnut Street Theatre to Alaska’s Juneau tionally. He was a Fulbright Senior Scholar to work encompasses musical theatre, dance, opera and straight plays. Recent credits: Dance pieces for odyTraffic, an ased modern company, at the Hollywood Bowl, Empire, a new musical for LaMirada Center for the Performing Arts, The Secret Garden for Cincinnati Playhouse and Center Stage in Baltimore, The Music Man for Glimmerglass Lyric Opera. In the Los Angeles area he has Festival and the Royal Opera in Oman and Santa Barbara, La Mirada Performing Arts all directed by Marcia Milgrom Dodge; Il Noise Within, The Theatre @ Boston Court, long-term collaborator at California Music worked with Ensemble Theatre Company Center/McCoy Rigby, The Colony Theatre, A The Antaeus Company, International City Theatre, Laguna Playhouse, 3D Theatricals, The Falcon Theatre and many more. Stephen has had the honor of designing multiple large-scale musicals with McCoy Rigby 32 The King and I for the Maltz Jupiter Theatre Trovatore for the Sacramento Opera. He is a Circus whose productions include: A Chorus Line, The Wizard of Oz, Show Boat, Anything Goes, I Do, I Do, Spamalot!, Dirty Rotten Scoundrels, 42 Street, My Fair Lady, Gypsy, Guys and Dolls, Kiss Me, Kate, Jekyll and Hyde, Aida, A Funny Thing Happened on the Way to National WWII Museum in New Orleans. See sticks and The Scarlet Pimpernel; Il Barbiere di JULIE FERRIN (Sound Design) Ms. Ferrin the Forum, Grease, West Side Story, The FantaSiviglia for the San Francisco Opera Center, www.syoungld.com / www.visualterrain.net is honored to be designing West Side Story Cymbeline at Georgia Shakespeare Festival, with this amazing team, cast and crew! Julie El Niño for the Theatre du Chatelet in Paris, with 3D Theatricals, PETER PAN and BEAUTY Il Trovatore for the English National Opera, Cosi Fan Tutti for Sacramento Opera, Living Pictures for the Getty Museum and Antigone for Portland Center Stage. Awards include: The Carbonelle Award, Fulbright Research Grant to Korea, Back Stage West Garland and LA Weekly Awards for Three Sisters for In- teract Theatre, LA and an LA Ovation Award for Ubu Roi at A Noise Within. He currently holds a faculty position at Loyola Marymount University and is member of United Scenic Artists, Local 829. STEVEN YOUNG (Lighting Design) Re- cent designs include West Side Story, Ameri- can Idiot, Rent, Billy Elliot, Les Misérables and Next to Normal. Steven’s other credits include over 30 concerts for the Gay Men’s Chorus of Los Angeles; Putting It Together for South Coast Repertory, In The Heights for Theatre Under The Stars in Houston; Paradise Lost : Shadows and Wings for Theatre@Boston Court. Awards include three Los Angeles ation ards, the . . ee ly ard, fi e Garland Awards and the LADCC Angstrom Lifetime Achievement Award. As Principal Desi ner for li htin desi n firm isual Terrain, Steven has designed for Wuhan Movie Park in China, the USA Pavilion at the 2012 World Expo in Yeosu, South Korea, the Dragons Wild Shooting theme park attraction at Lotte World in Seoul, Northern Lights, an immersive media experience in Edmonton Canada, and Beyond All Boundaries for the recently designed ONCE ON THIS ISLAND AND THE BEAST with Encore Entertainment and two tours of RUDOLPH THE RED NOSED REINDEER that toured the USA. Ms. Ferrin is president of Sound Advice LLC, a sound de- sign, engineering and rental company. Please visit www.soundadvicedesigns.com for more information and follow us on Facebook at Sound Advice LLC. Julie is a proud member of USA 829 and IATSE Local 504. Thank you for supporting the arts and enjoy show! TERRY HANRAHAN (Props Design) has just had an absolute blast through her many years of building props for McCoy Rigby Entertainment, 3D Theatricals, Fullerton Civic Light Opera, Reprise!, Theatre at Boston Court and others… where else can one make a career of creating fake projectile vomit as for God of Carnage? Or giant light up pill bottles for Next to Normal? And who can forget the pa- rade of little flo er pot unny ra its for Good People? And speaking of good people… getting to have this much fun through the years with all of the fabulous, fun and very good people on the teams for these produc- tions has been quite a blessing. Lots more fun was had in the Art Departments of Disney Educational, Kids Incorporated, All That and Kenan and Kel… looking forward to whatever craziness is next! KATIE MCCOY (Hair/Makeup Design) Recent designs for La Mirada Theatre/McCoy Rigby include the world premiere of Jane 33 Austen’s Pride and Prejudice a Musical, Rent, ing Arts, McCoy Rigby Entertainment (MRE), Billy Elliot, Les Misérables, Miss Saigon, The production companies. Headed by Executive First Date, Mary Poppins, Carrie the Musical, 39 Steps, Life Could Be A Dream, American Idiot, The Hunchback of Notre Dame and Lend Me a Tenor. She has served as Head of Wigs on national tours of The Little Mermaid, Elf the Musical, Rudolph the Red Nosed Reindeer is one of the world’s premier theatrical Producers Tom McCoy and Cathy Rigby, MRE has produced over one hundred musicals, plays and concerts featuring some of the biggest stars in the industry today. In addition, MRE has launched several Emmy Award-win- the Musical and Cathy Rigby is Peter Pan. Ka- ning and Tony Award-nominated Broadway, Buddy Holly Story, Steel Magnolias, Little tions including: Peter Pan, Seussical the tie’s credits as a stylist include Hairspray, The Shop of Horrors and many shows at The Sacramento Music Circus. Katie has also served as a styling consultant for recitals at McCoy Rigby Conservatory of the Arts and for NBC Sports. Currently residing in Southern Cali- fornia, Katie’s greatest joy comes in knowing international and national touring produc- Musical and Annie Get Your Gun, all starring Cathy Rigby; Frank Wildhorn’s Jekyll and Hyde starring American Idol contender and Tony Award nominee Constantine Maroulis along with Grammy Award nominee and R&B superstar Deborah Cox; Jesus Christ Super- that she has made an impact on the quality star starring Carl Anderson and Sebastian hind the scenes. Diamond Phillips and Happy Days written by of the show through the work she does be- WILLIAM ALAN COATS (Production Stage Manager) Management credits include Broadway and four National Tours. A Bay Area Outer Critics Circle, Garland and Ovation Award-winner, Mr. Coats directorial & choreographic work has been seen at Seattle’s 5th Avenue Theater, Houston’s Theater Under the Stars, North Shore Music Theatre, Westches- ter Broadway Theatre, Paper Mill Playhouse, Music Theater of Wichita, Sacramento Music Circus and a Gershwin tribute for The Bach; Camelot starring Michael York and Lou Gary Marshall and Paul Williams. Peter Pan starring Cathy Rigby has made four stops on Broadway and received four Tony Award nominations including Best Revival of a Musical and Best Actress in a Musical. The A&E TV network premiere of Peter Pan, starring Cathy Rigby, received one Emmy Award and four Emmy Award nominations. MRE’s other credits include numerous award-winning documentaries and stadium events. LA MIRADA THEATRE FOR THE PER- Library of Congress. Thirty three productions FORMING ARTS Winner of the Los Angeles performing, directing, choreographing and the Year,” La Mirada Theatre has been hailed with the North Carolina Theatre spanning current resident Stage Manager. McCOY RIGBY ENTERTAINMENT (Tom McCoy & Cathy Rigby McCoy, Executive Producers) Celebrating its 21st Anniversary season at La Mirada Theatre for the Perform34 Ovation Award for 2012-13 “Best Season of by the LA Times as “one of the best Broadway-style houses in Southern California.” Now in its fourth decade, La Mirada Theatre has been producing quality productions for Southern California audiences since 1977. STAFF & CREW FOR MAN OF LA MANCHA COMPANY Production Stage Manager……………….……............…….………. WILLIAM ALAN COATS Assistant Stage Manager……….…....…….......………………………..….KIMBERLY MITCHELL Lighting Designer……………….……..……….......…….………………………....STEVEN YOUNG Sound Designer..…………………….……….........……………………………………..JULIE FERRIN Scenic Designer…..……………………………………………………………….STEPHEN GIFFORD Set Builder………….………..…...SETS TO GO/MARK HENDERSON AND TIM FARMER Properties Designer……………….....………………………………………….TERRY HANRAHAN Wardrobe Designer……………….........……………………………………….…...LEON WIEBERS Hair/Wig/Makeup Designer……….........………………………………………..KATIE MCCOY Contractor………………………..…….....……………………………………..….TIM CHRISTENSEN Audition and Rehearsal Pianist…….....…….…….......……………...….………………JEFF RIZZO Casting Director………………….………..………………………….……………………JULIA FLORES Casting Assistant……….…………..….....……...…………………………….……….KELLY DORNEY Head Wardrobe………….……….……...……..……………………..………….CASSIDY SANTOS Wig Running Head……..…….......…………….……….……………………....ELIZABETH BOHKS Dresser………..………….…………………………………….......…….……........…CASEY ZELHART Dresser………..……….……………..…………………………..…………….............DIANA RENNIE Dresser………...………………………………..…………..………......................…STEZY BUTCHER MCCOY RIGBY ENTERTAINMENT PRODUCTION STAFF Executive Producers…………………………….TOM MCCOY AND CATHY RIGBY MCCOY Office Manager………………………….........………………………………………………ANA LARA Contracts, Payroll Manager…………………........................................………DAVID NESTOR Production Manager…………………………....………………………………………...PATTI JACOB Production Accountant………………………………....……………………...…..……..ELISA SZIEFF Technical Director…………………………....…….......…………………………MICHAEL ROMAN Social Media/Marketing………….……….……….......………………………LINDSAY BROOKS Production Accountant.....................................................................................ELISSA SZIEFF Accountant Assistant.............................................................................................KATE KING Accountant Assistant.......................................................................................PAUL ZELHART ORCHESTRA JEFF RIZZO – Conductor/MD ADAM BAHTIA – Trumpet 1 TONY BONSERA – Trumpet 2 CHARLIE MORILLAS – Trombone DANIELLE ONDARZA – French Horn EILEEN HOLT – Flute/Piccolo DAVID KOSSOFF – Oboe/English Horn JOHN MITCHELL – Bassoon/Clarinet JUSTIN SMITH – Guitar MARK CONVERSE – Percussion TIM CHRISTENSEN – Bass/Contractor 35 36 MARTHA GRAHAM DANCE COMPANY PROGRAM MARTHA GRAHAM AND AMERICAN MUSIC MARTHA GRAHAM DANCE COMPANY CHRISTOPHER ROUNTREE, CONDUCTOR WILD UP SATURDAY, MAY 13 | 8PM This project is supported in part by an award from the National Endowment for the Arts. THIS PERFORMANCE IS GENEROUSLY SUPPORTED BY ELIZABETH A. PURCELL MEDIA SPONSOR KUSC, KPCC 37 PROGRAM Artistic Director: JANET EILBER Executive Director: LARUE ALLEN The Company ABDIEL JACOBSEN LLOYD KNIGHT BEN SCHULTZ XIN YING CHARLOTTE LANDREAU LLOYD MAYOR ARI MAYZICK LORENZO PAGANO SO YOUNG AN LAUREL DALLEY SMITH ANNE O’DONNELL ANNE SOUDER LESLIE ANDREA WILLIAMS KONSTANTINA XINTARA ALYSSA CEBULSKI JACOB LARSEN MARZIA MEMOLI Senior Artistic Associate: DENISE VALE Major support for the Martha Graham Dance Company is provided by The Andrew W. Mellon Foundation The Howard Gilman Foundation National Endowment for the Arts New York City Department of Cultural Affairs in partnership with the New York City Council New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature The Artists employed in this production are members of the American Guild of Musical Artists AFL-CIO. Copyright to all Martha Graham dances presented held by the Martha Graham Center of Contemporary Dance, Inc. All rights reserved. 38 PROGRAM PANORAMA Theme of Dedication—Imperial Theme—Popular Theme Choreography and Costumes by MARTHA GRAHAM Music by NORMAN LLOYD† Lighting by DAVID FINLEY Regisseur, AMÉLIE BENARD Rehearsal Supervisor, MADELEINE DAHM Premiere: August 14, 1935, Vermont State Armory, Bennington, VT CSUN and Community Dancers MIKAYLA ALPERT, LIZA BARSKAYA, SAMANTHA BEATTY, ELISSA BROCK, ERICA BURKE, DYONNA CANNON, MELISSA CANTARERO, DOMINIQUE DAVIS, JAYY GAMBLE, JAZZ HAYES, AUTUMN HOOKS, ZAHRA INNISS, ANGELA JANNEY, JAYDE KIEF, ALEXISJULIET MARTINEZ, CHERISE MCKENZIE, LINDSAY MORRISON, SARAH NO, EMEKA NWOYE, BIANCA ORTIZ, BRIANNA ORTIZ, CHELSEA PETTIFORD, BYRON RAMIREZ, JESSE RICALDI, JARED RICE, MALENA SEGOVIA, SARA SILVA, LINDSEY WOERNER AND DEVIN ZIEL Original reconstruction in 1992 by Yuriko, from the Julien Bryan film. †Arranged and orchestrated by Stanley Sussman. DARK MEADOW SUITE Choreography and Costumes by MARTHA GRAHAM Arrangement by JANET EILBER† Music by CARLOS CHAVEZ Lighting by NICK HUNG Premiere: January 23, 1946, Plymouth Theatre, New York City ANNE O’DONNELL AND LORENZO PAGANO SO YOUNG AN, LAUREL DALLEY SMITH, ABDIEL JACOBSEN, CHARLOTTE LANDREAU, JACOB LARSEN, ARI MAYZICK, MARZIA MEMOLI, LESLIE ANDREA WILLIAMS Commissioned by the Elizabeth Sprague Coolidge Foundation in the Library of Congress, Washington, DC. †La Hija de Colquide used by arrangement with G. Schirmer, Inc., agent for Carlanita Music Company, publisher and copyright owner. Arranged and conducted by Aaron Sherber. 39 PROGRAM DIVERSION OF ANGELS Choreography and Costumes by MARTHA GRAHAM Music by Norman DELLO JOIO † Original lighting by JEAN ROSENTHAL Adapted by BEVERLY EMMONS Premiere: August 13, 1948, Palmer Auditorium, New London, CT The Couple in White The Couple in Red The Couple in Yellow: LESLIE ANDREA WILLIAMS, ABDIEL JACOBSEN ANNE O’DONNELL, LORENZO PAGANO LAUREL DALLEY SMITH, ARI MAYZICK, SO YOUNG AN, MARZIA MEMOLI, ANNE SOUDER, KONSTANTINA XINTARA, JACOB LARSEN †Used by arrangement with Carl Fischer, Inc., publisher and copyright owner. INTERMISSION CAVE OF THE HEART Choreography and Costumes by MARTHA GRAHAM Music by SAMUEL BARBER Set by ISAMU NOGUCHI † Original lighting by JEAN ROSENTHAL Adapted by BEVERLY EMMONS Premiere: May 10, 1946, Columbia University, New York City The Sorceress, Medea Jason The Princess, Creon’s Daughter The Chorus XIN YING BEN SCHULTZ CHARLOTTE LANDREAU KONSTANTINA XINTARA Originally commissioned by the Alice N. Ditson Fund, Columbia University. †Medea, Opus 23, used by arrangement with G. Schirmer, Inc., publisher and copyright owner. 40 MAPLE LEAF RAG Choreography by MARTHA GRAHAM Music by SCOTT JOPLIN † Costumes by CALVIN KLEIN Lighting by DAVID FINLEY Premiere: October 2, 1990, City Center Theater, New York City RICHARD VALITUTTO, piano LAUREL DALLEY SMITH, ARI MAYZICK AND LESLIE ANDREA WILLIAMS SO YOUNG AN, ALYSSA CEBULSKI, ABDIEL JACOBSEN, LLOYD KNIGHT, JACOB LARSEN, CHARLOTTE LANDREAU, LLOYD MAYOR, MARZIA MEMOLI, ANNE O’DONNELL, LORENZO PAGANO, BEN SCHUL TZ, ANNE SOUDER, XIN YING, KONSTANTINA XINTARA †Elite Syncopations (1902), Bethena (1905) and Maple Leaf Rag (1899), arranged by Chris Landriau. NOTES ON THE REPERTORY PANORAMA (1935) Premiered in 1935, at the famed summer retreat in Bennington, Vermont, Panorama of both the American Southwest and Mexico, which she observed as a young woman. The Mexican composer Carlos Chavez wrote the spacious musical score for Graham. The danc- was considered to be experimental. It was 45 ers often work in counterpoint to the score by Norman Lloyd. The dance also featured 33 percussion effects. In her original program minutes long and used an “avant-garde” score student dancers and evoked the power of the people to make change. Panorama was lost until 1992, when the sections of it performed toni ht ere disco ered in an early film. DARK MEADOW SUITE (1946) The Dark Meadow Suite is made up of highlights from a much longer work by Martha Graham, Dark Meadow from 1946. The Suite, created in 2016, is designed to feature the exceptional choreography that using the sound of their feet and other body note, Graham wrote, “Dark Meadow is a re- enactment of the mysteries which attend the eternal adventure of seeking.” It is an abstract work about life’s journey and the search for connection with one’s self and one’s commu- nity. This dance is a prime example of Graham as a leader in mid-20th Century modernism. DIVERSION OF ANGELS (1948) Diversion of Angels, originally titled Wilder- ness Stair, premiered at the Palmer Audito- Graham created for the ensemble of dancers rium of Connecticut College on August 13, the partnering have been recognized as some by Isamu Noguchi suggestive of desert terrain, in Dark Meadow. Both the unison dancing and of Graham’s most architectural, ritualistic and profound creations. They are clearly inspired by Graham’s love of the rituals of the natives 1948. The title, as well as a set piece designed as discarded after the first performance, and the dance was reconceived as a plotless ballet. Diversion of Angels is set to a roman- 41 tic score by Norman Dello Joio and takes its it, and suffers its unfolding. Graham’s dance Couple in Red embodies romantic love and betrayed, so crazed by vengeance that she themes from the infinite aspects of lo e. The “the ecstasy of the contraction”; the Couple in White, mature love; and the Couple in Yellow, a flirtatious and adolescent lo e. artha raham recalled that hen she first confronts us with the horror of a woman commits the unthinkable, the murder not only of her lover’s new wife, but of her own children. She is the most detestable of beings, but she is not alien to us. In her ex- saw the work of the modern artist Wassily ploration of these dark and primal passions color, a bold slash of red across a blue back- to be human. Ultimately this is a dance of Kandinsky, she was astonished by his use of ground. She determined to make a dance that would express this. Diversion of Angels is that dance, and the Girl in Red, dashing across the stage, is the streak of red paint bisecting the Kandinsky canvas. —ELLEN GRAFF CAVE OF THE HEART (1946) Premiered at Columbia University in 1946 and originally entitled Serpent Heart, this dance is a psychological study of the Graham reveals the full range of what it is transformation, as the Sorceress (Medea), cleansed y flames, is returned to her father the Sun. —ELLEN GRAFF MAPLE LEAF RAG (1990) Maple Leaf Rag premiered in 1990 at the City Center Theater in New York City. The last complete ballet to be choreographed by Martha Graham, the dance takes a sly look at the foibles of a contemporary choreogra- destructive powers of love, the dark pas- pher (such as Graham herself) and gently like a serpent ready to strike when attacked. creation. With costumes by fashion designer sions that guard the human heart, coiled Medea, princess of the kingdom of Colchis, was known as a sorceress. Pierced by Cupid’s bow, she fell in love with the adventurer mocks the plight of the artist in the throes of Calvin Klein and a score featuring the music of Scott Joplin, the dance was immediately a favorite for Graham audiences. A ridicu- Jason and used her magical powers to help lous boomerang-shaped barre dominates the that characters that inha it this allet. i e fi - him ain the olden leece. Sacrificin all as dear to her, she fled ith him to his home in the kingdom of Corinth, where they lived as man and wife and had two small children. But Jason was ambitious, and when offered the Princess of Corinth in marriage, stage, the perfect prop for the cast of unruly ments of the imagination, these dancers enter and exit at will in a parody of movement themes drawn from classic Graham repertory. Maple Leaf Rag is Martha Graham’s humor- he abandoned Medea. This is the moment ous and loving tribute to the choreographic Betrayed and exiled from her home, Medea Joplin music of her youth and to her long in which Martha Graham’s dance begins. plots a course that will end with the death of her rival, the Princess, and the murder of her own two children. The Chorus, foreseeing the tragedy about to be enacted, tries to prevent 42 muse. It is also a fond tribute to the Scott association with Louis Horst, her one-time mentor and lover. “Louis,” she says at the very beginning of the dance, “play me the Maple Leaf Rag.” (1946) MARTHA GRAHAM IN CAVE OF THE HEART ABOUT MARTHA GRAHAM Rudolf Nureyev and Mikhail Baryshnikov impact on American art and culture. She sin- of all genres were eager to study and work with Martha Graham has had a deep and lasting le handedly defined contemporary dance as a uniquely American art form, which the nation has in turn shared with the world. Crossing artistic boundaries, she collaborated with and commissioned work from the leading visual artists, musicians and designers of her day, in- sought her out to broaden their artistry. Artists Graham—she taught actors including Bette Davis, Kirk Douglas, Madonna, Liza Minnelli, Gregory Peck, Tony Randall, Eli Wallach, Anne Jackson and Joanne Woodward to utilize their bodies as expressive instruments. During her long and illustrious career, Gra- cluding sculptor Isamu Noguchi and composers ham created 181 dance compositions. During Menotti. States’ highest civilian honor, The Medal of Aaron Copland, Samuel Barber and Gian Carlo Graham’s groundbreaking style grew from her experimentation with the elemental movements of contraction and release. By focusing on the basic activities of the human form, she enlivened the body with raw, electric emotion. The sharp, angular and direct movements of her technique were a dramatic departure from the predominant style of the time. raham influenced enerations of choreo - raphers that included Merce Cunningham, Paul Taylor and Twyla Tharp, altering the scope of dance. Classical ballet dancers Margot Fonteyn, the Bicentennial she was granted the United Freedom. In 1998, TIME Magazine named her the Dancer of the entury. The first dancer to perform at the White House and to act as a cultural ambassador abroad, she captured the spirit of a nation. “No artist is ahead of his time,” she said. “He is his time. It is just that the others are behind the time.” ABOUT THE COMPANY The Martha Graham Dance Company has been a leader in the development of con- temporary dance since its founding in 1926. 43 Today, the Company is embracing a new pro- her by Graham, and was directed by Graham by Graham alongside newly commissioned She soloed at the White House, was part- gramming vision that showcases masterpieces in most of the major roles of the repertory. works by contemporary artists. With pro- nered by Rudolf Nureyev, starred in three Company creates new platforms for contem- taught, lectured and directed Graham ballets grams that offer a rich thematic narrative, the porary dance and multiple points of access for audiences. Since its inception, the Martha Graham Dance Company has received international acclaim from audiences in more than 50 countries throughout North and South America, Europe, Africa, Asia, Russia and the Middle East. The Company has performed at the Metropolitan Opera, Carnegie Hall, the Paris Opera House, Covent Garden and the John F. Kennedy Center for the Performing Arts, as well as at the base of the Great Pyramids in Egypt and in the ancient Herod Atticus Theatre on the Acropolis in Athens. In addition, the Company has also produced se eral a ard innin films roadcast on P S and around the world. ABOUT THE ARTISTS JANET EILBER (Artistic Director) has been the Company’s artistic director since 2005. Her direction has focused on creating new forms of audience access to Martha segments of Dance in America, and has since internationally. Apart from her work with raham, s. il er has performed in films, on television and on Broadway directed by such greats as Agnes deMille and Bob Fosse and has received four Lester Horton Awards for her reconstruction and performance of seminal American modern dance. She has served as Director of Arts Education for the Dana Foundation, guiding the Foundation’s support for Teaching Artist training and contributing regularly to its arts education publications. Ms. Eilber is a Trustee Emeritus of the Interlochen Center for the Arts. She is married to screenwriter/director John Warren, with whom she has two daughters, Madeline and Eva. DENISE VALE (Senior Artistic Associate) joined the Martha Graham Dance Company in 1985, attaining the rank of principal danc- er. Roles performed include the Pioneering Woman in Appalachian Spring, Woman in White in Diversion of Angels, Chorus Leader in Night Journey, Chorus in Cave of the Heart, Graham’s masterworks. These initiatives the Attendant in Hérodiade, Leader in the tional and community partnerships, use of and Night Chant, a ballet created for Ms. Vale include contextual programming, educa- new media, commissions and creative events such as the Lamentation Variations and Prelude and Revolt. Earlier in her career, as a principal dancer with the Martha Graham Dance Company, Ms. Eilber worked closely with Martha Graham. She danced many of Graham’s greatest roles, had roles created for 44 1980s reconstruction of Steps in the Street, by Martha Graham in 1989. Graham solos performed include Lamentation, Frontier, Sa- tyric Festival Song and Serenata Morisca. This is her first season ith the ompany. ABOUT WILD UP wild Up is the ultimately fle i le, o any- WILD UP where, play anything modern music collec- and witness as a long lost John Adams suite topher ountree. Their pro rams reflect the ductor and composer Christopher Rountree is tive led by Artistic Director/Conductor Chrisemerging cultural leadership of a generation. Lines are blurred, rules are broken, concerts become events, events become enduring comes alive at Walt Disney Concert Hall. Constanding at the intersection of classical music, new music, performance art and pop. Rountree, 33, is the founder, conductor memories. In a single engagement, wild and creative director of the pathbreaking L.A. where the greatest musicians on the scene been called “Searing. Penetrating. And Thrill- Up creates a theatrical and musical context today become an orchestra that celebrates tradition while reshaping it. In a single evening the audience may celebrate Erick Satie, Ted Hearne, John Lennon, Alexander Scriabin, Chris Cerrone, Velvet Underground, Steve Reich andrew McIntosh, Jen Hill, Nina C. Young and on and on and on…. CHRISTOPHER ROUNTREE (Artistic chamber orchestra wild Up. The group has ing” by NPR’s Performance Today and named “Best Classical Music of 2015” by the New York Times. wild Up started in 2010 with no funding and no musicians, driven only by Rountree’s vision of a world-class orchestra that creates visceral, provocative experiences that are unmoored from classical traditions. Whether he’s conducting, composing or cu- Director) We see Lady Macbeth in a dozen rating a program, Rountree’s approach—with in a bathroom; hear Stravinsky pouring out of “elegant clarity” (New York Times)—is united cutting himself out of duct tape with a razor gaged relationship between a score, musicians crooning silhouettes washing blood out of rags an abandoned warehouse; watch a violinist as his amplified iolin sits atherin feed ac its “infectious enthusiasm” (L.A. Times) and by extremely high energy and a deeply enand audience. 45 “For most people, programming and con- Orchestra on the New York Philharmonic’s I want to get rid of restraint: I want to go all opera Anatomy Theater, joined Jennifer Koh ducting are about restraint, intellect. 2016 Biennial, premiered David Lang’s new the way there. To make something searing, on and Shai Wosner with wild Up at the Laguna bared and teeth gritted.” Rountree says. “I want new show “L’Espace du Temps: Glass, Adams, fire and ra . The authentic thin , ith its soul to empower musicians and to energize an au- dience. It’s not that I’m a ‘conduit for the score’ Beach Music Festival, and conducted Diavolo’s and Salonen.” As a composer, his recent premieres and – everyone in the hall is a part of a circuit that commissions include a new piece for The and the listeners. A concert shouldn’t leave peo- re-orchestration of Esa-Pekka Salonen’s Foreign connects the conductor, the musicians, the score Crossing at the Philadelphia Museum of Art, a ple when people leave the concert hall.” Bodies, a choral work for Bjork’s choir Graduale classical music from more adventurous forms, Stephen Mitchell’s Rilke for friends Aperture If there is a dam separating establishment ountree finds himself spillin o er oth sides – conducting Opera, and writing experimental narrative work about frozen yogurt for Jennifer Koh In the coming year, Rountree makes his debut with San Diego Opera, conducting Peter Brook’s La Tragédie de Carmen, and with the Kitchen- Nobili in Reykjavik, Iceland, a piece based on Duo, Jodie Landau, and Danielle Birrittella, and two new pieces for Jennifer Koh: a short solo theater piece on the New York Philharmonic’s Biennial, and a large scale concerto co-com- missioned by the Los Angeles Philharmonic for Jenny and wild Up. In past years, Rountree founded an educa- er-Waterloo Symphony, he helps resurrect works tion intensive with the Los Angeles Philharmon- Graham Dance Company, makes an album with Colburn School, founded an opera workshop of Graham, Barber and Chavez with the Martha Pulit er finalist hris errone, leads wild Up as Group in Residence at National Sawdust in Williamsburg, and conducts the score to Evil Dead, live with Bruce Campbell at the ACE Hotel in LA. He returns to the San Francisco Symphony’s SoundBox, to the Los Angeles Philharmonic as part of a twelve hour festival celebrating John Adams and new music in LA, and to Opera ic, continued an education partnership at the with The Industry and taught “Creativity and Consciousness” at Bard College’s Longy School. He debuted Opera Omaha performing John Adams’ “A Flowering Tree,” debuted on the San Francisco Symphony’s SoundBox series, and started a three-year stint as guest conductor of the Los Angeles Chamber Orchestra. With his eclectic style and resume, he’s been Omaha, conducting Jonathan Dove’s Flight. tapped to curate events for contemporary art phony, LA Opera and Atlanta Opera debuts, Denver and the Hammer Museum, where a Last year, Rountree made his Chicago Sym- returned to the Music Academy of the West, to Ensemble LPR at (le) poisson rouge and twice to the San Francisco Symphony’s SoundBox series, conducted the Interlochen World Youth 46 institutions, including the Getty Museum, MCA long-running wild Up residency brought the group to national prominence. Through it all, Rountree is guided by his vision of a more engaging classical music cul- ture that blows up the old boxes. “I don’t have enough tattoos to be the badboy provocateur of classical music,” Rountree jokes. “But is the Virginie Mécène, Program Director: r e er fi Director of Graham 2 e r r goal to dismantle the barriers to the artform, Tami Alesson, Director of Student Affairs thing bursting with life, contemporary rele- Shelby Leshine, School Administrator and to build something entirely new — somevance, and deep mindfulness? That is exactly what we’re doing.” MARTHA GRAHAM CENTER OF CONTEMPORARY DANCE Staff Janet Eilber, Artistic Director Denise Vale, Senior Artistic Associate Aaron Sherber, Music Director e e Amanda Hameline, e e e e Jeff Sykes, Development Assistant r fi er Janet Stapleton, Press Agent Regisseurs Tadej Brdnik, Linda Hodes, Peggy Lyman, Virginie Mécène, Miki Orihara, Marni Thomas, Ken Topping, Denise Vale, Board of Trustees Kenneth Bloom, Chairman Judith G. Schlosser, Chairman Emerita Lorraine Oler, Secretary LaRue Allen, Executive Director fi er Oliver Tobin, Director of Martha Graham Resources Brigid Pierce, Marketing Manager Julian Zentner, Marketing and Archive Assistant Charley Harris, Administrative Associate Haejin Han, Production Supervisor Nick Hung, Resident Lighting Designer Yi-Chung Chen, Lighting Supervisor Karen Young, Costume Supervisor Jennifer O’Donnell, Wardrobe Supervisor Anne Posluszny, Theatrical Property Restorer Jennifer Patten, Head of School Tadej Brdnik, Program Director: r Inger K. Witter, President Faye Rosenbaum, General Manager Simona Ferrara, Company Manager fi er e Blakeley White-McGuire LaRue Allen, Executive Director A. Apostol, Development er Accelerated and Extension Programs Janet Eilber, Artistic Director Amy Blumenthal Audra D. Cohen Merrie S. Frankel Beau Gage Inga M. Golay John Hotta Emil Kang Jean-Paul Lafaye Jayne Millard North American Representation Rena Shagan Associates, Inc. (www.shaganarts.com) International Representation LaRue Allen Executive Director ([email protected]) 47 VALLEY PERFORMING ARTS CENTER FOUNDING DONORS CORNERSTONE FOUNDERS Joseph Drown Foundation Larry Layne and Sheelagh Boyd $5,000,000+ Linda and Mike Curb ’63, Hon. D. ’09 FOUNDERS Muriel Pollia Foundation FOUNDING BENEFACTORS $100,000 $499,999 $1,000,000 $4,999,999 Mary ’63 and Jack Bayramian Jean and David Fleming Hon. D. ’09 Sheila and Stanford L. Kurland Family Foundation The Ralph M. Parsons Foundation Nancy and Clyde Porter Nextel Communications ffice of Super isor e arosla s y $500,000 $999,999 The Ahmanson Foundation ffice of Super isor ichael D. ntono ich CSUN Foundation Board Follett Higher Education Group 48 Josephine ’61, M ’70 and Robert Barbera Dr. Ami and Remo Belli California Community Foundation CSUN Alumni Association Robbi and Rickey Gelb Lawrence K. Gould, Jr. The Green Foundation HGA Architects and Engineers Mary and Samuel Bond Haskell, III Sherry and Albert Lapides M ’68 Virginia Mancini MGM and UA Service Company National Notary Association Northern Trust, NA Lisa and Charles Noski ’73, M ’95, THANK YOU FOR YOUR GENEROUS SUPPORT! Hon. D ’07 Karen Dunbar-Enzer ’81 and Earl Enzer ’83 JoAnn and Leonard Roth Ilene and Stanley Gold Valerie and Sanford P. Paris Eda and Robin Rousselet ’79, M ’97, M ’10 State Farm Insurance U.S. Congressman Brad Sherman Bob Stiefel ’67 and Ed Imparato Manja and Dennis Swanson Milt ’68 and Debbie Valera Valley Alliance for the Arts Walter Lantz Foundation Wells Fargo FOUNDING DISTINGUISHED PATRONS $25,000 $99,999 ADP Foundation Edythe and Eli Broad Linda Brown Nancy Cartwright Charlene and Burton Sperber Foundation Jaleh ’86 and Galen Etemad Goldman Sachs & Co. John Golisch ’72 Cynthia Haas Griffeth ’78 and William C. Griffeth ’80 Elizabeth Levitt Hirsch Horace Heidt Big Bands Foundation Janet and Benjamin Kaplan Ellie and Mark Lainer Elizabeth and Howard Layne Marla and Cary Lefton Dr. Jolene Koester and Dr. Myron W. Lustig Erika and Gus Manders ’64 Timothy Miklaucic and Ana Loehnert Miller, Kaplan, Arase & Co., LLP Barry J. Nadell Walter J. Perez, Calif. Industrial Grp. Corp. Samuel Goldberg & Sons Foundation, Inc. Stern Family Foundation Valley Presbyterian Hospital VPAC GREAT HALL49 ARTS EDUCATION TWO EXCITING PROGRAMS TO WRAP UP THE STUDENT MATINEE & MASTER CLASS SERIES APRIL FREE STUDENT MATINEE TAJ EXPRESS: THE BOLLYWOOD MUSICAL REVUE Thursday April 20, 2017 Taj Express explodes with the sounds of India and Bollywood, capturing the vibrant, expressive spirit of the world of Bollywood movies that have been entertaining billions of people in India for generations. Through a fusion of film, dance and music, this da lin international sensation will take audiences on a live cinematic journey through modern Indian culture and society. Generously Sponsored by Carolyn Clark Powers TAJ EXPRESS 50 MAY ONEOFAKIND EXPERIENCE FOR CSUN AND LOCAL DANCERS MARTHA GRAHAM’S PANORAMA VPAC is proud to partner with The Martha Graham Dance Company to create the opening piece for their engagement on May 13, 2017. The piece is the Martha Graham classic, Panorama, first performed in 19 . Panorama uses numbers and geometric design to drive home Graham’s intense socio-political themes, with a score by Norman Lloyd. VPAC is bringing together CSUN, CSUN Alumni, select high school and other community dancers to perform the 10-minute piece that will open the performance Martha Graham and American Music on VPAC’s Great Hall sta e. This e perience ill e the first of its kind at VPAC and will certainly create lasting impact for all the student artists involved. PANORAMA ART GALLERY OUT OF CHAOS AN ARTIST’S JOURNEY IN HAITI PASCAL GIACOMINI VPAC ART GALLERY | LOGE LEVEL MARCH 10 MAY 13, 2017 In 2011, artist Pascal Giacomini participated in the 2nd Ghetto Biennale, an international art festival based in a Haitian slum. The founders of the event are Vodou (aka Voodoo) sculptors, whose home studios anchor a community of artists and artisans creating an unparalleled output of art for sale on local and foreign art markets. While there, Giacomini started documenting the feverish artistic activity in this unlikey place. In the process, his project expanded to include an exploration into Haiti’s post-earthquake art scene, its rich culture and love affair with Vodou, one of Haiti’s two national religions. The insights gained provided powerful enough to inspire a photographic exhibition, a whole new way of approaching Giacomini’s work as a sculptor, and the production of a feature-length documentary (running time, 52 minutes). ho Haiti has been called a nation where art is life. People want to know why, and this is possi le in such a po erty stric en place. iacomini s film, Out of Chaos, An artist’s Journey in Haiti, goes on a mission to illuminate. 51 PORTER PAVILION JOIN US! Valley Performing Arts Center’s generous membership (full-season subscribers are in education for young students to a sustainable evening performances, with complimentary supporters make it all happen—from arts future for VPAC’s extensive programs and state-of-the-art facility. VPAC loves to shower its supporters with for $1,500). Porter Pavilion is open before drinks and a quiet place to sit with friends. recognition and perks, so please consider For more information on how to make a to special events, annual contributions at 818.677.8849. joining our family. In addition to invitations of $2,500 qualify for Porter Pavilion 52 gift to VPAC, please contact Maria Paredes TICKETS & ORDERING ONLINE VALLEYPERFORMINGARTSCENTER.ORG Sign up for “My VPAC Account Manager.” My VPAC Account Manager is Valley Performing Art Center’s way of providing you the best service to take care of your ticketing subscription online. Visit the site to sign up today. You may renew or purchase a new subscription with this feature. IN PERSON VPAC TICKET OFFICE CALIFORNIA STATE UNIVERSITY, NORTHRIDGE 18111 NORDHOFF STREET NORTHRIDGE, CA 913308448 The Tic et ffice is located to the north of Valley Performing Arts Center’s courtyard on Orange Grove Walk across from the Matador Bookstore. Patrons may park in the G3 Parking Structure located on Zelzah and Prairie streets. HOURS OF OPERATION TUESDAY THROUGH SATURDAY, 11 A.M. 4 P.M. (HOURS ARE SUBJECT TO CHANGE) MEDIA SPONSORS WE GRATEFULLY ACKNOWLEDGE THE FOLLOWING SPONSORS AND PARTNERS FOR THESE EVENTS Southern California Public Radio CONNECT WITH US! Want the latest information and special offers from VPAC? Make sure you sign up for our e-newsletter. VPACatCSUN Just visit our website and click the option on the upper-right hand corner. We know you’ll enjoy it! VALLEYPERFORMINGARTSCENTER.ORG 54 IN VENUE DINING OPTIONS BISTRO ON THE TERRACE CONCESSIONS IN THE LOBBY Join us on the 4th Floor Balcony level for a gourmet bistro bite, a glass of wine and a spectacular view of the Valley. Open most evenings (weather permitting) one hour before the show and closing 5 minutes before curtain. Light fare and drinks available before the show and open during intermissions (by show basis). Avoid waiting in line and pre-pay for your intermission food and beverage in person before the performance begins! NEW VPAC DRINK TUMBLERS You may now bring a beverage into the concert! Available for purchase at concessions. FOR MORE INFORMATION PLEASE CALL STEPHANIE GOODSON AT 8186772076 OR CSUN.EDU/ORANGEGROVEBISTRO BISTRO ON THE TERRACE VALLEY PERFORMING ARTS CENTER | 2017-18 SEASON NEW SEASON ON-SALE DATES May 9 Series on sale with priority seating Single tickets on sale Jun 20 Series continue with best available seating Sep 9 Series sales end Sep 16 Opening night VPACatCSUN
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