MARCH / APRIL 2015
Kyle AbrAhAm / AbrAhAm.IN.mOTION
mArch 4 & 5 @ The mOOre
2cellOs
mArch 14 @ The mOOre
ZAKIr hUssAIN’s celTIc cONNecTIONs
mArch 20 @ The mOOre
Three AcTs, TwO DANcers, ONe rADIO hOsT:
IrA GlAss, mONIcA bIll bArNes, & ANNA bAss
AprIl 11 @ The pArAmOUNT
specTrUm DANce TheATre
cArmINA bUrINA
AprIl 23-36 @ The mOOre
SPRING
2015
“Phenomenal.”
– United Way of King County
These Million Dollar Roundtable donors bring
unique energy to making beautiful change in our
community. Their generosity builds a community
where everyone has a home, students graduate
and families are financially stable.
Truly sensational.
Barrie and Richard Galanti
Ginger and Barry* Ackerley
Apex Foundation
Bacon Family Foundation
Ballmer Family Giving
Stan and Alta Barer
Carl and Renee Behnke
The Behnke Family:
Sally Skinner Behnke*
John S. and Shari D. Behnke
Brettler Family Foundation
Jon and Bobbe Bridge
Jeffrey and Susan Brotman
Scott and Linda Carson
Barney A. Ebsworth
Ellison Foundation
Ed and Karen Fritzky Family
Richard and Barrie Galanti
Lynn and Mike Garvey
Melinda French Gates and William H. Gates III
Theresa E. Gillespie and John W. Stanton
Greenstein Family Foundation
Matt Griffin and Evelyne Rozner
The Nick and Leslie Hanauer Foundation
John C. and Karyl Kay Hughes Foundation
Craig Jelinek
Linda and Ted Johnson
Firoz and Najma Lalji
William A. and Martha* Longbrake
John and Ginny Meisenbach
Bruce and Jeannie Nordstrom
Raikes Foundation
James D. and Sherry Raisbeck Foundation
John and Nancy Rudolf
Herman and Faye Sarkowsky Charitable Foundation
The Schultz Family Foundation
Jon and Mary Shirley Foundation
Jim and Jan Sinegal
Brad Smith and Kathy Surace-Smith
Orin Smith Family Foundation
James Solimano and Karen Marcotte Solimano
Tom Walker
Robert L. and Mary Ann T. Wiley Fund
*deceased
Gifts received July 1, 2103 through June 30, 2014.
March-April 2015
Volume 11, No. 5
Paul Heppner
Publisher
Susan Peterson
Design & Production Director
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Robin Kessler, Kim Love
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CONTENTS
t
MARCH / APRIL 2015
Kyle AbrAhAm / AbrAhAm.IN.mOTION
mArch 4 & 5 @ The mOOre
2cellOs
STG Presents
mArch 14 @ The mOOre
ZAKIr hUssAIN’s celTIc cONNecTIONs
mArch 20 @ The mOOre
Three AcTs, TwO DANcers, ONe rADIO hOsT:
IrA GlAss, mONIcA bIll bArNes, & ANNA bAss
AprIl 11 @ The pArAmOUNT
specTrUm DANce TheATre
cArmINA bUrINA
AprIl 23-36 @ The mOOre
A1
SPRING
2015
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ENCORE ARTS NEWS
Five Friday Questions with
Keiko Green
BY BRETT HAMIL
Keiko Green is a half-Japanese writer/performer from Georgia who came
to Seattle via New York three years ago. Since then, she’s appeared in
numerous productions: Annex’s Chaos Theory, WET’s Bengal Tiger
at the Baghdad Zoo, Pony World’s Or, the Whale. This year she makes
her debuts at the Rep in The Comparables in March and at Seattle
Shakespeare in next May’s production of Othello. Her original musical
Bunnies, inspired by the Woodland Park bunny infestation with music
by Jesse Smith, will have its world premiere as part of Annex Theatre’s
mainstage season this April.
Green is preparing for a creatively prolific year. I caught up with her
for this installment of Five Friday Questions.
What’s the best performance you’ve seen lately?
That fake field goal in the NFC championship game. I’m obsessed with
it. I can’t stop watching loops of it online. It’s everything you want in a
performance: a solid set-up and a beautiful twist in the plot. I want all
my work to be like that fake field goal.
There’s also been so much good theatre in town so far this year. I
saw seven shows last week. The performance that is currently sticking
in my mind is Robin Jones as Blanche in Civic Rep’s A Streetcar Named
Desire. She was so layered. Her Blanche was so delicate, and yet she
would victimize herself in a way that fooled no one. You wanted to
4 ENCORE STAGES
shake her and scream,
“Stop pretending to be
broken! You’re broken
already!”
What’s the best meal
in Seattle?
I’m a sucker for a good
happy hour. I often end
up eating dinner really
early because of this
happy hour obsession.
The grilled sardine
tartine at Lecosho is the
single most delicious
bite in Seattle, and it’s
only available at happy
hour unless you use your puppy dog eyes -- which I have used to varied
success.
Add a salad with a perfect egg, some sausages to share, and a glass (or
two) of wine for the perfect meal. If I could get the roasted bone marrow
from Quinn’s Pub added to that, well…a girl can dream.
ENCORE ARTS NEWS
What music gets you pumped up? What do
you listen to when you’re sad?
I like danceable music to get pumped up — or
at least something I can jump up and down
to. I really like Metric’s “Black Sheep,” though
the intro is way too long, so I usually skip 30
seconds in. I actually like the actress who sang
it in Scott Pilgrim’s voice better, so I often listen
to the movie version online instead.
Also my classmate from the Experimental
Theatre Wing at NYU is the lead singer of this
band Avan Lava, and they’re amazing. Their
song “Feels Good” gets me pumped not just
because I love the song, but also because it
reminds me that I’ve worked with tons of people
who are way more talented than I am —it taps
into my competitive nature.
“Don’t stop never stop.” It’s my mantra. Don’t
get left behind.
When I’m sad, I like to listen to songs from
Young Jean Lee’s band Future Wife. Their song
“Horrible Things” puts things into perspective.
The lyrics are depressing and hilarious: “Who
do you think you are to be immune from
tragedy? What makes you so special that you
should go unscathed?” But it’s set to this really
cute music and her voice is so sweet. All the
songs are like that. “I’m Gonna Die” is also
really great. I like to play cutesy sad music and
just lie there and wallow, if time permits.
Do you “treat yourself” to anything special
after a show closes?
Well, I think the Olympus Spa or “naked spa”
in Lynnwood will be my new treat. A friend
introduced me to it last October, and I’m pretty
smitten. They have a Korean restaurant inside
the spa! How am I supposed to resist going to
that place?
Other than that, I pretty much like to
celebrate all night after closing then lock myself
in the house the day after, cooking and eating
all day. Near the end of a run, I’m eating out
more often than I like. So I spend this lazy day
filling my body with hot, stinky, healthy Asian
foods. I’ll stock up on everything fermented at
Uwajimaya a couple days before, preparing for
this stinkfest.
What’s the most useful thing anyone’s ever
taught you about working in theatre?
In an audition, the people on the other side of
the table are always on your side. Auditors want
you to walk into the room and blow everyone
else out of the water. It makes their job easier.
They are rooting for you.
FEB 12 – MAY 17
This exhibition is organized by the American
Federation of Arts and was made possible
by the generosity of an anonymous donor, the
JFM Foundation, and Mrs. Donald M. Cox.
The Seattle presentation is made possible through the
support of these funders
For more previews, stories, video and a look
behind the scenes, visit EncoreArtsSeattle.com
PROGRAM LIBRARY
CALENDAR
PREVIEWS
ARTIST SPOTLIGHT
Generous Support
Anonymous
ArtsFund/Guendolen Carkeek Plestcheeff
Fund for the Decorative and Design Arts
The MacRae Foundation
Seattle Art Museum Supporters (SAMS)
Corporate Sponsor
Perkins Coie LLP
Image: Child’s jacket, ca. 1880, Apsáalooke (Crow),
Montana, hide, glass beads, 30 x 20 in., Diker no. 846,
Courtesy American Federation of Arts.
seattleartmuseum.org
encore artsseattle.com 5
THRIVE
PARENT PREVIEW
OPEN HOUSES
drop-in event
ACHIEVE
oct. 23, nov. 8, & May 13
Nov. 12 & Dec. 2
jan. 10, 2015
For more information visit WWW.BILLINGSMIDDLESCHOOL.ORG
BE
ENCORE ARTS PREVIEWS
Seattle Rock Orchestra
May 9 and 10
With over 50 instrumentalists and special guest
vocalists, the Seattle Rock Orchestra combines
the energy of rock ‘n’ roll with the colors and
subtleties of classical music. This Mother’s Day
weekend the Seattle Rock Orchestra continues
their chronological foray into the albums of the
Beatles with Abbey Road and Let It Be.
The Moore Theatre
Pilobolus
May 14-16
With a vast repertoire and new works created
every year, the dancers of Pilobolus are known
for their extreme athleticism and strength.
Named after phototropic fungi, this globetrotting
dance troupe has performed on the Academy
Awards, Late Night with Conan O’Brien and The
Oprah Winfrey Show.
Meany Hall
Jeeves Intervenes
May 13-June 13
Reginald Jeeves, the expertly capable valet
whose surname has become a synonym for
“manservant,” must once again save the day
in this comedy adapted from a P.G. Wodehouse
story by Margaret Raether.
Taproot Theatre
Threesome
June 5-28
An Egyptian American couple invite another
man into their bed for a threesome and end up
exploring issues of sexism and independence in
this world premiere written by local playwright
Yussef El Guindi and directed by Chris Coleman.
ACT Theatre
Slaughterhouse Five
June 11-July 3
Kurt Vonnegut’s beloved story about the
human consequences of war comes to life in
this Book-It production adapted and directed
by Josh Aaseng. Unstuck in time, Billy Pilgrim
bounces from the firebombing of Dresden to the
alien planet Tralfamadore and many points in
between.
Book-It Repertory Theatre
Correction: In the last issue, we mischaracterized
the plot of Book-It’s Little Bee as the story of a
Nigerian immigrant father committing suicide
to keep his son, Little Bee, from being deported.
The actual plot revolves around Little Bee’s
encounter later in life with Sarah, a middle-class
Englishwoman. We regret the error.
For more previews, stories, video and a look
behind the scenes, visit EncoreArtsSeattle.com
PROGRAM LIBRARY
6 ENCORE STAGES
CALENDAR
PREVIEWS
ARTIST SPOTLIGHT
ENCORE ARTS NEWS
Beer
Central
from city arts magazine
Saturday, March 21
$39, $34 & $29,
$15 youth/student
Rose Ann Finkel
and Charles Finkel
inspired the craftbeer revolution.
A tribute to the black
musicians of the 1920s
and ’30s who were
part of the Harlem
Renaissance, this show
takes its title from the
1929 Waller song of the same title.
KORESH DANCE COMPANY
Wednesday, April 1
$34, $29 & $24,
$15 youth/student
Pike Place
Brewing
is a secret
treasure.
Thank its
owner for
craft beer.
Founded in Philadelphia
in 1991, Koresh Dance
Company is widely recognized for its superb
technique and emotionally-compelling appeal.
THE WONDER
BREAD YEARS
Thursday, April 16
$34, $29 & $24,
$15 youth/student
BY JONATHAN ZWICKEL
ONE THING MOST museums get wrong is
no beer. Though Pike Brewing Company is
technically a brewpub, it could easily qualify
as a museum. A museum of beer.
In other cities an establishment as grand
as Pike Brew would be a point of civic pride
and a go-to hangout for crusty locals and
gawping tourists alike. Somehow—maybe
because it’s existed so long in a location so
prominent—most Seattleites forget it exists.
The cavernous warren of rooms and bars and
more bars and more rooms winds through
two floors of the South end of Pike Place
Market. It’s a 19-year-old secret treasure hidden in plain sight.
Every inch of every vertical surface is
bedecked with “beeriana,” the highlights of
what might be the greatest collection of beerrelated ephemera on Earth: beer labels, beer
ads, beer articles, beer books, beer accessories, beer photos, beer illustrations, beer
recipes, beer history and legend and data. A
sprawling array, for sure, but thoughtfully
curated, elegantly framed and captioned
in exacting detail. Brain candy for the beer
drinker. One room is dedicated entirely to
the 9,000-year history of brewing; you can
follow the timeline across three walls, from
Sumer to Seattle. Another details the story
of Nellie Curtis, the glamorous madam who
operated one of Seattle’s last brothels in a
hotel below the Market. There’s also a shrine
to King Gambrinus, the legendary Lowlands
royal known as the King of Beer. He purportedly invented the toast.
Contemplate all this lore while drinking
beer made one floor below. Pike Brewing’s
Naughty Nellie—a robust but delicate golden
ale named after Nellie Curtis—is one of
Seattle’s greatest achievements. Pike Entire
Wood Aged Stout is chewy and smooth. The
current seasonal special is the Octopus Ink
Black IPA, full-hopped but balanced and as
dark as its namesake.
AIN’T MISBEHAVIN’
The owner of the collection—the executive brewmaster and self-described “creative
director” and president and founder of the
brewery—is also the man responsible, at
least indirectly, for the craft beer revolution that began in the early ’80s. Back then,
Charles Finkel was a renegade importer who
believed Americans were ready for beer with
a flavor profile beyond the bland, cornsyrupy lagers that dominated the landscape.
Today Finkel is considered a visionary, one
of the primary catalysts of a new American
industry.
“When we started in the beer business,
sales of craft beer were so small that they
weren’t measurable,” Finkel says, sitting in a
booth inside Pike Brewing’s office (which is
also covered floor-to-ceiling with ephemera).
“Last year, sales of craft beer exceeded sales
of the Budweiser brand for the first time.
That’s a major milestone.”
Vindication through longevity. And recognition: Finkel was described as “among a
dozen principals responsible for the modern
renaissance of beer” by no less an eminence
than Michael Jackson, the scholar who
was to beer what James Beard was to food.
Finkel edited the illustrations to the Oxford
Companion to Beer, 2011’s massive, authoritative volume on the subject. And here he
sits, bowtied and bespectacled, a 71-year-old
Jewish boy born in New York and raised in
Oklahoma, inside the inner sanctum of his
unassuming empire. His wife Rose Ann,
who’s worked alongside him every step, is
answering emails a few steps away.
“You’re speaking to the artist right now,”
she says of her husband.
True in more ways than one. Charles
Finkel’s entry into the beer business wasn’t
as a brewer but as an importer—an auteur, if
you will. After moving to Woodinville, Wash.
from New York and working in the marketing department of the fledgling Chateau Ste.
A fresh & funny salute to
Americana, The Wonder
Bread Years starring
Pat Hazell (Seinfeld) is
a fast-paced, hilarious
production that gracefully walks the line between standup and theater.
Seniors 62+ & Military: 10% off on ECA presented events!
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425.275.9595
410FOURTHAVE.N.
EDMONDSWA98020
Handcrafting artisan
confections in Seattle
for over 32 years
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425.453.1698
5900 Airport Way South, Seattle
206.508.4535
f ra n s c h o co l a te s .com
encore artsseattle.com 7
ENCORE ARTS NEWS
from city arts magazine
We treat the
whole you.
Attentive care that considers
every aspect of your health.
Healthy.BastyrCenter.net | 206.834.4100
photo: wireimage
ROBERT
SCHENKKAN
All the Way, The Great Society and The Kentucky Cycle
Keynote Speaker at Friends of the Libraries
Literary Voices Dinner
Saturday May 9, 6 pm
Club Husky, Husky Stadium
Tickets $150 to support conservation
$300 patron tickets | sponsorships available
[email protected]
206-616-8397
8 ENCORE STAGES
With his encyclopedic knowledge of beer history, Charles Finkel was the first to market traditional European ales
and lagers to an American audience.
Michelle winery in the ’70s, one of his first
entrepreneurial endeavors was to re-launch
Samuel Smith, a 250-year-old brewery in
Yorkshire, England. Rather than make his
own full-bodied beer, Finkel convinced the
owners of the struggling brewery to remake
theirs.
From his travels across Europe with Rose
Ann, he’d developed a taste for artisanal
beers made by traditional methods for regional tastes. “And as a guy from Oklahoma
I’m not beyond going to a guy in Yorkshire
and saying, ‘Can you make an oatmeal stout
for me?’ And the guy from Yorkshire says,
‘What’s an oatmeal stout?’ And I have to
teach them what their own heritage is. It’s
not below my own chutzpah or dignity level
to do that.”
When their product met his standards,
Finkel applied his schooling in graphic design to develop a new, now-iconic label for the
beer. Then, with its sophisticated look and
flavor profile, he began importing Samuel
Smith Oatmeal Stout into the U.S. Soon he
redesigned their entire line of beers. His
success led him to rebranding and importing
beers from Germany, Norway and Belgium.
His import company, Merchant du Vin, is
responsible for introducing American drinkers to their favorite European beers. And this
is how Finkel inspired America’s craft beer
movement.
“He was so far ahead of the curve in
the alcoholic beverage business that even
pioneers like me were astonished,” says
Paul Shipman, co-founder of Redhook, the
Northwest’s first microbrewery. Back then,
he and co-founder Gordon Bowker were
cracking open a brand-new marketplace in
the U.S. (much like the current dawn of the
recreational marijuana industry, Shipman
notes.) “What Charlie did with imports was
a beacon. It was an inspiration to us as we
contemplated doing it ourselves. He was
there at the big bang, recognizing that the
consumer had an interest in a more flavorful,
distinctive product.”
Once they’d amassed the finances, the
Finkels opened the original Pike Brewing
Company on Western Ave. in 1989. Charles
developed the beer list and designed all
the labels, both of which remain consistent
through today. They moved to their present location, which serves a full menu of
hearty, wholesome pub fare, in 1996. Pike
Brewing Co. often features guest beers from
upstart Seattle breweries and hosts food and
drink events that draw talent from around
the world. Pike brewers have gone on to
brewmaster positions at breweries across
the country and launched breweries of their
own.
By unofficial count, eight breweries
opened in Seattle in the last half of 2014.
Several others debuted in the burbs. Still
more are slated to launch in the coming
months. Due to their minimal production
capacities, most of them are categorized
as nanobreweries—smaller even that the
original four-barrel facility Finkel started
with. As the brewery count in King County
nears 70—and with some 200 in Washington
state—the craft beer revolution that Finkel
incited shows no signs of slowing. Neither
does Pike Brew.
“We’ve got enough momentum that the
more nanobreweries there are, the more
there’s a need for a place like this, where
you can come and learn about beer,” Finkel
says. “Beer is a great lens to look at history
through. We’re trying to introduce people,
and hopefully encourage those nanobeweries, to recognize that we’re talking about a
serious product of gastronomy through the
ages. Nine thousand years of people having
a civilized attitude about consuming beer.
And we’re beer central.” n
PIKE BREWING
1415 1st. Ave.
MIGUEL EDWARDS
Naturopathic Medicine • Counseling
Acupuncture • Ayurveda • Nutrition
WELCOME
From Seattle Theatre Group, a non-profit arts organization
We associate spring with a time of renewal, the earth reawakening form her slumber,
and exploding with new life. In our own lives, spring can be symbolic of starting new
projects, sewing new seeds and coming forth with new ideas. We invite you to be
refreshed and prepare for great evenings of entertainment by artists that have all taken
a new approach to their work.
This spring we feature two choreographers that have taken two musical masterpieces
and shaped narratives that bring new life to these familiar works. Kyle Abraham draws
inspiration form jazz legend Max Roach’s album, We Insist! Max Roach’s Freedom Now
Suite, which was intended to mark the centennial of the Emancipation Proclamation.
In this work, Abraham juxtaposes the Emancipation Proclamation against the 20th
anniversary of the end of apartheid in South Africa. These ideas of freedom connect
today as vividly as they did in the 1960’s.
Tony-nominated Donald Byrd reimagines Carl Orff’s popular scenic cantata as a journey
from doubt and disillusionment to a restoration of faith in the essential goodness of
man for Spectrum Dance Theater’s Carmina Burana. In 1997, Byrd’s first encounter
with Orff’s score led to a large-scale danced drama for New York City Opera. In stark
contrast, this new staging promises to be a minimalist rumination on the fact that the
authors of the music’s text were, more than likely, defrocked monks.
Also at The Moore, two evenings of music take a break from their intended medium
to create new genres. 2CELLOS rose to fame in 2011 when their version of Michael
Jackson’s “Smooth Criminal” took the world by storm. They have since achieved
sensational success by taking the cello to a new level. Their playing style breaks down
the boundaries between different genres of music, from classical and film music to pop
and rock. There are no limits when it comes to performing live and these genre benders
are as impressive playing Bach and Vivaldi as they are when rocking out AC/DC.
The legendary tabla virtuoso, Zakir Hussain returns to the Moore Theatre for The Pulse
of the World, a fascinating fusion of Indian and Celtic music. Joined by all-star Indian
and Celtic musicians, The Pulse of the World reveals the close melodic and rhythmic
connections shared by both traditions.
At The Paramount this April we welcome This American Life host Ira Glass with
choreographers Monica Bill Barnes & Company. This show is an “invention” combining
two art forms that - as Glass puts it - “have no business being together – dance and
radio.” One is all words and no visuals. One is all visuals and no words. The result is
a funny, lively and a very talky evening of dance and stories “What makes it work,”
says Glass “is a shared sensibility. As dancers, Monica and Anna are these amazingly
relatable and funny storytellers without words.”
Just as spring brings new growth and renewal this group of performances are bound to
bring a fresh energy to our arts and entertainment options.
We hope you enjoy each evening you choose to spend being refreshed!
Josh LaBelle
Executive Director
Jim Margard
Chair
encoreartsseattle.com A-1
Kyle Abraham
When the Wolves Came In
Program Notes and Acknowledgements
DIRECTOR’S NOTE
Thank you for joining us for this presentation of When the Wolves Came In.
Created during my tenure as a Resident
Commissioned Artist at New York Live Arts
from 2012-2014, this program draws inspiration from jazz legend Max Roach’s seminal
album, We Insist! Max Roach’s Freedom Now
Suite. This album, originally intended to be
released in 1963 to mark the centennial of the
Emancipation Proclamation, was released in
the fall of 1960 due to the severity sparked
by the sit-ins in Greensboro, NC, and the
urgency of the growing civil rights movement
in the US and South Africa.
As over-arching commentary for both
evenings, I keep going back to Roach’s
response when asked about the song,
“Freedom Day:” “Freedom itself was so hard
to grasp...we don’t really understand what
it really is to be free.” At this point in my
life, I am very well aware of the freedoms I
possess. But as a Black Gay American man, I
am equally aware of my limitations and those
that exist for so many in a poly-phobic society
of our current times.
I began working on When the Wolves
Came In after a visit to the Hector Pieterson
Museum in Soweto, South Africa. While
there, I became fixated on the power of
perception, and the ways that the 13-year-old
Pieterson’s death in an anti-Apartheid protest
shines a spotlight on questions of personal
choice and collective rights in the struggle for
freedom. For Michael Brown, Tyler Clementi,
Eric Garner, Islan Nettles, and the countless
other faceless and nameless women and men
facing violence and discrimination, these
questions still have terrible resonance.
Max Roach’s album timelessly tackles these
very same issues and questions; his jazz work
figures as an evaluation of rights perceived
through his experience and expressed
through his art. As dance works, this program
was created to live in a skin well aware of the
cyclical hardships of our history, and the very
present fear of an unknowable future.
Choreography by Kyle Abraham in
collaboration with Abraham.In.Motion
Lighting and Video Design by Dan Scully
Scenic Design by Glenn Ligon
Sound Editing by Sam Crawford
Production Manager Dan Stearns
Choreographic Associate Matthew Baker
Rehearsal Assistant Tamisha Guy
A-2 SEATTLE THEATRE GROUP
THE MOORE THEATRE
WEDNESDAY, MARCH 4 – THURSDAY, MARCH 5
When the Wolves Came In
Performed by Matthew Baker, Tamisha Guy,
Hiroki Ichinose, Catherine Ellis Kirk,
Jordan Morley, Penda N’diaye, Connie Shiau
Music by Nico Muhly
Costumes by Reid Bartelme
Hallowed
Performed by Tamisha Guy, Catherine Ellis
Kirk, Jeremy “Jae” Neal
Music by Cleo Kennedy, Bertha Gober
Costumes by Reid Bartelme
There will be a 10-minute intermission
The Gettin’
Performed by Matthew Baker, Vinson Fraley,
Tamisha Guy, Catherine Ellis Kirk,
Jeremy “Jae” Neal, Connie Shiau
Music Composed by Robert Glasper
Music by The Robert Glasper Trio
Costumes by Karen Young
Photo by Ian Douglas
PROJECT SUPPORT
When the Wolves Came In was commissioned and produced by New York Live Arts
through its Resident Commissioned Artist
Program, with lead support from The Andrew
W. Mellon Foundation.
When the Wolves Came In is supported, in
part, by the New England Foundation for the
Arts’ National Dance Project, with lead funding
from the Doris Duke Charitable Foundation
and The Andrew W. Mellon Foundation.
The work was developed, in part, through
a production residency at On the Boards with
support from the National Dance Project,
with funding from The Andrew W. Mellon
Foundation.
Support was also provided to New York
Live Arts for the commissioning of this work
by MAP Fund, a program of Creative Capital
supported by the Doris Duke Charitable
Foundation and The Andrew W. Mellon
Foundation.
Sets for When the Wolves Came In were
donated by Glenn Ligon.
About the Company
The mission of Kyle Abraham/Abraham.
In.Motion is to create an evocative interdisciplinary body of work. Born into hip-hop
culture in the late 1970s and grounded in
Abraham’s artistic upbringing in classical
cello, piano, and the visual arts, the goal of the
movement is to delve into identity in relation
to a personal history. The work entwines a
sensual and provocative vocabulary with a
strong emphasis on sound, human behavior
and all things visual in an effort to create an
avenue for personal investigation and exposing
that on stage. A.I.M. is a representation of
dancers from various disciplines and diverse
personal backgrounds. Co mbined together,
these individualities create movement that is
manipulated and molded into something fresh
and unique.
Abraham.In.Motion Staff
Artistic Director: Kyle Abraham
Executive Director: JJ Lind
General Manager: Liz Sargent
Tour and Production Manager: Dan Stearns
Manager of Communications and Community:
Alexander Leslie Thompson
Public Programs Assistant: Jeremy “Jae” Neal
KYLE ABRAHAM BIO
A 2013 MacArthur Fellow, KYLE
ABRAHAM began his dance training at
the Civic Light Opera Academy and the
Creative and Performing Arts High School in
Pittsburgh, Pennsylvania. He continued his
dance studies in New York, receiving a BFA
from SUNY Purchase and an MFA from NYU
Tisch School of the Arts.
In November 2012, Abraham was named the
newly appointed New York Live Arts Resident
Commissioned Artist for 2012–2014. Just one
month later, Alvin Ailey American Dance
Theater premiered Abraham’s newest work,
Another Night, at New York’s City Center to
rave reviews.
Rebecca Bengal of Vogue writes, “What
Abraham brings to Ailey is an avant-garde
aesthetic, a original and politically minded
downtown sensibility that doesn’t distinguish
between genres but freely draws on a vocabulary that is as much Merce and Martha as it is
Eadweard Muybridge and Michael Jackson.”
That same year, Abraham was named the
2012 Jacob’s Pillow Dance Award recipient and
2012 USA Ford Fellow.
Abraham received a prestigious Bessie
Award for Outstanding Performance in Dance
for his work in The Radio Show, and a Princess
Grace Award for Choreography in 2010. The
previous year, he was selected as one of Dance
Magazine’s 25 To Watch for 2009, and received
a Jerome Travel and Study Grant in 2008.
His choreography has been presented
throughout the United States and abroad, most
recently at On The Boards, South Miami-Dade
Cultural Arts Center, REDCAT, Philly Live
Arts, Portland’s Time Based Arts Festival,
Jacob’s Pillow Dance Festival, Danspace Project,
Dance Theater Workshop, Bates Dance Festival,
Harlem Stage, Fall for Dance Festival at New
York’s City Center, Montreal, Germany, Jordan,
Ecuador, Dublin’s Project Arts Center, The
Okinawa Prefectural Museum & Art Museum
located in Okinawa Japan, The Andy Warhol
Museum and The Kelly-Strayhorn Theater in
his hometown of Pittsburgh, PA.
In addition to performing and developing new
works for his company, Abraham.In.Motion,
Abraham currently touring The Serpent and
The Smoke, a new pas de deux for himself and
acclaimed Bessie Award-winning and former
New York City Ballet Principal Dancer Wendy
Whelan as part of Restless Creature and choreographed a new commissioned work entitled
Counterpoint, for Hubbard Street Dance Chicago
and the Chicago Dancing Festival.
In 2011, OUT Magazine labeled Abraham as
the “best and brightest creative talent to emerge
in New York City in the age of Obama”.
DANCER BIOS
MATTHEW BAKER (Dancer and Rehearsal
Director) hails from Ann Arbor, Michigan,
where he began his movement exploration
as a gymnast and soccer player. He attended
Western Michigan University where he
received his BFA in dance. In 2014 Baker
was the recipient of a Distinguished Alumni
Award from his Alma Mater. After graduation
he made his way to New York City. He has
been creating and performing with Keigwin +
Company, under the artistic direction of Larry
Keigwin since 2009 and with Kyle Abraham/
Abraham.In.Motion since 2012.
VINSON FRALEY (Dancer) hails from
Atlanta, Georgia. He began his training at the
age of 14 under the direction of Lynise and
Denise Heard. He also was immersed in a wide
range of art crafts while attending DeKalb
School of the Arts. He is now enrolled in the
dance program within Tisch School of the
Arts at New York University. Vinson has
been fortunate enough to work with many
choreographers and instructors such as Bill
T. Jones, Rashaun Mitchell, Cora Bos Kroese,
Gus Solomons Jr., Cindy Salgado, Sean Curran
and many more. He is extremely thrilled to be
performing with Abraham.In.Motion.
TAMISHA GUY (Dancer and Rehearsal
Assistant), a native of Trinidad and Tobago,
began her formal dance training at Ballet
Tech, the New York City Public School for
Dance under the direction of Eliot Feld. Later
she attended Fiorello H. LaGuardia High
School, and SUNY Purchase College as a
double major in dance and arts management.
Guy has completed summer programs
with Complexions Contemporary Ballet,
Springboard Danse Montreal and Nathan
Trice. She has performed works by William
Forsythe, Pam Tanowitz, Loni Landon,
Mark Morris and Martha Graham etc. Guy
graduated with honors in 2013 from SUNY
Purchase College. She is currently dancing
for the Martha Graham Dance Company and
Kyle Abraham/ Abraham.in.Motion.
HIROKI ICHINOSE (Dancer) began
dancing at the age of three in his native Maui,
Hawaii. He received his BFA from New York
University and has had additional training
from the San Francisco Conservatory and
Springboard Danse Montreal. Throughout his
studies, he performed works by Crystal Pite,
Fernando Melo, Mark Morris, Ohad Naharin,
Tom Weinberger, Shannon Gillen, Alex
Ketley, and Roderick George. He is currently
working as freelance dancer in New York
City and has had the privilege of working
with companies including Aszure Barton and
Artists, Rashaun Mitchell, Danielle Russo,
Wendy Osserman, Una Projects, and The
Santa Fe Opera. He is absolutely thrilled to be
apart of Abraham.In.Motion.
CATHERINE ELLIS KIRK (Dancer)
was born and raised in Dallas, Texas. She
studied dance at Booker T. Washington
High School for the Performing and Visual
Arts and received her BFA from NYU Tisch
School of the Arts. She also holds a yoga
certification through Mind Body DancerTM
Teacher Training, directed by TaraMarie
Perri. Catherine has completed summer
programs with Movement Invention Project,
San Francisco Conservatory of Dance, the
Gaga Intensive in Tel Aviv, and Springboard
Danse Montreal, and has had the opportunity
to perform works by Fernando Melo, Ohad
Naharin, Peter Chu, Andrea Miller, Robert
Battle, Alex Ketley, and Helen Simoneau.She
has had the pleasure of working with Danaka
Dance and Sidra Bell Dance New York, and
is currently dancing for Chihiro Shimizu and
Artists, UNA Projects, and Kyle Abraham’s
Abraham.In.Motion.
JORDAN MORLEY (Dancer) is a skinny
man with a wide imagination. He creates
physical performance through dance, video
and puppetry. His work has been shown at
REDCAT, Los Angeles; Baryshnikov Arts
Center, New York; STUFFED at Judson
Church/Bailout Theater, New York; Dixon
Place, New York; and Triskelion Arts,
Brooklyn. He has danced for/in the Original
cast of Punchdrunk’s Sleep No More, Phantom
Limb, Christopher Williams, Ron De Jesus,
Wanda Gala, and Mira Kingsley. Currently
he dances for Jessica Mitrani, Amber Sloan
and Keely Garfield. Morley joined Abraham.
In.Motion in 2013.
PENDA N’DIAYE (Dancer), a native of
Denver, Colorado, began her dance training
at Cleo Parker Robinson Dance and later
became an apprentice with the company.
N’diaye continued her studies at NYU Tisch
School of the Arts where she received her
BFA in Dance in 2010. There, she worked
with Solomons Jr., Robert Battle, Doug
Varone, Ron K. Brown and Kyle Abraham
among others. N’diaye has studied at
the Alvin Ailey School, Deeply Rooted
Productions, Springboard Danse Montreal
and the Salzburg Experimental Academy of
Dance in Salzburg, Austria. N’diaye apprenticed with David Dorfman Dance and later
joined DanceIquail! and Forces of Nature
Dance Theatre. This is N’diaye’s first season
with Kyle Abraham/Abraham.in.Motion.
JEREMY “JAE” NEAL (Dancer and Public
Programs Assistant) was born and raised
in Michigan and received his training from
Western Michigan University. There, he
performed in professional works such as
Strict Love by Doug Varone, Temporal Trance
by Frank Chavez and Harrison McEldowney’s
Dance Sport. Since relocating to New York
Jeremy has had the privilege of working
with SYREN Modern Dance, Christina Noel
Reaves, Catapult Entertainment, Katherine
Helen Fisher Dance, Nathan Trice and now
Abraham.In.Motion. Neal would like to thank
his family and friends for their consistent
encouragement and support.
CONNIE SHIAU (Dancer) grew up in Tainan,
Taiwan. She was accepted into the dance
conservatory at SUNY Purchase college in
2008, after training at the high school program
encoreartsseattle.com A-3
Kyle Abraham
THE MOORE THEATRE
WEDNESDAY, MARCH 4 – THURSDAY, MARCH 5
at Taipei National University of the Arts. She
has had the privilege to work with Gallim
Dance, Kevin Wynn Collective and Adam
Burrach Dance. Shiau is a recipient of the 2014
Reverb Dance Festival Best Dancer Award. She
was also given the title of Honorable Mention
for the 2014 Jadin Wong Award for Emerging
Asian American Dancer. Shiau joined Kyle
Abraham/ Abraham.In.Motion in May, 2013
and has assisted Kyle Abraham in setting new
repertory work on Princeton University and
Point Park University.
CREATIVE TEAM BIOS
REID BARTELME (Costume Design, When
the Wolves Came In, Hallowed) began his
professional life as a dancer. He worked
for Ballet companies throughout North
America and Canada, and later in his career
worked for modern dance companies in
New York including Shen Wei Dance Arts
and the Lar Lubovitch Dance Company. He
has also performed in works by Jack Ferver,
Liz Santoro, Burr Johnson, Douglas Dunn,
Christopher Williams and Kyle Abraham. He
went on to graduate from the fashion design
program at the Fashion Institute of Technology
and began working as a freelance costume
designer. Bartelme has designed costumes
most notably for Christopher Wheeldon, Lar
Lubovitch, Pam Tanowitz, Jillian Peña, Jack
Ferver and Liz Santoro. In collaboration with
designer Harriet Jung, Reid has designed
costumes for the New York City Ballet,
American Ballet Theater, Justin Peck,Marcelo
Gomes, Andrea Miller and Kyle Abraham.
SAM CRAWFORD (Sound Design)
completed degrees in English and Audio
Technology at Indiana University in 2003. A
move to New York City led him to Looking
Glass Studios where he worked on film projects
with Philip Glass and Björk. His recent sound
designs and compositions have included
works for the Bill T. Jones/Arnie Zane Dance
Company (Venice Biennale, 2010), Kyle
Abraham/Abraham.In.Motion (Pavement,
2012), and David Dorfman Dance (Lincoln
Center Out of Doors, 2012). He currently holds
positions as both Sound Supervisor for the
Bill T. Jones/Arnie Zane Dance Company
and Music Director for David Dorfman
Dance. He also plays lap steel and banjo in
various groups, including Bowery Boy Blue
(Brooklyn) and Corpus Christi (Rome).
ROBERT GLASPER (Composer, The
Gettin’) grew up in Houston, Texas, playing
piano in church at the age of 12 to accompany
his mother who was a gospel, jazz and R&B
singer. He went on to sharpen his prodigal
A-4 SEATTLE THEATRE GROUP
Photo by Ian Douglas
chops at the Houston High School for the
Performing Arts and New School University
in NYC, allowing his developing affinity
for pop, hip-hop and rock to inform his
musical sensibilities. Glasper has released
two acclaimed acoustic jazz trio albums on
Blue Note Records before he captured his
unique duality with 2009’s Double-Booked,
which juxtaposed his acoustic trio and hip
hop-infused Experiment band. RGX’s 2012
breakout Black Radio, won Best R&B Album
at the 2013 GRAMMY Awards. RGX upped
the ante with Black Radio 2 (2013).
GLENN LIGON (Set Design) lives and
works in New York. Ligon received a Bachelor
of Arts from Wesleyan University in 1982 and
attended the Whitney Museum Independent
Study Program in 1985. His text-based,
conceptual works have been featured in
solo shows at the Hirshhorn Museum and
Sculpture Garden, Washington, DC; the
San Francisco Museum of Modern Art; the
Walker Art Center, Minneapolis; the Studio
Museum in Harlem; and the Power Plant,
Toronto. A major retrospective of his work,
Glenn Ligon: AMERICA, opened at the
Whitney Museum of American Art in New
York in 2011 and travelled nationally.
DAN SCULLY (Lighting Design) is a New
York based lighting and projection designer,
and has been designing for Kyle Abraham/
Abraham.In.Motion for over ten years,
including the full-length evening works
Pavement, Live! The Realest M.C., and the
Bessie Award winning The Radio Show.
Recent work includes Rocky (Broadway),
Jedermann (Salzburger Festspeile), The
Orchestra Rocks! (Carnegie Hall), and Another
Night (Alvin Ailey). Regional: Trinity Rep.,
GEVA, Asolo Rep., Cleveland Playhouse,
Hudson Valley Shakespeare
Festival and Two River Theater Company.
MFA-NYU/Tisch.
DAN STEARNS (Production Manager)
is a lighting designer, scenic designer, and
production manager interested in the intersections of dance, theater, music, and video.
In addition to Abraham.In.Motion, recent
collaborations include Pavel Zuštiak/Palissimo,
LeeSaar The Company, Scott Ebersold, Paul H.
Bedard/Theater in Asylum, Tara Ahmadinejad/
Piehole, and Tami Stronach. He has worked
in venues such as BAM, The Joyce, New York
Live Arts, La MaMa, Abrons Arts Center,
HERE, Dixon Place, and 3LD in New York; and
internationally from France to Korea and many
places in between. He is a graduate of NYU’s
Tisch School of the Arts.
KAREN YOUNG (Costume Design, The
Gettin’) creates costumes for dance, performance and contemporary art that have been
seen in theaters and museums internationally.
Recent projects include Wendy Whelan’s
Restless Creature, Third Rail Projects highly
acclaimed immersive show Then She Fell,
and teaching at the Rhode Island School of
Design. Design work for dance includes:
the Martha Graham Dance Company, Brian
Brooks, Armitage Gone! Dance, American
Ballet Theater, Morphoses, Dusan Tynek, Pam
Tanowitz and Keigwin & Company, among
many others. Design for video art includes:
David Michalek’s Slow Dancing, Matthew
Barney’s Cremaster 5 and Cremaster 1, Toni
Dove’s Lucid Possession, and Eve Sussman’s 89
Seconds at Alcazar. karenyoungcostume.com
Seattle Rock Orchestra
THE MOORE THEATRE
SATURDAY, MARCH 7
PARAMOUNT AND MOORE
SEASON PARTNERS
Seattle Rock Orchestra
the coolest orchestra in town
Scott Teske Artistic Director & Founder
Kim Roy Music Director & Conductor
SEATTLE ROCK ORCHESTRA PERFORMS BECK
FEATURING VOCALS BY CHRIS CUNNINGHAM (RAVENNA WOODS),
JIMMIE HERROD, ANNIE JANZTER (BUCKET OF HONEY),
TAMARA POWER-DRUTIS AND ANDREW VAIT (SISTERS).
A master of reinvention, each of Beck’s
albums is a left turn from the last. Seattle
Rock Orchestra offers up a retrospective
of Beck’s lengthy career, drawing from the
sample-laden first commercial successes
Mellow Gold and Odelay, the infectious
party music of Midnite Vultures, the melancholic ballads of Sea Change, and everything
in-between and thereafter, including SRO’s
original interpretations of songs from Song
Reader, his publication of unreleased sheet
music. Featured songs include “Loser,”
“Where It’s At,” “Devil’s Haircut,” “E-Pro,”
“Girl,” “I Think I’m In Love,” and many more.
Seattle Rock Orchestra (SRO) was born
out of the desire to marry the unabashed
performance energy of rock’n’roll with the
broader palette of musical nuances treasured
in classical music. Founded by bassist &
composer Scott Teske, SRO started modestly
in 2008, performing their first show as a
13-piece string orchestra. As word of the
ensemble and its mission spread, the size of
the group and the profile of the performances
matured rapidly, leading within months to
high-profile collaborations with Jeremy Enigk,
Damien Jurado, Jesse Sykes and Rosie Thomas.
2009 brought the orchestra to center stage
with its sold out re-imagining of Arcade Fire’s
debut album Funeral, followed by a move to
the Moore Theatre for their 2010-2011 season
and tributes to David Bowie, The Beach
Boys, Radiohead and Queen, and more. 2014
saw another expansion of the organization
with the addition two more ensembles:
Seattle Rock Orchestra String Quintet, SRO’s
preminent chamber ensemble, as well Seattle
Rock Orchestra Social Club, a new community
orchestra designed to give even more performance opportunities to Seattle’s thriving
culture of adult amatuer orchestral musicians.
Now a professional 50+ piece orchestra
with strings, woodwinds, brass, percussion
and a rotating cast of guest vocalists, SRO
is embarking on its fifth full season of
programming.
Photo by Erin Lodi
encoreartsseattle.com A-5
2CELLOS
THE MOORE THEATRE
SATURDAY, MARCH 14
2CELLOS CREATE A NEW DIMENSION WITH CELLOVERSE
ALBUM AVAILABLE NOW
Y
oung Croatian cellists Luka Sulic and
Stjepan Hauser, together known as
2CELLOS, have achieved sensational
success by taking the cello to a new
level. Their playing style has broken
down the boundaries between different
genres of music, from classical and film music
to pop and rock. 2CELLOS have no limits
when it comes to performing live and are
equally as impressive when playing Bach and
Vivaldi as they are when rocking out AC/DC.
2CELLOS rose to fame in 2011 when
their version of Michael Jackson’s “Smooth
Criminal” took the world by storm. The
YouTube video became a massive viral
sensation leading to a record deal with Sony
Masterworks and an invitation to join Sir
Elton John on his worldwide tour.
Aside from their huge online following
where they continue to amaze with new
YouTube hits, 2CELLOS main focus has always
been playing live. In addition to many sold
out solo tours (US, Japan, Europe) the duo
have also appeared on major TV shows such
as The Tonight Show with Jay Leno, The Ellen
A-6 SEATTLE THEATRE GROUP
JOIN THE #CELLOVERSE
to grow around the world.
In addition to touring with
Elton John, 2CELLOS collaborated with the Red Hot Chili
Peppers, Queens of the Stone
Age and George Michael.
They have also collaborated on
various projects with winning
producers T-Bone Burnett and
Humberto Gatica and with
the legendary film composer
James Newton Howard.
Sulic and Hauser have
played the cello since
childhood; Sulic graduated
from the acclaimed Royal
Academy of Music in London,
and Hauser from the Royal
Northern College of Music
in Manchester, both in 2011.
Sulic has won a series of top
prizes at numerous prestigious international music
competitions including First
and Special Prize at the VII
Photo courtesy Sony Masterworks
Lutoslawski International
Cello Competition in
DeGeneres Show (multiple times), Lopez
Warsaw (2009), First Prize at the European
Tonight, TV Total with Stefan Raab, ABC’s
Broadcasting Union “New Talent”
The Bachelor and many others. 2CELLOS were
Competition (2006) and First Prize at the
also the first instrumental act to ever perform
Royal Academy of Music Patron’s Award in
on the hugely popular TV series GLEE, where
Wigmore Hall (2011) among others. Hauser
they appeared as special guests in the Michael
has worked with acclaimed classical artists
Jackson tribute episode, performing “Smooth
such as Mstislav Rostropovich, Bernard
Criminal”. The 2CELLOS’ arrangement of the
Greenhouse, Mennahem Pressler and Ivry
song, which featured Naya Rivera, debuted at
Gitlis, to mention a few. He has collected
No. 10 on the Billboard Hot 100 Digital Songs
no less than twenty-one first prizes at the
Chart and landed the 2CELLOS’ debut album
national and international music competiin the Top 100.
tions and performed twice for Prince Charles
Together with the Chinese classical
in Buckingham and St. James’s Pallace. Both
superstar pianist Lang Lang, they appeared
have appeared in major classical music
at the CCTV New Year’s Gala for more than
venues throughout the world including
1 billion viewers. Performing with Sir Elton
Wigmore Hall, Royal Albert Hall, Southbank
John on his tour, they have traveled around
Center, Amsterdam Concertgebouw, Vienna’s
the globe several times playing with him
Musikverein and Konzerthaus.
and opening the shows in massive stadiums
2CELLOS released their second album
and appearing at prestigious venues and
IN2ITION in January 2013. The album was
events such as Madison Square Garden, Paris
produced by the legendary Bob Ezrin (Pink
Olympia, Queen’s Diamond Jubilee, and the
Floyd, Alice Cooper, Kiss, Deep Purple) and
Emmys in L.A.
features an eclectic group of vocal and instruLuka and Stjepan’s success extends far
mental guests including Elton John, Steve Vai,
beyond YouTube and their fan base continues
Lang Lang, Naya Rivera and Zucherro.
Zakir Hussain
THE MOORE THEATRE
FRIDAY, MARCH 20
Zakir Hussain’s Pulse of the World:
CELTIC
CONNECTIONS
Zakir Hussain, Tabla
Zakir Hussain is today appreciated both in
the field of percussion and in the music world
at large as an international phenomenon and
one of the greatest musicians of our time. A
classical tabla virtuoso of the highest order,
his consistently brilliant and exciting performances have established him as a national
treasure in his own country, India, and as one
of India’s reigning cultural ambassadors.
Widely considered a chief architect of
the contemporary world music movement,
Zakir’s contribution to world music has been
unique, with many historic collaborations,
including Shakti, which he founded with
John McLaughlin and L. Shankar, Remember
Shakti, the Diga Rhythm Band, Making Music,
Planet Drum with Mickey Hart, Tabla Beat
Science, Sangam with Charles Lloyd and Eric
Harland, and recordings and performances
with artists as diverse as George Harrison,
YoYo Ma, Joe Henderson, Van Morrison,
Airto Moreira, Pharoah Sanders, Billy
Cobham, Mark Morris, Rennie Harris, and
the Kodo drummers. His music and extraordinary contribution to the music world were
honored in April 2009, with four widely
heralded and sold-out concerts at Carnegie
Hall’s Artist Perspective series.
A multiple Grammy-award winner and
the recipient of countless honors, Zakir has
received titles from the Indian, American,
and French governments, Grammys, and
“best percussionist” awards from significant
music journals. He has scored music
for many films, events, and productions
including the 1996 Summer Olympics. He
has both composed and performed with
Alonzo King’s Lines Ballet (for which he
received two Isadora Duncan Awards),
YoYo Ma’s “Silk Road Project” with choreographer Mark Morris, and, with his oft-times
collaborators and band-mates Bela Fleck
and Edgar Meyer, with both the Nashville
and Detroit Symphony Orchestras, under
the baton of Leonard Slatkin. Zakir’s second
concerto, Concerto for Four Soloists, a special
commission for the National Symphony
Orchestra, was performed at Kennedy Center
in March 2011, conducted by Christoph
Eschenbach. His third concerto, the first ever
composed for tabla, will premiere in Mumbai
in fall, 2015, with the Symphony Orchestra
of India.
Rakesh Chaurasia, Bamboo Flute
As is so often the case in India, Rakesh is
following in the family tradition; his uncle,
Pandit (Master) Hariprasad Chaurasia is
among the icons of his generation, and
Rakesh is his most accomplished disciple.
He has performed with a broad spectrum
of the great musicians of India, as well as
Western musicians like Bela Fleck, Edgar
Meyer, and Joshua Redman. He has received
many important awards in India, most
recently the Pannalal Ghosh Puraskar in
2013. He has taken part in many prominent
festivals, including WOMAD in Athens
and the Festival of St.-Denis in Paris, and
was invited to conclude the 24-hour live
BBC Radio broadcast celebrating Queen
Elizabeth’s Silver Jubilee.
His special gift is the ability to preserve
the purity and intensity of the flute in the
midst of many instruments. The Bansuri, the
bamboo Indian flute, is a magical instrument
that is so ancient it is part of the mythology of
many cultures; Krishna, Kokopelli, and Pan
all played it. Rakesh is a worthy successor!
Fraser Fifield, Flute/Pipes
One of the more distinctive pipers in
Scotland, Fraser is an uncommonly wideranging multi-instrumentalist, performing
on various pipes, whistles, the soprano
saxophone, Bulgarian Kaval, and occasionally
on percussion. Perhaps that variety is why, as
Jazzwise put it, he is “an outstanding product
of the Scottish jazz-folk scene who at one
moment can blow a low whistle like Charlie
Parker steaming his way through ‘Ko-Ko’
and at the next knock out an air on a sax like
a Highland traditionalist.” He’s released five
albums of original music on his own Tanar
label, has been commissioned by a wide range
of festivals, the Scottish Arts Council, and
the BBC, and performed from the U.S. to
Azerbaijan with groups like Capercaillie and
Afro-Celt Sound System, among many others.
Jean-Michel Veillon, Flute
Though Celtic culture is associated
with Scotland and Ireland, the region of
France known as Brittany is Celtic as well.
Jean-Michel Veillon was first a dancer and
then a bombard (old type of double-reed
oboe, typical of Brittany) player in his teens
before moving on to the transverse wooden
flute. His first influences were Irish, but he
soon created distinct articulation techniques
that reflected his Breton heritage. After
years of touring the U.S. with groups like
Kornog, Pennou Skoulm, Den, and Barzaz,
he has become renowned for introducing
the wooden flute into Breton folk music.
In the words of the Welsh/British folk
magazine Taplas, “If you have any interest
in the flute, folk or otherwise, Jean-Michel
Veillon’s recordings are, like Matt Molloy’s,
indispensable.”
Ganesh Rajagopalan, Violin
Violin entered Indian music perhaps 200
years ago, and in that time few have become
more distinguished than Ganesh Rajagopalan.
In the Indian tradition, he began his studies
young, and was performing by the age of
seven. He became famous in a duo with his
brother Kumaresh, but has played extensively
with a who’s who of Indian musicians over
the years. He has worked with many greats,
from Zakir Hussain to the Oscar-winning
Bollywood music director A.R. Rahman to
the legendary John McLaughlin.
Charlie McKerron, Fiddle
Charlie McKerron was born in London
and spent time in Africa before his family
returned to his father’s homeland of Scotland
when he was five. By the age of 12 he was
winning fiddle competitions, and after
completing school he came to prominence
as a member of Capercaillie, a traditional
encoreartsseattle.com A-7
Zakir Hussain
THE MOORE THEATRE
FRIDAY, MARCH 20
Celtic band from the Argyll area of Western
Scotland. It began in a purely acoustic vein,
but over the years achieved considerable fame
by experimenting with various elements of
fusion – funk bass, synthesizers, and the like.
Charlie has also achieved acclaim for his
ability to write new songs – “Bulgarian Red,”
for instance - that have been adopted as part
of the Scottish folk canon.
Kathryn Tickell, Dougie Maclean and Kylie
Minogue, and in the studio with a passel of
projects. At the 2012 Olympic Festival she
fell in with Zakir Hussain, and since then
has visited India four times, collaborating
with various South Asian musicians. Her
percussive chopping style will be a prominent
part of the tour.
Patsy Reid, Fiddle
A Dubliner, Tony has focused on traditional
Irish music since leaving college in 1999, so
his work with Matt Molloy and Lunasa will
not be surprising. But he’s also crossed into
somewhat different territory to play with Led
Zeppelin’s John Paul Jones, the American
dobro master Jerry Douglas, banjo king
Bela Fleck, and the classical violinist Nicola
Benedetti…quite a span! In addition to
college teaching credentials in Dublin, he has
Patsy Reid is undoubtedly the most
in-demand traditional fiddle player in
Scotland. Just as she was finishing college (a
1st Class Honours degree from Strathclyde
University), she co-founded Breabach, which
was nominated as the best Folk Band by the
BBC Radio 2 at their 2011 Folk Awards. Soon
after she began working with various groups,
including the celebrated Northumbrian piper
Tony Byrne, Guitar
worked with the Galway Arts Festival and has
been a cast member of the award-winning
play Trad, which has toured to the Edinburgh
Fringe Festival as well as Australia.
John Joe Kelly, Bodhran
England’s The Guardian said of John Joe that
he was “…surely the greatest living Bodhran
player” alive, which pretty much covers it.
He is certainly one of the most sought-after
bodhran players on the folk music scene
today. He is a member of Rook and the Mike
McGoldrick Band, among others. Although
a stalwart of the traditional scene, he is
constantly expanding the boundaries of what
one can get out a simple drum. In recent
years he has been involved in many world
music collaborations, with musicians varying
from Tim O’Brien and Kate Rusby to Don
Tyminski…and now Zakir Hussain.
Photo by Jim McGuire
A-8 SEATTLE THEATRE GROUP
Spectrum Dance Theater
THE MOORE THEATRE
THURSDAY, APRIL 23 – SATURDAY, APRIL 26
a note from
Donald
Byrd
“
In order to more fully explore
my new interpretation, the
work needed to be stripped of
all spectacle and bombast.
”
– Donald Byrd
M
any of you are probably most familiar
with Carl Orff ’s Carmina Burana
(subtitled a ‘scenic cantata’) and performed
with large orchestra, full choir and soloists.
This interpretation has become today’s
most widely accepted performance practice.
However, in 1997 I directed and choreographed Carmina as a large-scale danced
musical drama, a true spectacle,
for the New York City Opera. That version
was very much in line with Orff ’s original
concept for the piece, including dance,
staging, costumes and sets. I wanted to
preserve the spirit of the music and honor
Orff ’s creation of the dramatic concept,
‘Theatrum Mundi’, in which music,
movement, and speech are intertwined. In
this artistic formula every musical moment
was to be connected with an action on stage.
During the restaging two years later,
I began to have other thoughts about the
work and text, especially in light of the fact
that the presumed authors were Goliards, or
defrocked monks. I began to wonder what
circumstances might have prompted these
monks’ disillusionment, and their subsequent
descent into hedonism and debauchery.
After combing the text, it became clear to me.
In order to more fully explore my new interpretation, the work needed to be stripped of
all spectacle and bombast. By reducing the
size of the chorus and using Orff ’s version of
the the score for two pianos and percussion,
focusing on the baritone and making him
the central character of a monk, the drama
could become more personal. This is the
story of one man’s crisis of faith that leads
him on a journey to the darkest corners of his
soul, then finally back to a place of personal
enlightenment. Despite the intense darkness
and the exploitation of his flesh, he reemerges
with a renewed faith in the goodness of man,
and perhaps even God’s grace.
Photographer: Nate Watters
encoreartsseattle.com A-9
Three Acts, Two Dancers, One Radio Host
THE PARAMOUNT THEATRE
SATURDAY, APRIL 11
THREE ACTS, TWO DANCERS, ONE RADIO HOST:
Ira Glass,
Monica Bill Barnes,
Anna Bass
Photo by David Bazemore
Ira Glass, Monica Bill Barnes and Anna Bass
DIRECTED AND CHOREOGRAPHED BY Monica Bill Barnes
LIGHTING DESIGN BY Jane Cox
SET AND COSTUME DESIGN BY Kelly Hanson
A-10 SEATTLE THEATRE GROUP
PERFORMED BY
SEATTLE THEATRE GROUP
CORPORATE SPONSORS
Ira Glass is the host and creator of the
public radio program This American Life.
The show is heard on more than 500 public
radio stations in the U.S., and also on public
radio in Canada and Australia. For years, the
podcast of This American Life was the most
popular podcast on iTunes, until the show
started its first spin-off program Serial, which
quickly became the most popular podcast in
the world. Under Glass’s editorial direction,
This American Life has won the highest
honors for broadcasting and journalistic
excellence. A television adaptation of the
program ran on the Showtime network for
two years, winning three Emmys. The radio
show has put out its own comic book, greatest
hits compilations, live stage shows, two
feature films, a “radio decoder” toy, temporary
tattoos and a paint-by-numbers set. This is
Glass’s professional dance show debut.
Monica Bill Barnes (Director/
Choreographer) is the Artistic Director of
Monica Bill Barnes & Company Productions,
a New York City based dance company
founded in 1997. Barnes creates full-length
shows that tour the country’s biggest stages
and tiniest rooms, bringing dance where it
doesn’t belong: making site-specific dances in
public places, mounting collaborations with
radio hosts and bringing down the house at
comedy shows. MBB&CO has performed
throughout the U.S. in venues including
The American Dance Festival, The John F.
Kennedy Center for the Performing Arts and
Jacob’s Pillow Dance Festival. Since 2006,
Barnes has been making duets for herself and
Anna Bass. She is continually inspired by their
partnership on and off stage. Barnes began
working with Ira Glass in 2012 when she
created a solo for David Rakoff and performed
with MBB&CO as a part of This American Life
Live! Upcoming projects include a collaboration with Maira Kalman creating a guided
museum workout and a new show featuring
Barnes & Bass playing every character.
Anna Bass began working with MBB&CO
in 2003 and now serves as Associate Artistic
Director. She has performed Barnes’ work
all over the country, on stages ranging from
public fountains and city parks to New
York City Center and Carnegie Hall. Bass
performed in Glass’s two most recent This
American Life Live events - catching boxes
while dancing as a part of TAL’s cinema
event, and appearing as a roller-skating
mouse alongside Mike Birbiglia in The Radio
Drama Episode at the BAM opera house. She
often assists Barnes with theater projects,
and served as the Assistant Choreographer
for productions at The Atlantic Theater, The
Public Theater and Yale Repertory Theater.
Bass is originally from a small town in
Virginia where she studied almost every
dance style, from classical ballet to country
line dancing. She lives in Brooklyn, NY.
Jane Cox (Lighting Designer) has designed
with MBB&CO for more than a decade,
and her collaboration with the company is
central to her creative life. In 2014 Jane was
nominated for both the TONY and the Drama
Desk awards for her work on Machinal, and
she also designed All The Way on Broadway.
In 2013 Jane was awarded the Henry Hewes
Design Award for her work on The Flick.
Other recent designs in NYC include Picnic
and Dinner with Friends for the Roundabout,
Passion at CSC and The Whale at Playwrights
Horizons. Opera designs include Sydney
Opera House, Houston Grand Opera and New
York City Opera. Jane has a long-standing
relationship with The Oregon Shakespeare
Festival, and has been teaching about light and
design at Princeton University since 2007.
Kelly Hanson (Set/Costume Designer) is
an original company member of MBB&CO,
and has been collaborating with Monica since
2001. She is also an Emmy-nominated Art
Director for television. Kelly currently spends
most days directing art for The Tonight Show
Starring Jimmy Fallon. Kelly was born in
Bryan, TX, earned her MFA in Set Design
at University of California, San Diego and
joined the New York community in 2001. She
lives in Brooklyn, NY with her husband, two
children and a big black dog.
Robert Saenz de Viteri (Producing
Director) has been working with MBB&CO
and Ira Glass since 2013. He joined the New
York theater community in 2005 as an audio
script assistant to Anna Deavere Smith as she
began creating Let Me Down Easy. He led
many productions and festivals at the Public
Theater including the Public Lab Series and the
international festival Under The Radar. He has
created performances and toured productions
throughout the world with the Obie Award
winning Nature Theater of Oklahoma. As a
director he has worked at the Ensemble Studio
Theater, The Flea, The Atlantic Theater, Office
Ops, a tiny storefront in Oslo and Access
Theater, where he directed The NY Times
Critic’s Pick production of Michael & Edie. In
2014 he joined Ira Glass and This American
Life producing Episode 528, The Radio Drama
Episode, live on stage at Brooklyn Academy
of Music. He is currently creating a new
theater piece based on the life of author Knut
Hamsun, set to premiere in Norway.
Tess James (Lighting Director/Stage
Manager) is a freelance Lighting Director and
Designer. Throughout her career she has had
the privilege of working with a wide range
COMMUNITY PARTNERS
encoreartsseattle.com A-11
Three Acts, Two Dancers, One Radio Host
of amazing artists and companies including
New York City Opera, BAM, New York City
Center, Glimmerglass Opera, The American
Repertory Theatre, Dallas Opera, Center
Stage in Baltimore, The Public Theatre,
Summer Scape at Bard College and Den Nye
Opera in the Netherlands. She currently
resides in Brooklyn, NY.
Isabella F. Byrd (Lighting Supervisor) is
a Brooklyn based Lighting Designer with
designs ranging from theatre and opera to
experimental installation. Recent designs
and associations include Humana Festival at
Actors Theatre of Louisville, Dallas Theater
Center, PigIron Theatre Company, The
Kennedy Center, Lincoln Center Festival,
Spoleto Festival USA, Williamstown Theatre
Festival and PigPen Theater Company.
She was an administrative member of the
imploded 13Playwrights, Inc. and is an Editor
at CHANCE Magazine.
Chip Rodgers (Production Manager) is a
production manager, producer and director
for theater. He is the former Theater & Office
Manager of Soho Rep. While he was there,
Soho Rep produced seven new plays, winning
five Obie Awards and a special Drama
Desk award for significant contribution in
the theater. He is currently the Production
Manager for The Bushwick Starr and the
Associate Curator for the Starr Reading Series.
Monica Bill Barnes & Company
Productions is a contemporary American
dance company under the artistic direction
of Monica Bill Barnes. She is joined by a core
of long-time collaborators: Associate Artistic
Director and performer, Anna Bass; Lighting
Designer, Jane Cox; and Set and Costume
Designer, Kelly Hanson. This team has created
over thirty shows for stages large and small,
formal to site-specific, and has been producing
work together for over a decade. MBB&CO’s
mission is to celebrate individuality, humor
and the innate theatricality of everyday life,
and to uncover and delight in the underdog
in all of us. www.monicabillbarnes.com
Three Acts, Two Dancers, One Radio
Host was made possible with support from
the Rockefeller Brothers Fund. It is also
supported by the National Endowment for
the Arts. This work was developed during
a Choreographic Fellowship at the Maggie
Allesee National Center for Choreography
at Florida State University, and was also
supported through the Media Fellowship
Initiative at MANCC. It is further supported
by Jody and John Arnhold, as well as The
Dianne and Daniel Vapnek Family Fund.
Special thanks to Steven Barclay, Linda
Brumbach, Alisa Regas, Sara Bixler, Donna
& Ken Barnes, Margaret Marshall, Dana Boll,
A-12 SEATTLE THEATRE GROUP
THE PARAMOUNT THEATRE
SATURDAY, APRIL 11
Photo by David Bazemore
Michelle Rose, Carol Fisler, Melanie Aceto,
Kim Dooley Kittay, Dawn Nadeau, Katelijne
DeBacker, Royd Climenhaga, Anthony Roman,
Trey Lyford and Seth Lind, as well as our
wonderful team of artists who built our props
and costumes: Joanie Schlaffer, Rachel Navarro,
Patricia Murphy, Megan Turek and Jeremy
Lydic. Lastly, this work would not be possible
without the generous support of private patrons
and we offer them our heartfelt thanks.
CC RIDER (Ma Rainey) performed by Elvis Presley.
Courtesy of RCA/Sony Music.
I’LL NEVER FALL IN LOVE AGAIN (Burt
Bacharach, Hal David) performed by Dionne
Warwick. (C) 1968 (Renewed) New Hidden Valley
Music Company (ASCAP) and Casa David Music
(ASCAP). All rights on behalf of New Hidden
Valley Music Company. Administered by WP Music
Corporation. All rights reserved. Used by permission.
LET IT BE ME (Gilbert Becaud, Manny Kurtz, Pierre
Leroyer) performed by Nina Simone courtesy of
RCA Records/Sony label group. Rights courtesy of
Universal Music.
DRINK TO ME (Ben Jonson) performed by Dean
Martin. Courtesy of Capitol Records/Universal Music.
MAIS OUIS MAMBO (Billy May, Conrad Gozzo)
performed by Billy May. Appears courtesy of
Universal Songs of Polygram International Inc.
FALLOUT 2A (Anthony Barilla) Rights courtesy of
Anthony Barilla.
FILAMENTS (Podington Bear) Rights courtesy of
Podington Bear.
DEEP BLUE DAY (Brian Peter George Eno, Roger
Paul Eugene Eno, Daniel Roland Lanois) Rights
courtesy of Opal Music PRS.
ART OF THE CANON (Thomas Louis Hardin)
performed by Moondog. Courtesy of Roof Records.
GET UP (I FEEL LIKE BEING A SEX MACHINE)
(James Brown, Bobby Byrd, Ronald R. Lenhoff)
performed by James Brown. 100% interest. (C)
1970 (Renewed) Dynatone Publishing Company
(BMI) All rights administered by Unichappell
Music Inc. All rights reserved. Used by permission.
WHAT’LL I DO (Irving Berlin) performed by Nat
King Cole. Published by Irvin Berlin Music. Rights
courtesy of Virgin Records.
ONE (Marvin Hamlisch, Lawrence Kleban) Rights
courtesy of Sony/ATV Music Publishing.
THAT’S ALRIGHT MAMA (Arthur Crudup)
performed by Elvis Presley. Courtesy of RCA/Sony
Music and Crudup Music/Unichappell Music Inc.
Several stories in Three Acts, Two Dancers, One
Radio Host were adapted from radio stories first
heard on This American Life, which is produced by
WBEZ Chicago.
The poem Last Days, from Donald Hall’s collection
Without, is used with permission.
The national tour of Three Acts, Two Dancers,
One Radio Host is exclusively co-represented by
Steven Barclay Agency and Pomegranate Arts.
The original production, One Radio Host, Two
Dancers, presented at the Annenberg Center
in Philadelphia in April 2013, was produced by
Monica Bill Barnes & Company Productions,
Chad Herzog and Dance Affiliates.
3acts2dancers1radiohost.com
The photographing or recording of this performance is prohibited.
CELEBRATING
3 YEARS OF
GREAT MUSIC AND AMAZING PERFORMANCES!
March Madness Playlist!
CHECK OUT A SELECTION OF SONGS FROM THE NEPTUNE’S MARCH LINEUP OF GREAT ARTISTS!
MARCH
3
Stars
No One Is Lost
6
Ladysmith Black Mambazo
Nkosi Sikel’lafrica (Shosholoza)
8
Kidz Bop
Shake It Off
Ladysmith Black Mambazo
Guster
12
Tweedy
Summer Noon
18
Rick Springfield
Jessie’s Girl
20
21
Walk the Moon
Shut Up and Dance
22
Home Free
Wake Me Up
24
OK GO
The Writing’s on the Wall
27
Yonder Mountain String Band
Out of the Blue
28
Caspar Babypants
My Flea has Dogs
30
Guster
One Man Wrecking Machine
NEPTUNE SPONSORS & SUPPORTERS
encoreartsseattle.com A-13
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$250 - $499
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• Kelly McNelis • Joanne Meins • The Merck Foundation •
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• Matt & Michelle Senechal • Joshua Shagam • Glen Shapiro &
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Erica Winters • Andrew Wiselogle • Kim Wiseman & David
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Craig Wolfe • Jessica Wood • Katherine Woodcock • In
memory of Dorothy Woodroof • Justin & Hannah Woods •
Jennifer Worthley • Amy Wright • Karen Wylie • Ken & Jan
Yalowitz • Janice Yamauchi • Brian Yee • Cynthia Yee & Sam
Affolter • Christopher Yee Mon • James Yen • Chi Yeung • Rob
& Diane Young • Brenden YOUNG • Hilary Young • Michael
Yurka • Lewis Zenger • Rebecca Zerngast
Your Dollars @ Work
Photo by Gabriel Bienczycki
The DANCE This Summer Dance
Training Intensive provides an
opportunity for young dancers at all
levels to immerse themselves in dance
over the course of 2 weeks. Students will
be exposed to a wide range of dance
styles and techniques in a supportive,
yet challenging atmosphere. Instruction
includes Audition, African, Ballet,
Choreography, Hip Hop, Jazz, Modern,
Musical Theatre and Stretch & Strength.
WHEN: Wednesday, June 17 –
Wednesday, July 1, 2015.
WHERE: All classes will be held at Pacific
Northwest Ballet – The Phelps Center,
located at 301 Mercer Ave, Seattle WA
98109 (on the Seattle Center campus).
Showcase for friends and family on
Wednesday, July 2 at The Moore Theatre.
WHO: The Intensive is open to young
aspiring dancers ages 13-21 ANY LEVEL
of experience. Three class levels offered
in most disciplines.
COST: $375 per participant* for the
entire Intensive program if paid in full
by May 18th; $400 after May 18th.
*A limited number of scholarships are
available to students based on financial
need. Please indicate in your registration form if you would like scholarship
information sent to you.
%528*+772<28%<
encoreartsseattle.com A-15
BOARD OF DIRECTORS
im Margard, C
J
hair
Greg Mollner, P
resident
Bob Lipman, T
reasurer
Ron Wilkowski, V
ice President
Jim Kraft, General Counsel
Ricardo Frazer, S
ecretary
Directors
Lindsay Anderson
Jan Block
Becky Bogard
Shavondelia Brown
Peter Davis
Masha Hart
Brian Langstraat
George Northcroft
Steve Peltin
Tina Podlodowski
Mike Slade
Mary Beth Wressell
HONORARY BOARD MEMBERS
Ida Cole, F
ounding Director
nn Deutscher
A
Sara Hart
Marian Thrasher
CENTER STAGE COUNCIL
Ann Deutscher
ed and Danielle Ackerley
T
Howie Barokas
Janie Hendrix
Marty Loesch and Cyndi Lewis
John Maynard
Chris McReynolds
Kabby Mitchell
Tina Pappas and Robert Aigner
Paul Pradel
Stephen and Sheila Salamunovich
Michael Shrieve
Jeff Trisler
Gigi and Alan White
Fred Wilds
VOLUNTEER COUNCIL
SLATE OF OFFICERS 2012-2014
Sara Hart Chairman
Fred Johnson Vice-Chairman
Susan Jackson Secretary
Members
Carol Allen
Bonnie Briant
JoAnn Field
Jim Malatak
Linda Middlebrooks
Arlene Rankiin
Lynn Thrasher
Marian Thrasher
Melinda Wilson
Honorary Member
Phil Hargiss, P
uget Sound
Organ Society
Council Members Emeritus
Barbara Roper
Claire Tompkins
STG Volunteer Office Coordinator
Jim Malatak
A-16 SEATTLE THEATRE GROUP
SEATTLE THEATRE GROUP
Josh LaBelle, Executive Director
VISION To enrich, inspire, challenge and expand our world through the arts.
MISSION Making performances and arts education in the Pacific Northwest enriching, while
keeping Seattle’s historic Paramount, Moore and Neptune Theatres healthy and vibrant.
CORE VALUES • Stewards of historic theatres. • Catalysts for community alliances. • Passion for diversity in the arts, artists and audiences. • Arts leadership locally, regionally and nationally.
MEMBERS OF STAFF
EXECUTIVE OFFICE
Josh LaBelle
Executive Director
David Allen
Chief Operating Officer
Martin Sepulveda
Executive Assistant
PROGRAMMING
Adam Zacks
Senior Director of Programming
Debra Heesch
Special Events Manager
Ryan Cook
Talent Buyer
Jack McLarnan
Season Programming Manager
Kayte Olsufka
Programming Associate
MARKETING
Vivian Phillips
Director of Marketing & Communications
Lauren Daniels
Digital Communications
and Promotions Manager
Ken Potts
Director of Marketing, Season
and Major Programs
Hilary Northcraft
Marketing Assistant
Antonio Hicks
Public Relations Manager
Joshua Phenicie
Digital Communications Assistant
Jason Ross
Concerts Marketing Manager
Emory Liu
Graphic Designer
Kelly McMahon
Data Specialist
DEVELOPMENT
Maura Ahearne,
Development Director
Richard Nelson
Development Officer
Danielle Olson
Director of Corporate Relations
Aaron Semer
Annual Fund Manager
Brian Layton
Historic Facilities Program Director
Jamie Moses
Development Coordinator
EDUCATION & COMMUNITY PROGRAMS
Vicky Lee
Director of Education & Performance Programs
Sarah Loritz
Community Programs Manager
Marisol Sanchez-Best
Education Programs Manager
PATRON SERVICES
Tory Wimer Contreras
Director of Sales
and Patron Services
Heather Davidson
Club Relations &
Events Coordinator
PJ Mertz
Sales Manager
Magdelene Adenau,
Group Sales Manager
Anna Bryant
Patron Relations Manager
Jenny Lachuta
Club Relations Administrative
Coordinator
BOX OFFICE
Jeff Beauvoir
Director of Ticketing
Phil Brock,
Show Supervision
Stefanie Wolf,
Show Supervisor
Ngai Kwan
Ticketing Manager
Tonjia Phenicie
Box Office Administrator
Elizabeth Davenport
Box Office Lead
Cenee Cain, Courtney Comfort,
James Eddy, Chad Gabagat,
Kathryn Jansen, Timothy Mitchell,
Mia Sessions, Box Office Associates
HUMAN RESOURCES
Ginny Matheson
Director of Human Resources
Misty Stevens
Safety Officer
Marianne Condiff, Allison Clark
Receptionists
FINANCE &
ADMINISTRATION
Ellen Trowbridge
Payroll Specialist
Brianna Ponio
Venue Accountant
Jennifer Moore
Accountant
Gary Corrington
Chief Financial Officer
Kate Schneider
A/P Assistant
THEATRE OPERATIONS
David Allen
Chief Operating Officer
Dean Wattles
Operations Manager
Jeff Anderton
Network Administrator
Dan Reinharz
Neptune Manager
HOUSE STAFF
Mason Sherry
Theatre Manager
Ted Dowling
House Manager
Brandon Cyprian, Chad Hudson,
Anneka Kielman, Miranda Lerian,
Enrique Sigala, Billie Webber,
Sydney Webster
MAINTENANCE
Jeff DeVick
Director of Building Services
Julia Beckley
Building Services Manager
Jason Armes, Judith Carroll,
Steven Dobbs, Grant Fryer,
Lila Hughes, Robert Phare
CUSTODIAL
Dido Ali, Denise Antoine, Alex
Arthur, David Beckley, Daniel
Alexander, Michael Blue, Suzanne
Brandkamp, Nic Butera-Rogers,
Sean Clavere, Jordan Elliott,
Fadumo Farah, Simon Godfrey,
Andrea Groce, Lonnie Haynes,
Dembo Hatu, Bill Kachersky, Ashley
Mauerhan, Tamara McLennan, Nikita
Pines, Carson Poe, Michael Simons,
James Stone, Kirk Thompson
STAGE CREW
Mike Miles
Technical Director, Paramount
Larry Knien
Head Flyman, Paramount
Jeff Payne
Head Electrician, Paramount
Mike Miller
Head Sound Engineer
Joseph Poole
Head Props, Paramount
Robert Margoshes
Technical Director/
Head Electrician, Moore
Steve Martin
Head Flyman, Moore
Dan Droz
Head Sound, Moore
HAIR & MAKEUP
Pam Farrow
Head of Hair & Makeup, Paramount
WARDROBE
Delia Mulholland
Wardrobe, Paramount
All stage, wardrobe, hair and makeup
personnel employed by Seattle Theatre
Group are represented by the International Alliance of Theatrical Stage
Employees Locals 15, 887 and 488
respectively. The musicians employed
by Broadway at the Paramount are
members of the American Federation
of Musicians, Local 76-493.
NEW CONSTRUCTION
|
REMODELING
|
HIGH PERFORMANCE BUILDING
INCITING EVOLUTION
IN BUILDING
HAMMERANDHAND.COM
Karuna House, designed by Holst Architecture
PORTLAND 503.232.2447 CCB#105118
and built by Hammer & Hand
SEATTLE 206.397.0558 WACL#HAMMEH1930M7
2013 AIA Portland Design Award
2014 National Institute of Building Sciences
Beyond Green Award
from city arts magazine
“When you’re working in a truly collaborative
way unexpected things may come about,”
Hofmann says. “Looking back you can see
the continuity—larger narratives that relate to
consumerism and disaster and sarcasm.”
Elder, De Armas and Hofmann at work.
PHOTO BY STEVE KORN
“We were almost challenging each other,
like we were children trying to understand
the realm of truly collaborating and what
that meant,” Hofmann says. Time and
practice solved that problem. Overlap is now
an intentional part of the process, a sort of
interpersonal geologic layering of paint and
paper and metal and plastic that gives their
work physical depth and creates the illusion
of the passage of time.
Snowboarders know the butterflies-in-thebelly feeling of carving a fresh line on a virgin
run. And they know the feeling of following
a friend’s fresh tracks, helixing them with
your own, side by side, simultaneous but
individual. The crossover between action
sports and Electric Coffin’s gestural art is
uncanny. Elegant chaos, controlled just long
enough to finish the run.
“Creativity in motion,” Elder says.
“Instead of using a canvas to express your
creative vision you’re using the environment,
whether it’s a bowl in a skate park or an open
field of powder.”
“We made a conscious choice to let go,”
Hofmann says.
E
VERYTHING IS UP FOR GRABS
THESE days—the way business is run,
the way we brand and market, the way
we run restaurants,” says Matthew
Parker, lead designer of Huxley Wallace
Collective, the restaurant group that built
Westward. “We’re constantly changing
old models and flipping them around
and creating new ones. The design style
those guys carry fits perfectly with these
contradictions. And within contradictions
things get exciting.”
Electric Coffin’s latest, greatest canvas is
the city itself. As its population explodes,
Seattle is building its own future to live and
work and play in. Developers mostly hew to a
bottom-line principle, wary of expenditures
on risky design—which gives us the lowbudget, low-concept eyesore architecture
that’s turned swaths of the city into the
urban equivalent of Ikea furniture.
Since their involvement with the Via6—
one of the more visible projects in the city—
Electric Coffin has been fielding more calls
for commissions on large-scale commercial
projects. They built a winter forest inside a
yurt at the downtown REI that’s on display
through the spring; REI corporate has since
requested custom installations in each of
their flagship stores nationwide. A new W
Hotel is going up in Bellevue with space for
a three-floor-tall mural in its lobby. And
they’re negotiating a contract to design the
interior of a new high rise in South Lake
Union, a two-year project that would involve
creating multiple installations and art pieces
for the entire building.
“We have an awesome opportunity and a
legitimate responsibility to work with these
people and make things that are progressive,
thoughtful, interesting on multiple levels,
not just to look at but also functional,” De
Armas says. “Seattle is a weird little city
that should’ve been bigger years ago and
now we’re having this boom. Development’s
happening regardless. We can affect the face
of that development by infusing it with art.”
Ready yourself: Tomorrow’s Seattle will
be airbrushed raspberry red and wrapped
in giant-squid wallpaper. It will be expertly
constructed, scaled mini to macro and rich
with subtle visual humor. It will be brandnew but look ageless. It will be distinctly
American—but an America that’s been
blown up, reconfigured and reborn for a new
era.
“There’s something intrinsically beautiful
about an explosion,” Hofmann says. “Aside
from the destruction, it represents rebirth.
What comes from this? What’s the next new
thing? And it’s hopeful in the sense that
whatever it is, it might be better.” n
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Elder: “We’re electrifying dead things,
dead images and concepts that have been
lost that we dig up, these archeological
finds.”
The name Electric Coffin applies to the
group’s current obsession with monster
reanimation, but De Armas came up with it
years ago during his time in the University
of Washington sculpture program. It just
sounded cool, like the name of one of the hotrod shops in Phoenix he grew up working in.
De Armas moved to Seattle at 18 with no real
game plan other than to get out of Arizona,
make art and skate and snowboard as much
as possible—which is how he met Hofmann
and Elder.
Hofmann came from small-town Arizona
and Reno to study at the UW sculpture
program 10 years before De Armas. While in
school he won a Fulbright Fellowship that
sent him traveling through Southeast Asia
for three years, taking photos and surfing.
He spent the next 14 years traveling back
and forth from Seattle to Bali, surfing there
and snowboarding here. During that time
he designed a logo to attach to the hand-knit
beanies he imported and sold to friends.
This now-iconic snowcat logo was the start
of Spacecraft, a snow apparel business that
still thrives today. When De Armas arrived
in Seattle, he found work with Hofmann at
Spacecraft.
Elder was raised in the rural woodlands
outside Arlington, Wash., the feral child of
survivalist-hippie parents who eventually
moved the family to Seattle for a more
conventional lifestyle. He graduated with an
MFA in painting and sculpture from Cornish
College of the Arts but found more practical
work as a carpenter. After painting on his
own and skating with De Armas for years, he
gave up his day job and the three went all-in
on Electric Coffin in 2011 with no strategy
other than working on cool projects with
friends, starting with a tentacle-creature
disaster-scene coffee table installation for a
pop-up shop in the New York Nordstrom.
“We don’t live in the real world,” De
Armas says. “That’s one trait we all share.”
“None of us knows where we’re going,”
Hofmann says.
“That approach has helped us,” Elder
adds. “There is no Plan B.”
They clashed at the beginning. Three
artists, three egos. One guy would spend
hours working on a segment of a piece only
to have another guy come in and, without
so much as a blink, paint over it with a giant
roller.
“We got into a lot of fights: ‘Dude, I just
painted that and you just destroyed it!’”
De Armas says. “People were leaving and
yelling. We drank a lot of beer and talked
about it. We’ve come to terms. You just
do it and trust that we all know what
we’re doing.”
from city arts magazine
Electric
Coffin’s mondodestructo/punkfunk/industrialartistic
aesthetic is
unprecedented
in Seattle.
miracle-cure squid ink battled ailments from
halitosis to boot rot and could be found across
the nation—and the world!”). They mounted
a show at Bherd Gallery in Greenwood,
displaying phony vintage ephemera with
painter Kellie Talbot’s photorealistic oil
images of Squid Inc. signage.
The project was meant as “a discussion
about the reverence for classic Americana
analog,” as De Armas diplomatically puts
it. Like all of Electric Coffin’s work, it was
a playful discussion. It involved some
nose-thumbing—a fake brand imbued with
fake character via the group’s skills and an
intentionally obtuse backstory. It was the
gallery version of their commercial work,
both of which follow the same dictate: If you
can’t source the object you envision from
salvage, make it from scratch. Make it look
old, worn, real. And make it fun.
The design aesthetic of the moment, as
seen on Pinterest and in the pages of Dwell
and Kinfolk, is rather serious. Conservative.
Twee. It fetishizes the old, whether vintage
furniture, reclaimed wood or a dying dive
bar. If it’s old, it’s beautiful, even precious.
The Electric Coffin guys appreciate old stuff—
the vintage chairs, the Camaro hood, the G.I.
Joes—but they appreciate it as a medium, not
as an end to itself. They pay it the honor of
destroying it so they can give it new life.
“Recontextualization of cultural icons,”
Hofmann says. “At the EVO storefront we
built totems, animals stacked on top of
animals. You start creating narrative out
of these kinds of things, almost a pop-icon
sensibility. You put it in this candy shell but it
contains more expansive concepts of idealism
and cultural identities.”
De Armas: “Everyone’s trying to wax their
pants now instead of buying Gore-Tex. Like, ‘I
drink out of a mason jar!’ Just because you’re
buying a mason jar you’re still a consumer.
You’re idolizing the idea of consuming.”
EAP 1_3 S template.indd 1
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A N N H A M I LT O N
the common S E N S E
ON VIEW THROUGH APRIL 26
HENRY ART GALLERY
H E N R YA R T.O R G
Ann Hamilton. Digital scan of
specimens from the Division
of Tetrapods at the Museum of
Biological Diversity at The Ohio
State University. 2013. Courtesy
of the artist.
encore art sseattle.com 13
ENCORE ARTS NEWS
Detail of EC’s first collaboration, a
diorama inset into a custom-built
coffee table. PHOTO COURTESY OF
ELECTRIC COFFIN
AF 012915 classes 1_12.pdf
Bischofberger
Violins
est. 1955
Professional
Repairs
Appraisals
& Sales
1314 E. John St.
Seattle, WA
206-324-3119
www.bviolins.com
12 ENCORE STAGES
BV 071811 repair 1_12.pdf
owned by the same restaurateurs as Trove;
the Hollywood Tavern in Woodinville,
owned by the same restaurant group as
Westward; EVO, the homegrown snowsports store in Wallingford that recently
opened a new, Electric Coffin-designed
store in Portland; and Via6, the highprofile high-rise apartment towers in
Belltown.
Their style explodes in three
dimensions with Skittles-bright colors
and meticulous, ridiculous details.
It lands somewhere between the
Midcentury hot-rod cartoonery of Ed “Big
Daddy” Roth, the salacious-but-refined
lowbrow paintings of Robert Williams,
the childlike handcrafted charm of
Wes Anderson and the hypermodern
maximalism of Takashi Murakami. Their
work pulls from the restless mania of
three fanatic skaters and snowboarders
who’ve harbored their own iconoclastic,
artistic inclinations since childhood. The
trio matches its collective imagination
with individual skills in fabrication—
carpentry, mechanics, metalwork,
screenprinting, airbrushing—a rare
combination that puts Electric Coffin in
the design/build category that’s highly
sought after by architecture firms and
marketing departments alike.
Electric Coffin’s mondo-destructo/
punk-funk/industrial-artistic aesthetic is
unprecedented in Seattle. Over the past 10
years, restaurants and retail spaces have
sprouted an urban forest of reclaimed
barnwood, corralled a menagerie of
taxidermy and wrought enough blackened
iron to gird a medieval prison. Owing to
a devout sense of history and perhaps
a sense of that history vanishing, the
hunting lodge, the faux dive and the
oyster shell are the traditional touchstones
of Northwest design. These have been
done well—over and over—and they’ll
forever remain part of the regional
visual vocabulary. But as the Northwest
continues its inexorable march into
the 21st century, those designs will be
augmented by new visual cues. Electric
Coffin speaks a homegrown slang that
deftly describes the post-Millennial world.
“Their creativity is born out of an
irreverence to some of the stuff that was
done before,” says Jim Graham of Graham
Baba Architects, who worked with Electric
Coffin on Via6 and Westward. “I appreciate
that about those guys. Architects take
themselves far too seriously. That’s not to
say that we should drape the entire world in
Electric Coffin—that wouldn’t work either,
because then how do you judge it? But that’s
why it’s so exciting. We’re starved for their
work right now.”
T
HERE ARE TOO MANY CHAIRS IN
Electric Coffin’s Ballard HQ. Far more
chairs than people to sit in them, even
when the three guys and their intern
are all present. Plastic shell chairs,
metal wire chairs, vintage office chairs—
more than a dozen around the office, which
is situated up a steep flight of stairs from a
giant construction warehouse filled with
paint and power tools.
“We have a serious chair problem,” De
Armas says. “We love chairs. It gets to a
point where they’re not useful.”
To put it mildly, the decor is eclectic.
One wall is opaque corrugated plastic,
giving off a mellow glow in the afternoon
sunlight. Eighties action figures stand
sentry on desktops next to Power Macs, beer
cans and whiskey bottles. A blackboard
is covered with doodles and agenda
items. The disembodied hood of a Camaro
leans against a wall, screenprinted and
acid-distressed, a piece of De Armas’ art
exhibition showing at AXIS Gallery this
summer. Beside it is a big metal sign for
“Squid Inc.” that looks like it was found at
the bottom of a scrap heap after languishing
for decades.
Turns out Electric Coffin built the sign in
2013, mixing salvaged metal letters, pages
from ’70s porn mags, airbrushed paint and
custom neon. Squid Inc., De Armas tells
me, is a fictional company they dreamed
up as an art project and then designed 150
years of backstory for, including print ads,
packaging artifacts and a subtitled, Frenchlanguage biographical documentary (“Their
from city arts magazine
2014–2015 SEASON
JUNE 26 & 27
On their way out, a couple stops to
order frozen custards, served from a fullsized ice cream truck parked by the front
door. They fail to notice the peephole
inside the gas cap, set about kneehigh. A look inside reveals a miniature
diorama: Godzilla attacking the Space
Needle.
This is not a place you visit and forget.
More than most restaurants, Trove has
vibe. As in vibration. Trove feels like
action.
Across town, Westward sits on the
shore of Lake Union like a steamship
ready to push off from its gravel mooring
and cruise into the Seattle skyline. Aside
from its dramatic waterfront setting,
the most striking visual aspect of the
year-and-a-half-old seafood restaurant
is a 25-foot-long model ship, its interior
visible in cross-section, revealing
breadbox-sized chambers that each
contain a tiny, 3-D diorama—an angry
yeti, a professional wrestling match,
a great white shark swimming with a
unicorn. Plus life-size bottles of booze,
full of actual booze. Because this highfantasy art installation is Westward’s
back bar.
The food at Westward is superb. But
it wasn’t the menu that garnered the
place a 2014 James Beard Nomination
for Outstanding Restaurant Design. It
was the space, and specifically the ship
that launched a thousand Instagrams.
It, like the whole interior of Trove, was
conceived, constructed and installed
by the three-man collective known as
Electric Coffin.
Patrick “Duffy” De Armas, Justin
Kane Elder and Stefan Hofmann have
worked together as Electric Coffin for
four years. In that time they’ve been
let loose on a slew of interior spaces
across the Northwest with orders to tilt
each one toward the unexpected. Trove
is their most extensive project so far;
Westward the most celebrated. They also
worked on Joule, the Fremont restaurant
WITH THE SEATTLE SYMPHONY
Scott Dunn, conductor / Seattle Symphony
TICKETS GOING FAST!
Presentation made under license from Buena Vista Concerts,
a division of ABC Inc.© All rights reserved.
2 0 6 . 2 1 5 . 4 7 4 7 | S E AT T L E SY M P H O N Y. O R G
encore art sseattle.com 11
ENCORE ARTS NEWS
A BEAUTIFUL
EXPLOSION
The artists of
Electric Coffin
are helping
define Seattle’s
landscape—
one giant squid
at a time.
By JONATHAN ZWICKEL
T
ROV E, THE SIX-MONTH-OLD PA NASIA N RESTAUR A NT ON CAPITOL
HILL , throbs like a living thing. An
energ i z e d T hu rsd ay-n ight crowd
radiates a warm din under a ceiling
painted the vivid red of an internal organ.
Exposed ducts and HVAC tubes stretch
through the space like arteries carrying
sweet meat smoke from tabletop hibachis.
Iris-colored wallpaper speckled with Space
Needles and Godzillas lines the restroom
hall. Hanging on the wall of the cocktail bar
is a giant, gilt-framed painting that depicts
Mt. Rainier spewing neon-orange lava into a
bruise-purple sky. Diners and drinkers linger
in the bustle.
Spray paint ready for use at Electric
Coffin’s Ballard workshop, which is set
in a row of warehouses that are home
to metal fabricators, furniture makers,
machinists and woodworkers.
PHOTO BY STEVE KORN
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