San Francisco Symphony

Transcription

Program
September–October 2014
Akram Khan Company OCT 24
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WELCOME
A MESSAGE FROM THE CHANCELLOR
It is always a thrill to anticipate the upcoming season at the Robert and
Margrit Mondavi Center for the Performing Arts, and I know everyone
will find something to savor on the 2014-15 calendar.
Thanks to the tremendous generosity of the legendary winemaker
and his wife, as well as our beloved Barbara Jackson and the vision of
former UC Davis Chancellor Larry Vanderhoef, we have all come to love
the Mondavi Center as the artistic heart and soul of our campus and a
venue that enriches the entire region.
LINDA P.B. KATEHI
UC DAVIS CHANCELLOR
In my five years as Chancellor, among the most moving experiences
I’ve had were when I was able to sit with an enraptured Mondavi
Center audience and take in some of the extraordinary artists and
speakers we have been able to bring to its stage.
We have all come
to love the Mondavi
Every Mondavi Center season seems to top the one just before, and
this year has the added bonus of more innovative and non-traditional
classical music performances, thanks to year one of a three-year grant
Center as the artistic
from the Andrew W. Mellon Foundation.
heart and soul of our
We are blessed on our campus to have such a world-class venue that
campus and a venue
not only attracts brilliant and enjoyable performers from around the
that enriches the
entire region.
world, but also serves as a showcase for so many talented UC Davis
students, artists and faculty.
I’m glad you took the time to be part of this exciting season and hope
you enjoy the experience.
encoremediagroup.com 3
SPONSORS
CORPORATE PARTNERS
PLATINUM
MONDAVI CENTER STAFF
Don Roth, Ph.D.
EXECUTIVE DIRECTOR
BUSINESS
SERVICES
Jeremy Ganter
Debbie Armstrong
ASSOCIATE EXECUTIVE
DIRECTOR
Margaret Goldbar
EXECUTIVE ASSISTANT
PROGRAMMING
Jeremy Ganter
GOLD
DIRECTOR OF PROGRAMMING
Erin Palmer
ASSISTANT DIRECTOR OF
PROGRAMMING
Ruth Rosenberg
ARTIST ENGAGEMENT
COORDINATOR
SILVER
Lara Downes
OFFICE of CAMPUS
COMMUNITY RELATIONS
CURATOR: YOUNG
ARTISTS PROGRAM
ARTS EDUCATION
Joyce Donaldson
ASSOCIATE TO THE EXECUTIVE
DIRECTOR FOR ARTS
EDUCATION AND STRATEGIC
PROJECTS
BRONZE
Jennifer Mast
ARTS EDUCATION
COORDINATOR
AUDIENCE
SERVICES
COPPER
Marlene Freid
AUDIENCE SERVICES MANAGER
Yuri Rodriguez
PUBLIC EVENTS MANAGER
Nancy Temple
MONDAVI CENTER GRANTORS
AND ARTS EDUCATION SPONSORS
SPECIAL THANKS
API Global Transportation
Osteria Fasulo
Boeger Winery
Seasons
Ciocolat
Watermelon Music
El Macero County Club
4 MONDAVIARTS .ORG
ASSISTANT PUBLIC EVENTS
MANAGER
SENIOR DIRECTOR OF
SUPPORT SERVICES
Mandy Jarvis
FINANCIAL ANALYST
Russ Postlethwaite
BILLING SYSTEM
ADMINISTRATOR AND RENTAL
COORDINATOR
DEVELOPMENT
Debbie Armstrong
SENIOR DIRECTOR OF
DEVELOPMENT
FACILITIES
Herb Garman
TICKET OFFICE
Sarah Herrera
TICKET OFFICE MANAGER
Steve David
TICKET OFFICE SUPERVISOR
Susie Evon
TICKET AGENT
Russell St. Clair
TICKET AGENT
PRODUCTION
Donna J. Flor
PRODUCTION MANAGER
Christi-Anne Sokolewicz
SENIOR STAGE MANAGER,
JACKSON HALL
Christopher C. Oca
DIRECTOR OF OPERATIONS
SENIOR STAGE MANAGER,
VANDERHOEF STUDIO THEATRE
Greg Bailey
Phil van Hest
BUILDING ENGINEER
MASTER CARPENTER
INFORMATION
TECHNOLOGY
Dale Proctor
Mark J. Johnston
Rodney Boon
LEAD APPLICATION DEVELOPER
MARKETING
Rob Tocalino
DIRECTOR OF MARKETING
Erin Kelley
ART DIRECTOR &
SENIOR GRAPHIC ARTIST
MASTER ELECTRICIAN
HEAD AUDIO ENGINEER
Jenna Bell
ARTIST SERVICES MANAGER
Adrian Galindo
AUDIO ENGINEER,
VANDERHOEF STUDIO
THEATRE/STAGE TECHNICIAN
HEAD USHERS
Huguette Albrecht
Ralph Clouse Eric Davis
John Dixon
George Edwards
Donna Horgan
Paul Kastner
Jan Perez
Mike Tracy
Janellyn Whittier
Terry Whittier
An exciting new season featuring the
best in music, dance and speakers
•
•
•
•
•
•
Lang Lang
Dan Savage
Ira Glass
Dr. John & the Nite Trippers
David Sedaris
Gregory Porter
and much more!
Nick Offerman
sat, OCt 4
Full Bush
ADDED!
Single
TickSaelets
On
Now!
Harvest
suN, OCt 12
a GatHeriNG fOr fOOd, wiNe, beer aNd tHe arts
featuring ray LaMontagne (Presented in association with Another Planet Entertainment.)
experience Hendrix
tHu, OCt 16
a tribute tO JiMi
Featuring: billy Cox, buddy Guy, Zakk wylde, Jonny Lang,
Kenny wayne shepherd, eric Johnson and more!
Mike birbiglia
wed, deC 10
Thank God For jokes
robot Planet rising
wed, Mar 4
an InTerGalacTIc nemesIs
lIve-acTIon GraPhIc novel
Pick
3 Save 10%
buddy Guy
bLues LeGeNd
A full list of the 2014–15 season is available at mondaviarts.org
wed, apr 8
IN THIS ISSU
A MESSAGE
FROM THE
EXECUTIVE
DIRECTOR
DON ROTH, Ph.D.
EXECUTIVE DIRECTOR
It is my pleasure to welcome you to the 2014–15 Mondavi
Center season.
In the coming nine months, we will share with you a crosssection of the finest musicians, dancers, thinkers, actors and
comedians at work today. Our opening shows are a glimpse
of the richness you will find in this season. Brazilian legend
Caetano Veloso makes his first Mondavi Center performance
on September 18. It is a rare opportunity to see in the
intimate confines of an 1800 seat hall a music legend whose
stature in his native country is somewhere between a Bob
Dylan or Bruce Springsteen. The following evening two
generations of jazz masters will take the stage, with patriarch
Ellis Marsalis, Jr. joining his son Delfeayo in an evening of
classic jazz paying tribute to the Marsalis’s southern roots.
Quite the one-two punch, but only a hint of what is in store.
A case in point is our October 24 presentation of Akram
Khan’s iTMOi. After Associate Executive Director Jeremy
Ganter and I saw this signature piece by one of the world’s
leading choreographers, we immediately expressed interest
in bringing it to the Mondavi Center. An international tour of
a large dance piece like iTMOi is fraught with scheduling and
logistical challenges, and there were many moments when the
tour was in serious jeopardy. Our early and consistent support
of the piece and our relationship with the company (we last
presented Akram Khan’s Vertical Road in 2012–13) resulted in
their willingness to come west for a single performance—here
in Jackson Hall. We are proud to host the U.S. Premiere of this
stunning work—a dark and startling meditation in movement
on Igor Stravinsky’s Rite of Spring. Paired with the U.S. Premiere
of Ballet Preljocaj’s Blanche Neige in 2012–13, these events
underscore our growing international reputation, bringing
significant attention to the University and the region.
What you will not find in this program book is information on
performances in the wonderful Vanderhoef Studio Theatre.
In the last year we have experimented with how we present
information in a way that is more appropriate for this smaller
space, especially when set up as a cabaret or nightclub.
Through the support of the Andrew W. Mellon foundation, we
are moving forward with the next stage in this evolution, as we
continue our adventures into the new and unusual “Visions.”
The most striking new Visions feature will be a “digital set,” with
the capability of projecting lyrics or translations; information
about compositions and composers; visuals and videos. We
will use the digital set to replace traditional program materials
because we believe that looking at the performers rather than
reading notes is a small but crucial step toward increasing the
audience-artist connection. You can always let us know about
your experience in the VST—or any experience you want to
share with us—at [email protected].
I hope you enjoy this 13th Mondavi Center season.
6 MONDAVIARTS .ORG
ROBERT AND MARGRIT
MONDAVI CENTER
FOR THE PERFORMING ARTS
8
Caetano Veloso
11 Ellis Marsalis, Jr. and Delfeayo Marsalis
15 MUMMENSCHANZ
16 Akram Khan Company
30 San Francisco Symphony
38 The Very Hungry Caterpillar
BEFORE THE SHOW
• The artists and your fellow audience members appreciate silence
during the performance.
• As a courtesy to others, please turn off all electronic devices.
• If you have any hard candy, please unwrap it before the lights dim.
• Please remember that the taking of photographs or the use of any
type of audio or video recording equipment is strictly prohibited.
Violators are subject to removal.
• Please look around and locate the exit nearest you. That exit may be
behind, to the side or in front of you. In the unlikely event of a fire
alarm or other emergency, please leave the building through that exit.
• As a courtesy to all our patrons and for your safety, anyone leaving
his or her seat during the performance may not be readmitted to
his/her ticketed seat while the performance is in progress.
• Assistive Listening Devices and opera glasses are available at the
Patron Services Desk near the lobby elevators. Both items may be
checked out at no charge with a form of ID.
September – October 2014
Volume 2, No. 1
an exClusiVe Wine tasting
experienCe of tHese
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Complimentary wine pours in the Bartholomew Room for Inner Circle
Donors: 7–8PM and during intermission if scheduled.
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Ellis Marsalis, Jr. and Delfeayo Marsalis
Cakebread Cellars
Akram Khan Company
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A World Stage Series Event
Thursday, September 18, 2014 • 8PM
Jackson Hall
SPONSORED BY:
INDIVIDUAL SUPPORT PROVIDED BY
William and Nancy Roe
CAETANO
VELOSO
CAETANO VELOSO’s album Abraçaço won
a Latin Grammy for Best Singer-Songwriter
Album and earned the #1 spot on Rolling
Stone Brazil’s Best National Albums of 2012
list. Produced by Pedro Sá and Caetano
Veloso’s son Moreno Veloso, Abraçaço is
the final installment of a trilogy with the
youthful trio he employed on 2007’s Cê and
2009’s zii e zie known as the Banda Cê: Pedro
Sá on electric guitar, Ricardo Dias Gomes on
bass and Rhodes piano, and Marcelo Callado
8 MONDAVIARTS .ORG
on drums. “We are people of different
generations sharing similar musical and
human interests,” Veloso says. A fusion of the
traditional Tropicália style and the indie pop
of contemporary Rio de Janeiro, the record
includes 11 original songs written by Veloso.
The title of the record, Abraçaço,
meaning “big hug,” is an expression the
singer uses to sign off on emails and is
employed here to mark the end of the
critically acclaimed musical trilogy. David
CAETANO VELOSO
Byrne said of Cê in Artforum, “Veloso has
found a sparse, post-rock beauty in which
strange yet simple rock instrumentation is
juxtaposed with softly seething vocals.” Of
zii e zie The Times (U.K.) says, “The Brazilian
master remains in a league of his own. Forty
years after injecting a rock beat into Brazilian
pop (and earning the disapproval of the
country’s military rulers in the process),
Veloso has returned to similar territory ...
fans won’t be disappointed.”
Caetano Veloso is among the most
influential and beloved artists to emerge
from Brazil, where he began his musical
career in the 1960s. He has over 50
recordings to his credit, including 14 on
Nonesuch. Absorbing musical and aesthetic
ideas from sources as diverse as The Beatles,
concrete poetry, the French Dadaists and
the Brazilian modernist poets of the 1920s,
Veloso—together with Gilberto Gil, Gal
Costa, Tom Zé, his sister Maria Bethânia, and
a number of other poets and intellectuals—
founded the Tropicália movement and
permanently altered the course of his
country’s popular music.
thoughtful home remodeling
FURTHER LISTENING
by Jeff Hudson
CAETANO VELOSO
Last summer, did you follow the World Cup games from Brazil? Millions of
Americans were glued to their television for days. The concert planners at the
Mondavi Center (who think strategically) decided long ago to book Brazilian musical
luminary Caetano Veloso as the very first concert of the ‘14–‘15 season in Jackson
Hall, hoping to catch the expected wave of interest in all things Brazilian.
The Mondavi Center’s interest in Brazilian music actually extends back many years.
You may recall the concert here by Gilberto Gil in 2007—at the time, Gil was serving
as Brazil’s Minister of Culture—a position he held from 2003 to 2008. Gil and Veloso
actually met as university students in 1963, and began performing bossa nova and
traditional Brazilian songs; they were both prominent in Brazil’s Tropicália movement
in the late ‘60s. Veloso’s self-titled 1968 solo album (replete with psychedelic cover
art) saw him merging Brazilian sounds with the trippy rock-and-roll style of the era.
Veloso (and Gil) both fell out of favor with the military rulers of Brazil, they were
arrested and jailed for a time, then sent into exile. The lived in “swinging London”
for a while, encountering many of the British rock stars of the era (Veloso was born
in 1942, he’s basically the same age as Paul McCartney and Mick Jagger, five years
younger than David Bowie).
Veloso returned to Brazil in 1972, and has continued to write songs and record,
occasionally interpreting standards from Rodgers and Hammerstein musicals, or
songs by George Gershwin, but always keeping his native land in mind. Veloso and
Gil celebrated the 25th anniversary of the Tropicália style with an album in 1993. His
reputation in the U.S. has grown. His first all-English album came out in 2004—the
same year that Veloso and American musician David Byrne (who has long been
fascinated by Brazilian music) performed together at Carnegie Hall. A recording of
that Carnegie Hall concert was finally issued as an American album in 2012. Veloso’s
most recent release in this country is Abraçaço (released in 2012 in South America
and Europe, and in 2014 in the United States).
Veloso, for his part, isn’t likely to follow his old associate Gil into a government role.
Veloso told an interviewer in 2010 that “I wouldn’t want an official position. For (Gil)
it’s not only natural but pleasurable. For me it would be unbearable, it wouldn’t hold
me.” Veloso would rather perform and make new records.
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JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO,
THE DAVIS ENTERPRISE AND THE SACRAMENTO NEWS AND REVIEW.
Ellis Marsalis, Jr.
ELLIS MARSALIS, JR.
AND DELFEAYO MARSALIS
Delfeayo
Marsalis
The Last Southern Gentlemen Tour
A Capital Public Radio
Jackson Hall Jazz Event
Friday, September 19, 2014 • 8PM
Jackson Hall
SPONSORED BY:
Tony and Joan Stone
Delfeayo Marsalis, trombone
Ellis Marsalis, Jr., piano
John Clayton, bass
Marvin “Smitty” Smith, drums
The Last Southern Gentlemen signals a musical
pinnacle for trombonist Delfeayo Marsalis,
bringing him together, for the first time on a
complete recording with his father, pianist Ellis
Marsalis. Yet in a broader sense, the project is also
a sweeping reflection of a comprehensive artist.
Incorporating Delfeayo’s writings—including an
essay on the sociological/historical themes that
define the recording, commentary on the music,
and original stories, children’s tales and poetry—
The Last Southern Gentlemen offers up a detailed
map of his passionate interests and concerns.
Joined by two unimpeachable support players
—John Clayton on bass and Marvin “Smitty”
Smith on drums—Delfeayo and Ellis ruminate in
relaxed, probing and always swinging fashion on
eleven standards and two original compositions.
The focus on such durable standards as
“Autumn Leaves,” “But Beautiful,” “Speak Low,”
and “I Cover the Waterfront” speaks to the
central theme of the project. The performances
pay tribute, as Delfeayo writes, “to the humanity
and humility at the center of the Southern
lifestyle that birthed America’s original music.”
Here is jazz that everyone in this deliberately
multi-generational quartet felt comfortable
with; cherished songs that Ellis Marsalis has
been playing and perfecting for decades,
material that the younger Delfeayo and his
compatriots have had to master as studied
virtuosos. Yet for Delfeayo Marsalis, the manner
of performance rather than the repertoire
is what counts most. “Southern hospitality
and manners were important aspects of
the original New Orleans musical aesthetic,”
states this proud scion of the Big Easy, who
still calls New Orleans his home. “Throughout
this recording our aim was to communicate a
feeling of graciousness and sincerity, relaxation
and gentility. The early jazzmen believed that
the social and emotional aspects of the music
defined great jazz performance much more
than the techniques or academic analysis. Jazz
should offer a direct communication between
the artist and the audience.”
This quality of unencumbered communication
permeates The Last Southern Gentlemen.
Whether offering luxurious ballad statements on
“She’s Funny That Way,” “My Romance,”“Nancy” or
“I’m Confessin”; romping through spirited takes
on “That Old Feeling” and the “Sesame Street”
theme (here, bolstered by a funky New Orleans
backbeat with tambourine and bass drum work
from guest Herlin Riley), or laying into Delfeayo’s
easy-grooving “The Secret Love Affair” or younger
brother Jason Marsalis’“The Man With Two Left
Feet,” the beauty of Delfeayo’s tone and his
improvisational surety, as well the insatiable
swing of Smith and Clayton at all tempos,
remain unmistakable. As for the piano patriarch,
Ellis demonstrates his enviable prowess and
inimitable elegance throughout, including a
well-deserved trio feature on “If I Were A Bell,”
and an intimate duet between father and son
on “I Cover the Waterfront.”“My father embodies
the old school musical values: he gets right to
the point of the matter, without any excess,”
the admiring trombonist says. “He had a
great impact on my approach to interpreting
the material. I became more relaxed, more
conscious of telling stories on my instrument.”
The superb performances, combined with
Delfeayo’s fervent writings, blend to make The
Last Southern Gentlemen, a uniquely affecting
recording. As personal a project as jazz albums
come these days, it provides much to think
about while offering a surplus of expressive and
enchanting sounds.
BIOS
ELLIS MARSALIS, JR.
Ellis Marsalis, Jr. is regarded by many as the
premier modern jazz pianist in New Orleans.
Born on November 14, 1934, his formal music
studies began at age eleven at the Xavier
University Junior School of Music. After high
school, Marsalis enrolled in Dillard University
(New Orleans, LA) as a clarinet major. He
graduated in 1955 with a Bachelor of Arts
degree in Music Education. Marsalis spent the
next year working as an assistant manager in
his father’s motel business.
The following year, Marsalis joined the U.S.
Marine Corps. While stationed in Southern
California he honed his piano skills as a member
of the Corps Four, a Marines jazz quartet that
performed on television (Dress Blues, named
for the formal Marine Corps uniform and
broadcast on CBS) and radio shows (Leatherneck
Songbook). Both shows were used to boost
recruiting efforts. After completing his Marine
Corps duty, Marsalis returned to New Orleans
and married Dolores Ferdinand, a New
Orleanian, who bore him six sons: Branford,
Wynton, Ellis III, Delfeayo, Mboya and Jason.
In 1964 Marsalis, his wife Dolores and, at the
time, four sons, moved to the small rural town
of Breaux Bridge, Louisiana, where he spent two
years as a school band and choral director at
Carver High School. Returning to New Orleans
12 MONDAVIARTS .ORG
in 1966, he began freelancing on the local music
scene. Between 1966 and 1974 Marsalis would
perform at the Playboy Club, Al Hirt’s nightclub,
Lu and Charlie’s nightclub, Storyville nightclub
Crazy Shirley’s as well as again enter the teaching
profession, in 1967, as an adjunct professor of
African American Music at Xavier University.
As the family continued to grow, Marsalis
continued his educational pursuits, attending
Loyola University’s Master’s Degree program
in the early summer session of 1974. He would
also successfully interview for a teaching
position at a new Magnet high school for the
arts, the New Orleans Center for Creative Arts
(NOCCA), and be hired as an instructor for the
fall semester (1974). Marsalis would spend the
next twelve years at NOCCA as an instrumental
music teacher with a Jazz studies emphasis.
In 1986, Marsalis accepted a teaching
position out of state. He became a
Commonwealth Professor at Virginia
Commonwealth University (Richmond, VA),
serving as coordinator of Jazz Studies two of
his three years there. In 1989, he returned to
New Orleans to become the first occupant and
Director of the Coca- Cola Endowed Chair of
Jazz Studies at the University of New Orleans.
During his tenure at UNO he helped fellow
colleague Charles Blancq develop a campus
performance center called the Sand Bar.
Marsalis would also develop a Jazz Orchestra,
which he took, on the eve of his retirement, on
a tour of Brazil. On August 10, 2001, Marsalis
officially retired from the University of New
Orleans after 12 years of dedicated service.
His retirement was celebrated by a very rare
performance of Branford, Wynton, Delfeayo
and Jason Marsalis at the UNO arena.
Marsalis is the recipient of Honorary
Doctorate degrees from his alma mater
Dillard University, New Orleans, LA (1989); Ball
State University, Muncie, IN (1997); Virginia
Commonwealth University, Richmond, VA
(2010); Tulane University, New Orleans, LA;
and The Juilliard School, New York, NY. In
2011, Marsalis and his family were awarded
the highest honor in Jazz, NEA Jazz Masters,
the first group award ever distributed by the
National Endowment for the Arts.
Marsalis has appeared on NBC’s Today
Show with host Bryant Gumbel; The Tonight
Show with both Johnny Carson and Jay Leno;
The Arsenio Hall Show with pianist Marcus
Roberts; The Charlie Rose Show; Mr. Rogers’
Neighborhood; ABC’s Good Morning America
with Spencer Christian, as well as several local
and regional television shows. In 1984 Marsalis
and New Orleans singer/actress Joanne “Lady
BJ” Creighton shared honors at the Ace Awards
ceremony for the best single music program
on cable television.
Marsalis continues to be active as a
performing pianist leading, and occasionally
touring, his own quartet. He has several
recordings on the CBS-SONY label and
currently releases recordings on his own
recording label, ELM RECORDS, developed
with his wife Dolores and son Jason.
DELFEAYO MARSALIS
Delfeayo Marsalis is one of the top trombonists,
composers and producers in jazz today. Known
for his “technical excellence, inventive mind and
frequent touches of humor” (Leonard Feather,
Los Angeles Times), he is “one of the best, most
imaginative and musical of the trombonists of
his generation” (Philip Elwood, San Francisco
Examiner). In January 2011, Delfeayo and
the Marsalis family (father Ellis and brothers
Branford, Wynton and Jason) earned the
nation’s highest jazz honor—a National
Endowment for the Arts Jazz Masters Award.
Born in New Orleans on July 28, 1965, Marsalis
was destined to a life in music. “I remember my
dad playing piano at the house, and me laying
underneath the piano as a child, listening to
him play. After briefly trying bass and drums, in
sixth grade I gravitated towards the trombone,
which was an extension of my personality. Early
on my influences and inspirations included J.J.
Johnson, Curtis Fuller, Al Grey, Tyree Glenn and
Tommy Dorsey.” Marsalis attended the New
Orleans Center for Creative Arts High School,
was classically trained at the Eastern Music
Festival and Tanglewood Institute, and majored
in both performance and audio production at
the Berklee College of Music.
About the time that he first started playing
trombone, Marsalis was already greatly
interested in the recording process. “When I
was in fifth or sixth grade, my brother Branford
showed me how to create a feedback loop on a
reel to reel machine. At that time there was a real
need in the family for demo tapes. In fact I was
recording Wynton when he was in high school.
When I was in seventh grade, he challenged me
to have his demo tape sound on the same level
as Maurice Andre’s classical studio recordings. It
was all trial and error and I learned a great deal.”
From the age of 17 until the present, Marsalis
has produced over 100 recordings for major
artists including Harry Connick, Jr., Marcus
ELLIS MARSALIS AND DELFEAYO MARSALIS
Roberts, Spike Lee, Terence Blanchard, Marcus
Roberts, Adam Makowicz, Nicholas Payton, the
Preservation Hall Jazz Band and the projects of
Ellis, Branford and Wynton Marsalis.
In addition, Marsalis is an exceptional
trombonist who toured internationally with five
renowned bandleaders. “Art Blakey taught me a
lot about patience and how to construct a solo.
My compositions are influenced by Abdullah
Ibrahim’s harmonies. Slide Hampton inspired
me with the relaxation that he displays in his
trombone playing along with his command of
the instrument. With Max Roach, I learned that
I had to be on top of my game every moment.
And Elvin Jones, who I worked with for seven
or eight years, taught me about humanity,
expressing myself through my instrument and
how to keep time without relying on other
players.” During a tour with the Lincoln Center
Jazz Orchestra, he was filmed as part of the Ken
Burns documentary, Jazz and he was an integral
part of Marsalis Family: A Jazz Celebration, a DVD
that assembled all of the musical Marsalis’ for
the first time and was featured on PBS.
As a bandleader, Marsalis has earned wide
acclaim for his first three albums as a leader:
Pontius Pilate’s Decision (1992), Musashi (1997)
and Minions Dominion (2006). His January 2011
release Sweet Thunder, his most ambitious
project yet, is a modern interpretation of the
DU.K.e Ellington/Billy Strayhorn suite Such
Sweet Thunder. Rather than merely recreating
the classic work, which is comprised of
musical depictions of characters from William
Shakespeare’s plays, Marsalis took the work as
a point of departure for his octet, creating fresh
and new music inspired by the original suite.
“In some ways Sweet Thunder started for me in
the seventh grade when I wrote a paper on my
great uncle Wellman Braud, who played with
Duke Ellington in the 1920s. While attending
the University of Louisville, I wrote a thesis
paper on Ellington and Shakespeare. For the
project, I went to the Smithsonian and studied
the original copies of the music for Such Sweet
Thunder. I didn’t want to just play what Duke
Ellington and Billy Strayhorn wrote in 1957, but
to imagine what they might have written if they
were here today, more than 50 years later. To
me this is jazz opera without the vocals, telling
a story with the dramatic music.”
Marsalis has also been long involved in work
as an educator. In 2004, he earned an M.A. in
jazz performance at the University of Louisville
and was conferred a doctorate by New England
College in 2009. He lectured in schools in 1995
on behalf of the Dallas Opera and the Bravo
cable network. Marsalis served as director
of the Foundation for Artistic and Musical
Excellence summer program in Lawrenceville,
New Jersey (1998–2002), founded the Uptown
Music Theatre in 2000, and implemented its
Kidstown After School in three New Orleans
grammar schools in 2009. He has composed
over 80 songs that help introduce kids to jazz.
JOHN CLAYTON
John Clayton is a natural born multi-tasker. The
multiple roles in which he excels--composer,
arranger, conductor, producer, educator, and
yes, extraordinary bassist--garner him a number
of challenging assignments and commissions.
With a Grammy on his shelf and eight additional
nominations, artists such as Diana Krall, Paul
McCartney, Regina Carter, Dee Dee Bridgewater,
Gladys Knight, Queen Latifah, and Charles
Aznavour vie for a spot on his crowded calendar.
He began his bass career in elementary
school playing in strings class, junior orchestra,
high school jazz band, orchestra, and soul/R&B
groups. In 1969, at the age of 16, he enrolled
in bassist Ray Brown’s jazz class at UCLA,
beginning a close relationship that lasted more
than three decades. After graduating from
Indiana University’s School of Music with a
degree in bass performance in 1975, he toured
with the Monty Alexander Trio (1975-77), the
Count Basie Orchestra (1977-79), and settled
in as principal bassist with the Amsterdam
Philharmonic Orchestra in Amsterdam,
Netherlands (1980-85). He was also a bass
instructor at The Royal Conservatory, The
Hague, Holland from 1980-83.
In 1985 he returned to California, cofounded the Clayton-Hamilton Jazz Orchestra
in 1986, rekindled the The Clayton Brothers
quintet, and taught part-time bass at Cal
State Long Beach, UCLA and USC. In 1988
he joined the faculty of the University of
Southern California Thornton School of Music,
where he taught until 2009. Now, in addition
to individual clinics, workshops, and private
students as schedule permits, John also directs
the educational components associated with
the Lionel Hampton Jazz Festival, Centrum
Festival, and Vail Jazz Party.
Proud Supporter of the
Robert and Margrit
MONDAVI CENTER
for the Performing Arts
downeybrand.com
advancing your interests
Sacramento | Stockton | San Francisco | Reno
ELLIS MARSALIS AND DELFEAYO MARSALIS
Career highlights include arranging the
“Star Spangled Banner” for Whitney Houston’s
performance at Super Bowl 1990 (the
recording went platinum), playing bass on
Paul McCartney’s CD Kisses On The Bottom,
arranging and playing bass with Yo-Yo Ma
and Friends on Songs of Joy and Peace, and
arranging playing and conducting the 2009 CD
Charles Aznavour With the Clayton-Hamilton
Jazz Orchestra, and numerous recordings with
Diana Krall, the Clayton Brothers, the ClaytonHamilton Jazz Orchestra, Milt Jackson, Monty
Alexander and many others.
In 2013 John launched a new album
series titled The John Clayton Parlor Series - a
collection of rare duo collaborations with
musical friends, released through ArtistShare.
The series’ first release, Parlor Series Vol. 1
Featuring Gerald Clayton (John’s son, the
Grammy-nominated pianist), is available now.
A world-class museum.
So very close to home.
Current and Upcoming Exhibitions
African American Art: Harlem Renaissance, Civil Rights Era, and Beyond
June 29, 2014 – September 21, 2014
Our America: The Latino Presence in American Art
September 21, 2014 – January 11, 2015
The Provoke Era: Japanese Photography from the Collection of SFMOMA
October 12, 2014 – February 1, 2015
Arte Mexicano: Legacy of the Masters
October 12, 2014 – February 1, 2015
Toulouse-Lautrec and La Vie Moderne: Paris 1880 – 1910
February 1, 2015 – April 26, 2015
@crockerart
14 MONDAVIARTS .ORG
216 O Street • Downtown Sacramento
916.808.7000 • crockerartmuseum.org
MARVIN “SMITTY” SMITH
Marvin “Smitty” Smith was born June 24, 1961
in Waukegan, Illinois. “It was a very natural
inclination for me to play drums,” says Smith. A
glance at his early life validates that truth.
Born the son of a drummer, Marvin, Sr.,
Smith was always surrounded by music in the
house. At six months old, he would climb up
on the large lounge chair positioned directly
in front of his father’s drum set and would
watch him practice, intensely. Whenever his
father took a break, he would crawl over and
press the foot pedals and attempt to emulate
his dad. That experience, and banging on pots
and pans, was the extent of his playing until
he began formal training at the age of three.
Today, Smith is one of jazz’s most in demand
drummers. He has traveled extensively
throughout the Asia, Europe, and the
continental U.S.; and he has shared the stage
with such greats as Sonny Rollins, Hank Jones,
Frank Foster and Frank Wess, Art Farmer, Benny
Golson, Slide Hampton, and Milt Jackson. He
is a former member of the Ron Carter Quartet,
The New York Jazz Quartet, and The Art
Farmer/Benny Golson Jazztet.
Featured on more than 200 albums,
additional performances and recordings
augmented with Terence Blanchard and
Donald Harrison, Ray Brown and Phineas
Newborn, George Shearing, Bobby Watson,
Hamiet Bluiett, Branford Marsalis, David
Murray, Emily Remler, Peter Leicht, Kevin
Eubanks, Donald Byrd, Monty Alexander,
Diane Reeves, Michel Camilo, Grover
Washington Jr, Steve Coleman’s Five Elements
and The Dave Holland Quartet. Smitty
conducts seminars and clinics for students
in jazz workshops, both in the United States
and Europe; and has been a practitioner at
the Banff Centre of Fine Arts, Canada, and
Drummers Collective, New York City.
Smitty has been Downbeat Critics’
Poll winner for Talent Deserving Wider
Recognition, 1985 through 1987, and 1989.
Smitty performed on the Soundtrack of
filmaker Spike Lee’s School Daze, appeared
in Sonny Rollins’ music video “Saxophone
Colossus”, and a member of Sting’s Nothing
Like the Sun South American tour, 1987.
Regarded as a well rounded musician with the
ability to play all styles, Marvin “Smitty” Smith
is a blossoming composer and arranger, and
his success has earned him multiple albums
as a bandleader. As a versitile drummer, there
seems to be nothing be cannot do.
MUMMENSCHANZ
A Marvels Series Event
Saturday, October 18, 2014 • 8PM
Sunday, October 19, 2014 • 3PM
Jackson Hall
SPONSORED BY:
Friends of Mondavi Center
Since its three-year run on Broadway, Swiss
mark theater troupe MUMMENSCHANZ has
pioneered a new form of visual theater that
has since spawned multiple new genres
reclaiming their legacy. From its founding in
1972, MUMMENSCHANZ has since inspired
generations of show-goers across five
continents over four decades. The stories
told are unique in that they have no sound
or music; the language of MUMMENSCHANZ
is universal.
In the wordless universe of
MUMMENSCHANZ, the ordinary becomes
extraordinary when common materials,
everyday objects (like toilet paper) and
colorful abstract shapes and forms like the
famous “Clay Masks,” “Slinky Man” and “Giant
Hands” spring to life.
By creating a playful yet compelling
experience through the inventive use of
shadow, light, and creative manipulation of
objects, MUMMENSCHANZ offers timeless
insight on the human condition. The result is a
visually stunning spectacle of that transcends
cultural barriers and sparks the imagination.
Formed in Paris by founding members
Andres Bossard, Floriana Frassetto and Bernie
Schürch, MUMMENSCHANZ paved the way for
nonverbal theater and multiple new genres.
Since then, the group has established its legacy
with tireless touring across five continents over
four decades by the original artists (Frassetto
is still a main cast member), as well as current
featured players, Philipp Egli, Pietro Montandon
and Raffaella Mattioli and technical directors
Jan Maria LU.K.as / Dino de Maio.
Seen by millions in more than 60
countries, MUMMENSCHANZ humorously
communicates timeless truths and insights
on the human condition using a purely
nonverbal universal “language.” The group
creates a playful and uniquely memorable
theater experience through an inventive
use of shadow and light and creative
manipulation of sculptural, expressive masks.
The visually stunning spectacle is a form of
family-friendly entertainment that sparks the
imagination, transcends cultural barriers and
dazzles audiences and generations of fans
around the world.
AKRAM
KHAN
COMPANY
iTMOi
(in the mind of igor)
U.S. Premiere
A Dance Series Event
Friday, October 24, 2014 • 8PM
Jackson Hall
Joe and Betty Tupin
There will be no intermission
Question and Answer Session
following the performance
MODERATED BY:
Ruth Rosenberg, Artist Engagement
Coordinator for the Mondavi Center,
UC Davis
Ruth Rosenberg oversees community and
campus engagement with the Mondavi
Center’s touring artists. Artistic director of the
Sacramento-based Ruth Rosenberg Dance
Ensemble from 1990–2001, she also performed
with Sacramento Ballet, Capitol City Ballet and
Ed Mock & Dancers of San Francisco and was the
recipient of numerous awards and honoraria.
16 MONDAVIARTS .ORG
iTMOi
World Premiere:
MC2: Grenoble, France,
14 May 2013
U.K. Premiere:
Sadler’s Wells Theatre, London,
28 May 2013
Paris Premiere:
Théâtre des Champs-Élysées, France,
24 June 2013
iTMOi (in the mind of igor) is Akram Khan’s
latest full-length ensemble piece since
Vertical Road (2010).
Celebrating Igor Stravinsky and
the centenary of his legendary Rite of
Spring, iTMOi explores the way in which
Stravinsky transformed the classical music
world by evoking emotions through
patterns and their disruption, building
an episodic drama around the ritual of
sacrifice.
Khan says “I hope to reinvestigate this
approach, not just through patterns, as
Stravinsky did, but also through exploring
the human condition. A rupture in the
mind, fierce resistance to convention,
a death in the body and a birth in the
soul, all remind us that the mind and
imagination are wild and self-generating.”
Here he is fascinated by how human
beings are capable of turning everything
into a paradox—meaning turns into
absurdity, justice into injustice, freedom
into bondage.
“In addition, to be creating this work
with three different composers allows us to
discover many different sound worlds, using
Stravinsky as the key, the guide, the map.”
With an original score by Nitin Sawhney,
Jocelyn Pook and Ben Frost, and an
international cast of 11 dancers, iTMOi is
another extraordinary artistic collaboration
from Khan and his talented team, creating
a world where beauty and ugliness are
ruptured to reveal how closely they
interrelate with each other.
AKRAM KHAN COMPANY
Artistic Director, Choreographer:
Akram Khan
Composers :
Nitin Sawhney, Jocelyn Pook
and Ben Frost
Producer:
Farooq Chaudhry
Material devised and performed by:
Kristina Alleyne
Sadé Alleyne
Ching-Ying Chien
Denis ‘Kooné’ Kuhnert
Yen-Ching Lin
TJ Lowe
Christine Joy Ritter
Catherine Schaub Abkaria
Nicola Monaco
Blenard Azizaj
and Cheng-An Wu
Costume Designer: Kimie Nakano
Lighting Designer: Fabiana Piccioli
Scenographer: Matt Deely
Dramaturge: Ruth Little
Researcher: Joel Jenkins
Choreographic Assistants: Andrej
Petrovič and Jose Agudo
Set Development and Construction:
Sander Loonen and Firma Smits
Sound Designer: Nicolas Faure
Associate Producer: Bia Oliveira
Project Manager: Céline Gaubert
TECHNICAL TEAM ON TOUR
CO-PRODUCED BY
Sadler’s Wells London, MC2: Grenoble,
HELLERAU – European Center for the
Arts Dresden, Les Théâtres de la Ville de
Luxembourg
Produced during residency at MC2:
Grenoble
SUPPORTED BY
Arts Council England
Akram Khan Company gratefully
acknowledges the support of the Centre
Dramatique National des Alpes in the
making of costumes.
SPECIAL THANKS TO
Alistair Spalding, Michel Orier, Jean-Paul
Angot, Hervé Le Bouc, Sylvaine Van den
Esch, Géraldine Garin, Sophie Sadeler,
Béatrice Abeille-Robin, Mr. & Mrs. Khan,
YU.K.o Khan, Élodie Morard, Sung Hoon
Kim, Hannes Langolf, Téo Fdida, Thomas
Greenfield, Gillian Tan, Jean-Claude
Gallotta, Hélène Azzaro, Pierre Escande,
Karthika Naïr, PolarBear, Gretchen
Schiller, Marie Jacomino, Olivia Ledoux
and Louise Yribarren.
iTMOi features 30 seconds of The Rite of
Spring music by Igor Stravinsky, played
three times and used by permission of
Boosey & Hawkes.
MESSAGE FROM COLAS
In choreographing a piece inspired by The
Rite of Spring, Akram Khan has embraced a
new formidable challenge. How can Khan
keep from repeating the elaborate forms
that we have always admired? What kind of
personal pathway can he forge, and what
fresh vision can he bring to The Rite of Spring,
a work idealized for eternity?
Khan explains, “I put everything out of my
mind, and then attempted to enter Igor’s
own thought process and follow its complex
and disruptive path. Igor, in The Rite of
Spring, breaks away from established social
modes, revisits his youth and forcefully
deconstructs it, untangling the memories
and breathing life into new thoughts and
old traditions. In echo, I set out on the same
path and discovered my own turmoil, my
own desire to destroy old patterns and
create new ones. Each memory is a little
death. I had to wipe the slate of my own past
clean in order to discover what I am capable
of. Unexplored images came to mind, and I
found myself faced with my own limits.”
iTMOi was born from these successive
ruptures.
For Akram and for Colas, creating is clearly
a revolutionary cycle of deconstruction and
construction, a way of moving forward by
paving a path beyond what we know, and
beyond our own limits.
At Colas, being Entrepreneurial,
Innovative & Pioneering means having the
audacity to examine ourselves, to rethink
our patterns and to renew our heritage.
Hervé Le Bouc
Chairman and CEO
Technical Coordinator and Lighting:
Richard Fagan
Sound: Álex Castro
Costumes and Props: Anne-Marie Bigby
Technician: Marek Pomocki
Tour Manager: Lies Doms
Akram Khan is an Associate Artist of MC2:
Grenoble and Sadler’s Wells, London in a
special international co-operation.
SPONSORED BY
COLAS
AKRAM KHAN COMPANY
MIND MAPPING
When Akram Khan was invited by Sadler’s
Wells to create a dance piece in response to
Stravinsky’s The Rite of Spring, our research
led us into a sea of commentary on the
creation of the Rite, its early condemnation
and triumphant rehabilitation as one of
the defining works of the 20th century.
We listened to the music, collected images
relating to the composer’s life and times and
to the dreams and nightmares the piece
provokes, probed the history of human
sacrifice and its cultural representation,
and trawled the biographical and critical
literature for clues to Stravinsky’s intention
and process.
But the more we learned, the less we
knew. Igor Stravinsky remains a complex
and frustratingly contradictory character,
whose musical genius is as difficult to define
as his imagination or motivations. At once
dogmatic and inconsistent, conservative,
curious and iconoclastic, he himself actively
contributed to the mythic quality of the
narrative surrounding the Rite’s conception
and reception. And the ultimate success of
the Rite as an orchestral masterpiece effaced
its origins as a ‘musical-choreographic’ work
inseparable from the equally iconoclastic,
‘uncouth’ dance created by Nijinsky.
The Rite of Spring is characterised by the
vigour, and rigour, of its composition; by its
unpredictability, dissonance and emphatic
stresses. But it is characterised too by the
intensity of its visceral impact on audiences.
The opportunity, and the challenge of
iTMOi lay in pushing beyond the immediate
response to the famous score and its
infamous history towards an experience
which is both universal in its implications
and emotionally charged in its own right.
The controlled explosion of the original is
undeniably powerful. But what lies behind
it? What wonder and what fear surrounded
Stravinsky’s own response to ‘the mystery
and great surge of the creative power of
Spring’? What does the experience of the
Rite communicate about ourselves and our
rituals, the courage and cruelty of our faith,
and what is revealed when the mask of
convention falls away?
In the end, we have only the Rite, and
what it releases. iTMOi takes the basic
event structure of The Rite of Spring—the
cycle of birth and death, love and ritual
violence—and draws on the energy
18 MONDAVIARTS .ORG
and complexity of the score to drive
an exploration of the “violence” of the
creative process itself—the perpetual
and concentrated movement between
pattern-making and rupture. Tradition,
convention, faith, tests of faith and their
rituals give a sense of order and structure to
our lives, but the animating principle of the
universe is chaos—the deeply ordered but
bewilderingly unpredictable movement
of complex systems. iTMOi acknowledges
the stabilising power of what Oscar Wilde
referred to in The Picture of Dorian Gray as
“the terror of society … the terror of God.”
But the work also points to the human
capacity for violence that both make
possible, as well as to the sorrow and
tenderness such violence produces.
“The mind of man,” claimed Conrad in
Heart of Darkness, “is capable of anything,
because everything is in it, all the past
as well as all the future … Truth—truth,
stripped of its cloak of time.” In the mind
of Igor, emotions exist beyond time, as the
pulse of pure physical connection to the
world and its music. Like music, they are a
form of movement—the origin of the word
‘emotion’ lies in the Latin emovere, “to move
out, remove, agitate.” In the mind of Igor, The
Rite of Spring has no history and no future.
Its music, its dance, the feelings it produces
are inseparable from one another. Sound,
fury, energy, love—these are the artist’s rites
against death. In the mind of Igor, there is
only movement, and in that movement, all
of life.
—Ruth Little, April 2013
BIOS
AKRAM KHAN
Artistic Director/
Choreographer
Akram Khan is one of
the most celebrated
and respected dance
artists today. In just
over a decade he has
created a body of work that has contributed
significantly to the arts in the U.K. and
abroad. His reputation has been built on the
success of imaginative, highly accessible and
relevant productions such as DESH, iTMOi,
Vertical Road, Gnosis and zero degrees.
An instinctive and natural collaborator,
Khan has been a magnet to world-class
artists from other cultures and disciplines. His
previous collaborators include the National
Ballet of China, actress Juliette Binoche,
ballerina Sylvie Guillem, choreographer/
dancer Sidi Larbi Cherkaoui, singer Kylie
Minogue, visual artists Anish Kapoor, Antony
Gormley and Tim Yip, writer Hanif Kureishi
and composers Steve Reich, Nitin Sawhney,
Jocelyn Pook and Ben Frost.
Khan’s work is recognised as being
profoundly moving, in which his intelligently
crafted storytelling is effortlessly intimate
and epic. Described by the Financial Times
as an artist “who speaks tremendously of
tremendous things,” a recent highlight of
his career was the creation of a section of
the London 2012 Olympic Games Opening
Ceremony that was received with unanimous
acclaim.
Khan has been the recipient of numerous
awards throughout his career including the
Laurence Olivier Award, the prestigious ISPA
(International Society for the Performing
Arts) Distinguished Artist Award, the South
Bank Sky Arts Award and the Critics’ Circle
National Dance Award. Khan was awarded an
MBE for services to dance in 2005. He is also
an Honorary Graduate of Roehampton and
De Montfort Universities, and an Honorary
Fellow of Trinity Laban.
Khan is an Associate Artist of MC2:
Grenoble and Sadler’s Wells, London in a
special international co-operation.
NITIN SAWHNEY
Composer
Nitin is arguably
the busiest, most
versatile and sought
after composer and
producer around.
As the holder of five
honorary doctorates and three fellowships,
he is now signed to Universal Publishing,
has worked with a host of celebrated artists
including Paul McCartney and Sting and has
made nine studio albums, for which he has
been nominated for a Mercury Music prize,
won a MOBO, two BBC Radio 3 awards and a
Southbank Show award, amongst 15 others.
He has scored over 50 films for cinema and
television, with an Ivor Novello nomination
for best score, leading to his much acclaimed
orchestral music to the BAFTA-nominated
BBC series, The Human Planet, Mira Nair’s
film The Namesake, three film scores for live
AKRAM KHAN COMPANY
performance by the London Symphony
Orchestra, two acclaimed videogame
scores and composition for Olivier winning
theatrical and dance productions with
Complicite and Akram Khan Company.
Sawhney recently scored for Deepa Mehta’s
adaptation of Salman Rushdie’s book
Midnight’s Children, Hitchcock’s early silent
movie The Lodger, Khyentse Norbu’s Vara: A
Blessing and Japan in a Day for Ridley and
Tony Scott.
Sawhney has recently recorded OneZero,
released in June 2013. This project is a live
cut to vinyl and is a retrospective session
consisting of tracks taken from Sawhney’s
nine album back catalogue, and a preview of
tracks from his forthcoming album, Dystopian
Dream. Sawhney is also producing Anoushka
Shankar’s latest album (featuring Norah
Jones) and hosts his own radio series for BBC
Radio 2—Nitin Sawhney Spins the Globe.
JOCELYN POOK
Composer
Perhaps best known
for her score for
Stanley Kubrick’s
Eyes Wide Shut,
Jocelyn Pook is one
of U.K.’s most versatile
composers, having written extensively for
stage, screen, opera house and concert
hall. After graduating from the Guildhall
School of Music and Drama where she
studied the viola, she toured and recorded
extensively with various bands and artists
such as Peter Gabriel, Laurie Anderson,
Mark Knopfler, PJ Harvey and as a member
of the Communards. She worked with
experimental theater and dance companies
both as performer and then as composer,
such as Impact Theatre Co-operative,
Lumiere & Son, DV8 Physical Theatre, RSC
and for the National Theatre’s production
of St Joan (directed by Marianne Elliot) for
which she won an Olivier Award. Her first
opera Ingerland was commissioned and
produced by ROH2 for the Royal Opera
House’s Linbury Studio in 2010.
Established as a highly original composer
of screen music, Jocelyn’s score for Eyes Wide
Shut garnered a Chicago Film Award and a
Golden Globe nomination. Other film scores
include The Merchant of Venice (directed
by Michael Radford) with Al Pacino, which
featured the voice of countertenor Andreas
20 MONDAVIARTS .ORG
Scholl and was nominated for a Classical
Brit Award, Heidi (directed by Paul Marcus),
L’Emploi du Temps (directed by Laurent
Cantet), Brick Lane (directed by Sarah
Gavron) and a piece for Martin Scorsese’s
Gangs of New York.
Jocelyn recently received critical
acclaim for her symphonic song cycle
Hearing Voices, performed by the BBC
Concert Orchestra and singer Melanie
Pappenheim and conducted by Charles
Hazlewood. Jocelyn was one of the
composers commissioned to write music
for the Thames Diamond Jubilee Pageant
of Elizabeth II. In 2011 Jocelyn created the
score for Akram Khan’s DESH, for which
she won a British Composer Award. Her
soundtrack for iTMOi features singer
and long-time collaborator Melanie
Pappenheim.
Jocelyn’s album Untold Things was
rereleased by RealWorld Records in
July 2013.
BEN FROST
Composer
Ben Frost was born in
1980 in Melbourne. He
lives in Reykjavík.
The music of Ben
Frost is about contrast;
influenced as much
by Classical Minimalism as by Punk Rock
and Metal, Frost’s throbbing guitar-based
textures emerge from nothing and slowly
coalesce into huge, forbidding forms that
often eschew conventional structures in
favor of the inevitable unfolding of vast
mechanical systems.
Wire Magazine wrote in 2007 that “The
emotional power of Frost’s music comes
precisely from the stark contrast between
extremely basic musical material and the
deadly virtual instruments he invents to
perform it. This is Arvo Pärt as arranged by
Trent Reznor.”
His albums include Steel Wound, released
on the Room40 label in 2003 (Pitchfork: “An
exemplary ambient experience”), Theory of
Machines on Bedroom Community in 2007
(Boomkat: “The Future of electronic music”)
and 2009’s BY THE THROAT (NME: “a hollow,
unforgiving, brutal yet utterly beautiful
record, full of deep intricacies that won’t let
you go.”).
Frost’s music is more than a cerebral
exercise and has an undeniable visceral
presence, felt as much as heard. His
compositions are created with an acute
awareness of the listener and their comfort
thresholds, exploiting every extreme of
pitch and volume. His notorious, buildingshaking performances at international
festivals including Montreal’s famed MUTEK
combine amplified electronics with the
furious thrashing of live guitars. Frost himself
has been described as “one of the most
interesting and groundbreaking producers
in the world today.” (Boomkat)
His music’s intense physicality has filled
gallery spaces and driven contemporary
dance productions by Chunky Move,
the Icelandic Dance Company, and the
acclaimed choreographers Erna Ómarsdottír
and Wayne McGregor.
FAROOQ
CHAUDHRY
Producer
Born in Pakistan,
Farooq Chaudhry
graduated from the
London Contemporary
Dance School and
danced professionally in Europe in the
eighties and nineties, including for Belgian
contemporary dance company Rosas. He
was awarded an Asian Achievement Award
for his work as a dancer in 1988.
Chaudhry completed an M.A. in Arts
Management from City University in London
after retiring from dancing. In 1999, he
teamed up with Akram Khan and founded
Akram Khan Company a year later. As the
company producer, Chaudhry puts creativity
at the heart of his leadership style, forming
innovative business models to support
Khan’s artistic ambitions and offering
creative support during the development of
Khan’s projects.
Chaudhry has been speaking regularly
in arts management and cultural
entrepreneurship courses around the
world, including the Advanced Cultural
Leadership Programme at Hong Kong
University and the London Business School.
He also provides mentoring and consultancy
services, both formally and informally, to
performing artists and arts managers in the
early development of their careers.
Chaudhry is the Chair of Dance U.K.’s
Board, a member of the Strategic Advisory
Committee for Clore Leadership Programme
and a witness of the School for Social
Entrepreneurs. The French Ministry of
Foreign Affairs acknowledged him in a list
of the world’s top hundred cultural actors
and entrepreneurs in 2008. He became an
honorary artistic advisor to Guangzhou
Opera House in China in 2011.
In addition to his work for Akram Khan
Company, Chaudhry became the Producer
for English National Ballet in October 2013.
KRISTINA ALLEYNE
Dancer
Kristina, born in
London, originally
trained as an athlete.
She trained at the BRIT
School of Performing
Arts and Technology
(BRITS) from 2003–05 and at the Northern
School of Contemporary Dance (NSCD)
based in Leeds from 2005–08. Kristina’s
dance experience started through hiphop where she joined such companies as
Boy Blue Entertainment and international
company Dance2Xcess.
Kristina has worked/toured with
postgraduate dance company Verve 09,
Tavaziva Dance, African Company Fritti,
Arthur Pita, Retina Dance Company, Ijad
Dance and Technology Company, Henri
Oguike Dance Company, Helen Parlor and
ACE Dance and Music.
She performed at the London 2012
Olympic Games Opening Ceremony in the
section choreographed by Akram Khan.
SADÉ ALLEYNE
Dancer
Sadé Alleyne formally
trained as an athlete
for Enfield and
Haringey. Her first
experience of dance
was with hip-hop
companies Boy Blue Entertainment and
Dance 2Xess. Sadé trained at the BRITS
School (London 2004) and at the Northern
School of Contemporary Dance (Leeds
2008).
Since graduating Sadé has worked
with Tavaziva Dance, IJAD Dance and
Vocab Dance Company, in both U.K. and
international performances. Sadé has
worked as a Performer and Rehearsal
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• Berkeley Repertory Theatre • Broadway
San Jose • California Shakespeare Theater •
San Francisco Ballet • San Francisco Opera
• SFJAZZ • Stanford Live • TheatreWorks
• Weill Hall at Sonoma State University
AKRAM KHAN COMPANY
Director for companies Ace Dance
and Music (Birmingham) and State of
Emergency (London). Sadé has worked with
choreographers Vincent Mantsoe, Luyanda
Sidya, Andlie Sotyia, Douglas Thorpe, Akiko
Kitamura and Gregory Vuyani Maqoma.
She joined Akram Khan Company in 2012
on the Vertical Road tour. She performed
with the Company at the London 2012
Olympic Games Opening Ceremony.
CHING-YING CHIEN
Dancer
Ching-Ying Chien
was born in Taiwan.
She graduated from
the National Taiwan
University of Art.
She has
collaborated with choreographers Fang-Yi
Sheu, Shu-Yi Chou and Contemporary
artist Guo-Qiang Cai in the production Day
And Night.
She joined Fang-Yi Sheu & Artists in 2011
and Akram Khan Company in 2012.
DENIS ‘KOONÉ’
KUHNERT
Dancer
Denis ‘Kooné’ Kuhnert
was born in the East
of Germany. In 1989
he discovered the hiphop culture by doing
graffiti art and in 1993 he began practicing
b-boying (also known as break dance.) He
participated in some of the biggest battles
around the world (including taking third
place in ‘Battle of the Year’, the unofficial
World Championships.)
He had his first contact with theater
in 1996 and since 2003 has been making
a living with theatre shows. Kooné has
worked with choreographers such as
Malou Airaudo (Pina Bausch Company),
Constanza Macras (Dorky Park) and Samir
Akika (Unusual Symptoms.) He has also
produced two of his own works so far (And
What Happens ... in 2008 and 5 Degrees Of
Separation in 2011.)
Since he retired from the international
break dance scene in 2010, he has fully
focused on his theater work, and is creating
his very own style based on his urban dance
roots mixed with contemporary dance
theater.
22 MONDAVIARTS .ORG
YEN-CHING LIN
Dancer
Born in Taiwan, YenChing Lin studied at
the Taipei National
University of the
Arts and the London
Contemporary Dance
School (LCDS) where she completed the
Postgraduate Diploma programme in 2003
and obtained an M.A. in Contemporary
Dance in 2007. During her studies at LCDS
Yen-Ching worked with choreographers
such as Maresa von Stockert, Charles
Lawrence, Jonathan Lunn and Jan de
Schynkel. She was a member of a postgraduate company Edge05, joined the
Bern Ballet in 2006 and danced for Hofesh
Shechter Company from 2007 to 2010. She
joined Akram Khan Company in 2010 for the
creation of Vertical Road.
TJ LOWE
Dancer
Born and raised in
London, TJ trained
at the Brit School
for Performing Arts
and Technology and
at the Trinity Laban
Conservatoire of Music & Dance, graduating
with a B.A. (Hons) in Dance Theatre after
which he achieved a Post Graduate Diploma
at London Contemporary Dance School.
TJ has trained professionally in hip-hop,
commercial and contemporary dance
theater, performing internationally in all
genres. He has performed with companies
such as Dance2xsU.K., Hofesh Shechter,
Ace Dance and Music, Jean Abreu Dance,
T.R.A.S.H-(Netherlands) and Akram Khan
Company for the London 2012 Olympic
Games Opening Ceremony and iTMOi.
TJ was also featured in the second
season of the Channel 4 series Skins,
choreographed by Hofesh Shechter, and has
co-choreographed alongside Sisco Gomez
for So You Think You Can Dance Ukraine.
TJ is the founder of TLDT U.K. dance
theatre collective.
CHRISTINE JOY
RITTER
Dancer
Christine Joy Ritter was
born in 1982 in Los
Angeles. She moved
to Germany when
she was four years
old and grew up in Freiburg im Breisgau
where she took her first ballet classes at the
Ballettstudio Krain. During those 10 years
she was trained in ballet and jazz and gained
more experience through the RAD (Royal
Academy of Dance), dance competitions,
ballet performances and shows with the
Philippine and Polynesian Culture Dance
group led by her mother.
At the age of 17 she was accepted at the
Palucca Dance School in Dresden. During
that 4-year education in contemporary
dance, she achieved the Esther-ArnoldSeligman Scholarship and in 2004 she
graduated with a diploma. Since then she
has been working mostly in Berlin as a
freelance dancer with such choreographers
as Christoph Winkler, Anja Kozik (Potsdam),
Heike Hennig (Leipzig), Milan Gervais
(Montreal) and Constanza Macras. In the
last 5 years Christine Joy has also been
practicing hip-hop and break dance,
participating in battles in Germany
successfully.
In 2011 she was proud to be invited as
a dancer to be part of the Michael Jackson
Immortal World Tour, an arena show by
Cirque du Soleil which toured through the
USA, Canada and Europe.
She joined Akram Khan Company in 2012
for iTMOi.
CATHERINE
SCHAUB ABKARIAN
Dancer
Catherine studied at
Beaux-Arts in Bourges
and Paris before
studying Kathakali
(dance-theater from
South India) for five years in France and
India. She has worked with Bread and
Puppet Theater and later with Théâtre du
Soleil (directed by Ariane Mnouchkine) for
seven years where she choreographed and
performed in the chorus for Les Atrides.
Other theater works include Mnemonic
(Theatre de Complicite, directed by Simon
The lives we touch inspire us
Ollie and Vernie’s bond has endured through 60 years
of marriage and military service in two wars. They still
never go to bed angry. So when Ollie was diagnosed
with memory problems that can progress to Alzheimer’s
disease, they resolved to meet the challenge together.
Doctors recommended physical and mental activity to
support brain health – so 81-year-old Ollie now plays
on three softball teams. The couple fill their social
calendar with friends and charity fundraisers.
They also fight back by helping others at
risk of dementia. Participating in a multiyear
study at the UC Davis Alzheimer’s Center,
the couple is helping leading researchers
investigate the aging brain to find improved
methods of diagnosis and treatment.
To learn more about Ollie and
Vernie’s determination and the
region’s only Alzheimer’s research
center designated by the National
Institute on Aging, visit
alzheimer.ucdavis.edu
One team. One choice.
One UC Davis.
THE REGION’S
NIA-DESIGNATED ALZHEIMER’S RESEARCH CENTER
AKRAM KHAN COMPANY
McBurney), Il Circo Popolare Poquelino,
Macbeth, A Midsummer Night’s Dream
(directed by Paul Golub), L’Orestie (directed
by Sylviu Purcarete), Angela et Marina, La
Chance de ma vie (directed by Valérie Grail),
Love’s Labour’s Lost, L’Ultime Chant De Troie,
Titus Andronicus, Pénélope ô Pénélope and
Projet Mata Hari: Exécution (directed by
Simon Abkarian).
Her dance works include Sapho de
Mythilene (directed by Agnès Delume) and
Juste au Corps (directed by Pascale Houbin).
Catherine has been in various films
including Petites Révélations, Suites Parlées
(directed by Marie Vermillard), Venise n’est
pas Mexico (directed by Rima Samman),
Full Firearms (directed by Emily Wardill) and
Grace de Monaco (directed by Olivier Dahan).
She also directed Gilgamesh chantier de
fouilles, in Syria.
NICOLA MONACO
Dancer
Nicola Monaco
started his training in
dance at the age of
19 in Italy where he
studied contemporary
and ballet. In 2001
he attended the professional course of
Aterballetto under the direction of Mauro
Bigonzetti. At the end of his training he
immediately joined the dance company
Artemis Danza directed by Monica Casadei
where he stayed for two seasons. In 2003
had the opportunity to work for awarded
Dutch dance company Emio Greco/PC
where he stayed until 2008 taking part
of the latest creations of the company
and being able as well to dance all the
repertory touring worldwide. In 2009 he
moved to London and had the chance to
work and collaborate with choreographer
such as Akram Khan, Gregory Maquoma,
Tom Dale, The Featherstonehaughs and
Shobana Jeyasingh Dance Company. In the
meanwhile, Nicola started his own research
as choreographer performing for the Arcola
Theatre and the Place Theatre. In 2010 he
worked as rehearsals director and dancer for
the production Petra Rocks choreographed
by Dina Abu Amdan in Amman (Jordan). In
2012, Nicola started collaborations with the
University of Malta as guest teacher and as
rehearsal director for the Mavin Khoo Dance
Company directed by Mavin Khoo.
24 MONDAVIARTS .ORG
BLENARD AZIZAJ
Dancer
Blenard Azizaj
was born in Albania.
He graduated from
the National State
School of Athens
(Greece) in 2010 as
dancer and teacher.
He worked with the Hellenic Dance
Company in Greece (Diavlus / Explosion in
2007–11), Compagnie Linga in Switzerland
(Remapping the body in 2011–12, Additional
tones in 2012–13), Step Text Dance Project
in Germany (The Drift, Homescapes,The
Desert in 2012–13).
He also did workshops with David
Zambrano, Passing Through and Flying Low
Technique, Wim Vandekeybus, Peeping
Tom, Josef Frucek and Linda Kapetanea,
Partnering Technique.
He toured in various countries such
as Italy, Israel, Palestine, Jordan, Ireland,
Senegal and Germany.
He joined Akram Khan Company in
September 2013.
CHENG-AN WU
Dancer
Cheng-An Wu trained
at the School of
Dance, Taipei National
University of the Arts.
He danced for Focus
Dance Company,
Taiwan in D-Man in the Waters by Bill T.
Jones, Milky Way by Hwai-Min Lin, No
Lander by Riccardo Buscarini, Landscapers
by Bulareyaung Pagarlava. He was awarded
a scholarship by Chin-Lin Foundation for
Culture and Arts to attend the American
Dance Festival in 2011, where he worked
with Bulareyaung Pagarlava. He joined
Akram Khan Company in 2013.
KIMIE NAKANO
Costume Designer
Kimie Nakano studied
literature at Musashino
University in Tokyo,
theatre costume
at Ecole Nationale
Supérieure des Arts et
Techniques du Théâtre in Paris and holds a
theatre design M.A. at Wimbledon College of
Art in London.
Kimie has recently designed costumes
for Dust, Akram Khan’s piece for English
National Ballet’s Lest We Forget, for Vertical
Road/The Rashomon Effect (Akram Khan for
the National Youth Dance Company) and for
TOROBAKA, Khan’s new duet with flamenco
star Israel Galván. She has also designed
set and costumes for Tristan und Isolde
for Longborough Festival Opera (director
Carmen Jakobi). Previous designs for Akram
Khan Company include set and costumes for
Vertical Road and costumes for Gnosis.
Other set and costume designs for
dance include Carmen for The Lithuanian
National Opera and Ballet Theatre
(choreographer Didy Veldman), The
Little Prince choreographed by Didy
Veldman (Les Grands Ballets Canadiens
de Montréal). Kimie has also collaborated
with Eda Megumi on 8:15 (Rambert Dance
Company) and with Megumi Nakamura on
Sand Flower (Maastright Festival Award).
Kimie’s costume designs include Now Is
(Edinburgh International Festival) and
Timeless for Aditi Mangaldas, The Mustard
Seed choreographed by Miguel Altunaga
(Rambert Dance Company), Premieres Plus
Carlos Acosta and Mural Study for Van Huynh
Company.
Set and costume designs for opera and
theater include Yabu no Naka (modern noh/
kyogen play, Tokyo Art Festival Award)
directed by Mansai Nomura, Ali to Karim (U.S.
Tour) directed by Hafiz Karmali, Pas, Pas moi,
va et vient (Beckett, Festival Theatre National
Populaire—Lyon), The Oslo Experiment
(Stratos Oslo), 2 Graves (Arts Theatre and
Edinburgh Festival), La Nuit du Train de la Voie
Lactée directed by Hirata Oriza (Theatre de
Sartrouville – CDN), Dream Hunter directed
by Carmen Jacobi, and Michael Morpugo’s
Kensuke’s Kingdom (Polka Theatre Company).
In film, Kimie was assistant costume
designer on 8 1/2 Women by Peter
Greenaway and she was in charge of
production and costumes for the short film
Basho starring Yoshi Oida. Kimie’s directorial
credits include Snow (a workshop with
three blind singers at the ENO studio). Kimie
strives to create intercultural projects for
the stage, workshops and films, to promote
different world cultures.
Centrally located in
Downtown Davis
FABIANA PICCIOLI
Lighting Designer
Fabiana Piccioli
studied Philosophy at
Università La Sapienza
di Roma. From 1999
to 2002 she worked
as a dancer in Rome
and Brussels. She then became Technical
Coordinator and Production Manager at
the Romaeuropa Festival before joining
Akram Khan Company as Technical Manager
in 2005, and subsequently becoming
its Technical Director. She co-designed
the sets for bahok and Gnosis. She was
Lighting Designer for four of the company’s
productions (Variations, bahok, Gnosis and
iTMOi, for which she won the Knight Of
Illumination Award for Best Lighting Design
in Dance). She was also Lighting Designer
for Svapnagata Festival curated by Nitin
Sawhney and Akram Khan at Sadler’s Wells
(London).
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MATT DEELY
Scenographer
Matt Deely studied
at Motley. He was
associate to set
designer Stefanos
Lazaridis on over 20
operas, including
Lohengrin in Bayreuth, Faust in Munich,
Macbeth in Zurich, A Midsummer Night’s
Dream in Venice, Greek Passion, Wozzeck
and Wagner’s Ring Cycle at the Royal Opera
House, and The Italian Season at ENO. Matt
was set designer for Symphony no.9 and
Romeo & Juliet, with costumes designed by
Yolanda Sonnabend for K-Ballet in Tokyo.
His recent works include design for the
Southwark Splash projects at Royal Festival
Hall, Sun & Heir and Voices of the Future
at Royal Opera House education, and the
opera Full Moon in March at LFO warehouse.
He collaborated with designer Kimie
Nakano on 2 Graves by Arts Theatre, Pas,
Pas moi, Va et vient by Beckett in Lyon, Petra
AKRAM KHAN COMPANY
von Kant at Southwark Playhouse, and Ali
to Karim (U.S. Tour). His video artist works
include La nuit du train de la voie lactée in
Paris and The Little Prince by Les Grandes
Ballets de Montreal.
Matt was art director of the Tor Hill at
the London 2012 Olympic Games Opening
Ceremony, and associate set designer on
The Master and Margarita by Complicite
and Les Troyens at Royal Opera House. Matt
has currently worked with Punchdrunk set
design team on The Drowned Man.
RUTH LITTLE
Dramaturge
Ruth Little is a
dramaturge, teacher,
writer and former
academic. She was
literary manager
at Griffin Theatre
Company (Sydney), Out of Joint, Soho
Theatre and the Royal Court Theatre, and
artistic associate at the Young Vic. Ruth
Little is associate director of Cape Farewell,
London.
JOEL JENKINS
Researcher
Joel Jenkins has a B.A.
in History of Art and
Italian from UCL and
an M.A. in Film and
Television from the
University of Bristol.
He worked as a script consultant and story
editor for a number of film companies and
has written for stage, film and television.
ANDREJ PETROVIČ
Choreographic
Assistant
Born in Bojnice,
Slovak Republic,
Andrej Petrovič
graduated from the
Dance Conservatory
in Banska Bystrica before joining Studio
Tanca Professional Dance Theatre/Zuzana
Hájková. He is one of the co-founders of the
professional dance company Dajv/Marta
Polákova. He has collaborated with Editta
Braun Company in Salzburg, Fatou Traore
in Brussels, and Giorgio Barberio Corsetti
and Fatore Kappa Physical Theatre in Rome.
More recently he graduated in Dance
26 MONDAVIARTS .ORG
Teaching from the University of Music and
Dramatic Arts in Bratislava and worked with
Jean Abreu Dance Company in London and
Jaroslav Vinarsky in Prague before joining
JOSE AGUDO
Choreographic
Assistant
Jose Agudo has
performed and toured
internationally with
Charleroi/Danses,
Ballet de Marseille,
T.R.A.S.H. and SJDC amongst others.
He became the Artist-in-Residence at
Déda (U.K.) in 2008/9 and created 4M2.
The piece was selected by the National
Dance Network (NDN) and toured the U.K.
and internationally. His latest solo TIME/
DROPPER was created in 2011 and was
presented at the Edinburgh Festival.
Jose teaches for companies, school and
festivals around the world. He holds a yoga
teaching certification from Yoga Alliance. In
2013 Jose will create a new work for Phoenix
Dance Theatre and ACE Dance and Music.
Jose has been a rehearsal director for Akram
Khan Company since 2011.
SANDER LOONEN
Set Development and
Construction
Sander Loonen started
working in theater as
a lamp cleaner in 1991
and has since worked
as a technician and
lighting designer. In 1997 he was a trainee
in the Rotterdamse Schouwburg in the
Netherlands where he left six years later
as one of the in-house lighting designers.
After two years of working in Brazil he
returned to Holland to be one of the
founding members of DENZO.
He has worked with Meg Stuart/
Damaged Goods, Emio Greco, PC, Waterhuis
and Peter Sonnevel. He joined Akram Khan
Company in 2007.
NICOLAS FAURE
Sound Designer /
Sound and Set on Tour
Nicolas Faure studied
wave mechanics and
sound broadcasting
technique at University
La Metare Saint
Etienne. From 2004 to 2009, he worked as
Sound Director at Les Nuits de Fourvière
Festival in Lyon. Nicolas joined Akram Khan
Company in 2007 as sound engineer and
has since toured with zero degrees, Sacred
Monsters, In-I, Gnosis and DESH.
BIA OLIVEIRA
Associate Producer
Originally from
Brazil, Bia Oliveira
joined Akram Khan
Company on bahok
as Associate Producer
through a Creative
Leadership Award. She was previously a
Producer at London-based Artsadmin,
where she worked for five years, with a
seven-month stint as Theatre Officer at Arts
Council England. Bia has been involved
with performance for over twenty years as a
performer, producer and director, and in the
last eight years has focused on producing,
touring, management and administration
of arts projects, working across the
spectrum of theatre, visual arts, dance, live
art and performance. She has a an M.A.
in Contemporary Performing Arts from
Middlesex University and a Post-graduate
Diploma in Arts Management and Policy
from Birkbeck.
CÉLINE GAUBERT
Project Manager
Prior to joining Akram
Khan Company in
April 2012, Céline was
the Press Manager at
the Marketing and
PR Department of La
Comédie, scène nationale de ClermontFerrand, for nine years. In September
2011, she decided to settle in London
to focus on international production
and administration of arts projects. She
has worked with Crying Out Loud and
volunteered at Dance Umbrella Festival.
Céline holds an M.A. in French Literature
and French as a Foreign Language as well
as a Postgraduate Diploma in mediation
between Education and Culture.
RICHARD FAGAN
Technical Coordinator/
Lights
Richard Fagan began
his career in 1997
as an electrician
for Stagecraft
Productions, and went
on to manage the lighting department at
Poole Arts Centre. He toured extensively as
Stage Manager and Production Manager
for the Garnet Foundation, and later as
Lighting Designer for The Nuffield Theatre,
Southampton. In 2004, he joined the
lighting department of the English National
Opera. Richard now works as a freelance
lighting designer and technician for both
corporate and theater productions. Some of
his more recent work includes Art Admin’s
How to Live and Akram Khan Company’s
bahok and Vertical Road.
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American Conservatory Theater • Berkeley Repertory Theatre • Broadway San Jose • California Shakespeare
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The magic of
ÁLEX CASTRO
Sound
Álex Castro studied at
Escuela de Tecnología
del Espectáculo,
in Madrid, Spain
and since 2004 has
worked as a sound
engineer, often with
collaborators at Sadler’s Wells.
ANNE-MARIE
BIGBY
Costumes/Props
Anne-Marie Bigby
is based in London.
Having spent many
years working in
the music industry
Anne-Marie changed careers and now works
freelance as a Costume Designer, Wardrobe
Mistress, Stage and Production Manager.
Her live stage credits include: Matthew
Bourne’s Car Man, Edward Scissorhands,
Cinderella, The Pet Shop Boys’ The Most
Incredible Thing, Akram Khan Company’s
In-I, DESH and Vertical Road, Kylie Minogue’s
North American and Aprodite Tours,
Here Comes the Girls U.K. tour with Lulu,
Anastasia and Heather Small, Tango Fire U.K.
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AKRAM KHAN COMPANY
tour, Latitude Festival 2011, Fela! at Sadler’s
Wells, The Soweto Gospel Choir European
Tour, Hans Klok Houdini (Magician),
amongst many others.
TV and film credits include: The First
Black Britons, Poirot and Above Suspicion.
MAREK POMOCKI
Technician
Originally from
Poland, Marek moved
to London in 2009.
He holds an MSc in
Sociology and an
completed an M.A. in
Arts Administration & Cultural Policy. In the
past, Marek has worked with CIM Horyzonty,
Malta International Theatre Festival, Akram
Khan Company, and Sidi Larbi Cherkaoui
and his company Eastman. He re-joined
Akram Khan Company in April 2013 on the
iTMOi tour and subsequently became its
stage technician.
LIES DOMS
Tour Manager
Lies Doms was born
in Mechelen, Belgium.
She graduated in
2004 as a conservator
of paintings at the
Royal Academy of
Fine Arts in Antwerp. Being fascinated
by working in a cultural environment,
she achieved in 2005 a master degree in
cultural management at the University of
Antwerp.
Her professional career started at
the heritage department of the city of
Mechelen. But as a vivid dance scene in
Belgium kept on inspiring, a career switch
to Eastman in January 2011 was the next
step. Within in the company of Sidi Larbi
Cherkaoui she worked as an education,
production and tour manager. She joined
28 MONDAVIARTS .ORG
AKRAM KHAN COMPANY
COMPANY PRODUCTIONS
Founded in August 2000 by Choreographer
Akram Khan and Producer Farooq
Chaudhry, Akram Khan Company
journeys across boundaries to create
uncompromising artistic narratives.
Having established itself as one of the
foremost innovative dance companies in
the world, the company is renowned for its
intercultural, interdisciplinary collaborations
and for challenging conventional ideas
of traditional dance forms. The dance
language in each production is rooted in
Akram Khan’s classical kathak and modern
dance training and continually evolves to
communicate ideas that are intelligent,
courageous and new.
Akram Khan Company tours extensively
both within the United Kingdom and
internationally at leading international
festivals and venues, performing a diverse
range of programmes including classical
kathak solos, ensemble productions and
artist-to-artist collaborations. The company
has been awarded several prestigious
honours including the Olivier Award for
Best New Dance Production (2012, DESH),
several Critics’ Circle National Dance
Awards and the South Bank Sky Arts
Award for Dance (2011, Gnosis) in the U.K.;
The Age Critics’ Award for Best New Work
(2010, Vertical Road) at the Melbourne Arts
Festival and the Helpmann Award for Best
Choreography and Best Male Dancer (2007,
zero degrees) in Sydney.
Contemporary Work
TOROBAKA (2014), iTMOi (2013), DESH
(2011), Vertical Road (2010), In-I (2008),
bahok (2008), Sacred Monsters (2006),
zero degrees (2005), Variations for Vibes,
Strings & Pianos (2006), ma (2004),
Kaash (2002), Related Rocks (2001), Rush
(2000), Fix (2000), Loose in Flight (2000)
Kathak
Gnosis (2009), Third Catalogue (2005),
Ronin (2003), Polaroid Feet (2001)
AKRAM KHAN COMPANY
Artistic Director: Akram Khan
Producer: Farooq Chaudhry
Associate Producer: Bia Oliveira
Technical Director: Fabiana Piccioli
Finance Director: Jan Hart
Communications Officer: Arthur
Laurent
Executive Assistant/Tour Manager:
Mashitah Omar
Administrator: Céline Gaubert
Project Manager/PA to Producer:
JiaXuan Hon
Tour Manager: Lies Doms
BOARD OF DIRECTORS
Gurnek Bains (chair)
Ayesha Braganza
Nicky Owen
Michael Cohen
Rick Wentworth
Paul de Quincey
HOUGHTON HALL
Portrait of an English Country House
Step into the history and grandeur of Houghton Hall,
reminiscent of the popular PbS television drama Downton
Abbey™. a stunning display reflecting aristocratic life in
an english country house from the 18th through 20th
centuries, Houghton Hall hosts spectacular interiors,
rarely exhibited treasures, and exquisite furniture paired
with paintings by masters such as thomas Gainsborough,
Joshua reynolds, and John Singer Sargent.
OctOber 18, 2014–January 18, 2015
Legion of Honor
Lincoln Park • legionofhonor.org
this exhibition is organized by the Museum of Fine arts, Houston, in collaboration with Houghton Hall. an indemnity has been granted by the Federal council on the arts and the Humanities. Director’s circle: the buena Vista
Fund of Horizons Foundation, the Michael taylor trust, and Diane b. Wilsey. Patron’s circle: Mr. and Mrs. adolphus andrews, Jr., Giselle Parry-Farris and ray K. Farris, and Mr. and Mrs. William Hamilton.
Media Sponsors
Images clockwise from top left: John Wootton, Sir Robert Walpole, ca. 1725. Oil on canvas. One of a pair of armchairs, ca. 1730. Designed by William Kent; probably made by James richards. Partially gilded mahogany, beech, oak, and original
velvet upholstery. Vase, 1765. Sèvres Porcelain Manufactory, painted by Jean Louis Morin. Soft-paste porcelain. John Singer Sargent, Portrait of Sybil, Countess of Rocksavage, 1913. Oil on canvas. all objects Marquess of cholmondeley,
Houghton Hall. Photos: Pete Huggins, by kind permission of Houghton Hall. exterior view of Houghton Hall, norfolk, england. Photo courtesy Houghton Hall
SAN
FRANCISCO
SYMPHONY
Michael Tilson Thomas,
music director
A Western Health Advantage
Orchestra Series Event
Saturday, October 25, 2014 • 8PM
Christian Zacharias,
conductor and piano
PROGRAM
Appalachian Spring
Jackson Hall
Piano Concerto No. 20 in D Minor, K.466 Allegro
Romance
Rondo
SPONSORED BY
Christian Zacharias
Copland
Mozart
INTERMISSION
Madame Press Died Last Week at Ninety INDIVIDUAL SUPPORT PROVIDED BY
Anne Gray
Symphony No. 93 in D Major Adagio—Allegro assai
Largo cantabile
Menuetto: Allegro
Presto ma non troppo
Feldman
Haydn
ORCHESTRA RESIDENCY ACTIVITIES ARE
SUPPORTED BY A GENEROUS GRANT FROM
The Andrew W. Mellon Foundation
Pre-Performance Talk: 7PM
Speaker: Beth Levy,
Associate Professor,
UC Davis Department of Music
Associate Professor of Musicology and
Chancellor’s Fellow 2014-2019, Beth E. Levy
specializes in American classical music. Her
book, Frontier Figures: American Music and the
Mythology of the American West, was honored by
the American Musicological Society, the Society
for American Music [SAM], and the PEN Center
USA. For twelve years, she wrote program notes
for the SF Contemporary Music Players, and her
contribution to Copland and His World won the
2005 Irving Lowens Award for the best article on
American music from the SAM.
30 MONDAVIARTS .ORG
PROGRAM NOTES
APPALACHIAN SPRING
AARON COPLAND
(Born in Brooklyn on November 14, 1900 and died in Peekskill, New
York on December 2, 1990)
Born in Brooklyn, Aaron Copland
was trained as a composer in Paris,
but much of his work has a distinctive
sound that has come to be identified
with this country’s wide-open spaces.
He composed for Carnegie Hall and
Hollywood, conducted, played the
piano, wrote, taught, did television
shows, encouraged the young and
symbolized the possibility of being a
serious American composer in the 20th
century.
Copland wrote Appalachian Spring
for Martha Graham and her dance
company in 1943–44, and it was first
performed at the Library of Congress on
October 30, 1944. Appalachian Spring
is the loveliest realization of Copland’s
gift for simplicity, and is marked by
spaciousness, stillness, and serenity.
“I felt,” Copland wrote in 1941, “that it
was worth the effort to see if I couldn’t
say what I had to say in the simplest
possible terms.” While Copland worked
Jazz Bands
of UC Davis
Sam Griffith, director
DeCemBer 10, 2014
marCh 4, 2015
may 27, 2015
WedneSdayS at 7:00 pm in the Vanderhoef Studio theatre, mondavi center for the performing arts.
$8 StUDentS, $20 aDUltS | StanDarD Seating | monDaviartS.org
Tickets are available through the Mondavi Center Ticket Office; open for in-person visits and
by telephone, (530) 754-2787, Monday – Saturday, 12:00 noon – 6:00 pm.
music.ucdavis.edu
SAN FRANCISCO SYMPHONY
on his score, he thought of it as “Ballet
for Martha,” a designation it still carries
as subtitle. The name Appalachian Spring
was the contribution of Martha Graham,
who found the phrase in The Dance from
the “Powhatan’s Daughter” section of Hart
Crane’s poem The Bridge. Appalachian
Spring is full of hummable tunes. The old
Shaker melody “Simple Gifts,” which we
hear near the end, is the only one not by
Copland.
The action of the ballet is described
in the preface to the score: “A pioneer
celebration in spring around a newlybuilt farmhouse in the Pennsylvania
hills in the early part of the last [19th]
century. The bride-to-be and the young
farmer-husband enact the emotions,
joyful and apprehensive, their new
domestic partnership invites. An older
neighbor suggests now and then the rocky
confidence of experience. A revivalist and
his followers remind the new householders
of the strange and terrible aspects of
human fate. At the end the couple are left
quiet and strong in their new house.”
—Michael Steinberg
CONCERTO NO. 20 IN D MINOR FOR
PIANO AND ORCHESTRA, K.466
WOLFGANG AMADÈ MOZART
The UC Davis Office of
Campus Community Relations
is a proud supporter
of the Mondavi Center
The mission of the The Office of Campus Community Relations (OCCR) is
to ensure the attention to those components of the campus community
that affect community, campus climate, diversity and inclusiveness.
http://occr.ucdavis.edu
32 MONDAVIARTS .ORG
(Born in Salzburg, Austria on January 27, 1756 and died in Vienna on
December 5, 1791)
This work is one of only two Mozart
concertos in minor, and of the two it
is the stormier. It does not surprise
us that the young Beethoven made a
powerful impression as an interpreter
of this concerto when he moved to
Vienna soon after Mozart’s death, and he
wrote for it a pair of superbly intelligent
and powerfully expressive cadenzas
that are still often heard. During the
nineteenth century, when Mozart was
mostly perceived as a gifted forerunner of
Beethoven’s, this was the only one of his
piano concertos to hold a firm place in
the repertory.
The concerto shows its temper
instantly in an opening that is without
theme, all atmosphere and gesture.
Violins and violas throb in agitated
syncopations, most of their energy
concentrated on the rhythm, the
pitches changing little at first, while
the low strings anticipate the beats
with upward scurries of quick notes.
The full orchestra enters with flashes of
lightning to illuminate the scene. Most
of what follows in the next few minutes
is informed more by pathos than by
rage, the most affecting moment being
reserved for the first entrance of the
solo piano, with an almost new melody
over an already familiar accompaniment.
Now the witty and serious play of
conversation, of exchange of materials,
can begin, and the pianist has the
opportunity to ravish with simulated
song and to dazzle with the mettlesome
traversal of brilliant passages. All these
storms eventually recede in a pianissimo
fascinatingly seasoned with the distant
thud of drums and the low tones of
trumpets.
The second movement, after this, is by
intention mild. Mozart gives no tempo
indication; neither does his designation
“Romance” denote a specific form as
much as it suggests a certain atmosphere
of gently serene song. An interlude
brings back the minor mode of the first
movement and something of its storms,
but this music is far more regular and
to that degree less agitating. With all its
formality, Mozart’s slow application of
the brakes as he approaches the return
of his Romance melody is one of his most
masterful strokes of rhythmic invention.
The piano launches the finale, a feast of
irregularities, ambiguities, surprises, and
subtle allusions to the first movement.
of my youth. What was unconscious was
the significance of putting the tempo at
quarter note equals ninety. It was also
unconscious that I repeated those falling
thirds eighty-seven times, very close
to that fated number of her death. The
recapitulation at the end goes into double
time as if to symbolize all the years I didn’t
see her which were passing so quickly. . . .
“The feeling I have about this
composition is that I went back as if
making peace with a steady pulsating
beat, making peace with measured time,
a chronological time, that is analogous
to life passing by or passing us by. One,
two, three, four. It takes very little time in
music to count up to ninety. . . .”
MADAME PRESS DIED LAST WEEK
AT NINETY
MORTON FELDMAN
(Born in New York City on January 12, 1926 and died in Buffalo, New York,
on September 3, 1987)
Morton Feldman studied composition
with the not-quite-traditional composers
Wallingford Riegger and Stefan Wolpe but
was most influenced by John Cage. During
the 1950s in New York he associated with
painters Mark Rothko, Philip Guston,
Franz Kline, Jackson Pollock, and Robert
Rauschenberg. His experiments in musical
notation arose from an obsession to write
music as he heard it, and what he created
were works of delicate luminosity, slowly
moving and defining silence.
In February 1973, in a lecture at the
State University of New York at Buffalo,
Feldman talked about Madame Press
Died Last Week at Ninety, a composition
written in memory of his piano teacher.
“The whole work,” he said, “is based on
a repeated two-note figure alternating
between two flutes.” The work is scored
for two flutes, horn, trumpet, trombone,
tuba, chimes, celesta, two cellos, and
two basses. “The beginning harmonies of
Madame Press are vaguely Hollywoodian,
then recall Edgard Varèse and slowly
metamorphose into something more
my own. I was consciously attempting
to relive my own musical history while
thinking of her. Those were the harmonies
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SYMPHONY NO. 93 IN D MAJOR
FRANZ JOSEPH HAYDN
Voted Best Dessert in Yolo County 6 Years in a Row
• Breakfast • Lunch • High Tea • Catering • Weddings
Bring in your Mondavi ticket stub to receive a 15% discount on your purchase.
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Hyatt Place UC Davis
The only hotel located on Campus
We are a proud corporate sponsor of the
Robert and Margrit Mondavi Center for the Performing Arts
Enjoy the show!
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3 1_3s.indd 1
34 MONDAVIARTS .ORG
HP 080213 mondavi 1_3s.pdf
(Born at Rohrau, Lower Austria, on March 31, 1732 and died on May 31,
1809 in Vienna)
This is the third of the twelve
symphonies Haydn wrote for London
between 1791 and 1795. Like most of
Haydn’s novelties, it was rapturously
received by the public and lauded by the
press for its “very extraordinary merit, ...
[using] all the fire of his bold imagination,
... a composition at once grand, scientific,
charming, and original.” Readers of The
Times learned that “such a combination
of excellence was contained in every
movement, as inspired all the performers
as well as the audience with enthusiastic
ardour.”
Haydn begins assertively and simply
with a call to attention, fortissimo tutti,
which prepares the way for two phrases
of innocence and charm. Having thus
reassured his audience, Haydn now
administers the first shock of the sort to
which his blessedly alert Londoners were
so delightedly responsive: He quietly lifts
the music and sets it down in infinitely
remote E-flat Major, suavely gets back to
where he belongs, and is now ready for
the main part of the movement. And the
house must have been full of smiles when
the violins first sang out the gracious and
spirited second theme. The development
is suddenly forceful and full of that
“science” of which 18th-century writers
speak. It is also extensive and teasing. The
recapitulation is taut and it adds to the
second subject a witty not-quite imitation
by the bassoon.
To start the second movement, Haydn
brings another surprise, a solo string
quartet. The movement is full of event and
adventure, and it is here that Haydn at last
redeems the promise of that first, startling
visit to E-flat in the Adagio introduction
to the first movement. A slight tendency
to grow ruminative becomes, in the
recapitulation, almost perilously selfindulgent until Haydn points out rudely—
very rudely indeed—that there is such a
thing as being too dreamy. The Londoners
loved it and demanded an encore of the
entire movement.
The minuet is vigorous, very physical.
Its most remarkable feature is the trio. The
9/3/13 4:13 PM
basic assumption behind its dialogue—
trumpet-and-drum tattoos, sweetly
unruffled strings—is simple: the details
are far beyond our powers to predict.
Then Haydn builds a finale on one of those
themes with a double upbeat that allows
him to play amusing games of anticipation.
The ending—well studied by Beethoven
when he came to write his own D major
Symphony, No. 2, eleven years later—was
probably the most brilliant and energetic
London had ever heard.
BIOS
CHRISTIAN ZACHARIAS
Conductor Christian Zacharias first made
his name as a pianist, and he maintains an
active career as an internationally renowned
pianist. During his time as principal
conductor of the Orchestre de Chambre de
Lausanne he made a number of acclaimed
recordings, including a cycle of the complete
Mozart piano concertos, which was awarded
the Diapason d’Or, Choc du Monde de la
FURTHER LISTENING
CHRISTIAN ZACHARIAS
by Jeff Hudson
Christian Zacharias is the most recent performer visiting the Mondavi Center as
both conductor and soloist. (You may recall violinist Pinchas Zukerman with the
Royal Philharmonic Orchestra last January and violinist Joshua Bell with the Academy
of St. Martin in the Fields in March).
Judging from recent videos, Zacharias likes to stand at the piano bench and
gesture with both hands to begin, then he sits and works in further hand gestures
between passages. This is hardly a unique arrangement and some historians say
Mozart performed his piano concertos in this manner back-in-the-day. In our time,
pianists such as Mitsuko Uchida and Daniel Barenboim have performed Mozart
concertos as conductor/soloist.
Zacharias, who initially rose to fame as a pianist, has said he only gained
confidence in his conducting in midlife. “To stand in front of 60 top professionals
and tell them what to do is a huge challenge. I admire school teachers for the same
reason—I couldn’t face a class of tough 16-year-olds,” he told one interviewer, adding
“A young conductor is an unnatural thing.”
Zacharias has a long association with the Mozart piano concertos: he’s recorded
them all with the Orchestre de Chambre de Lausanne, an award-winning nine-CD
project, completed in 2012.
Pairing a Mozart piano concerto with a Haydn symphony is a natural combination,
and something Zacharias has done before (as have others). Haydn (who was older)
publicly praised the young Mozart’s music on several occasions; Mozart dedicated
several string quartets to Haydn; the two occasionally played chamber music together.
Historians say this was the only of Mozart’s piano concertos to remain popular
throughout the 1800s. Beethoven revered the piece and in performance he added
his own cadenzas, naturally. As noted pianist/critic Charles Rosen (a Regents Lecturer
at UC Davis in 1997) put it, this famed concerto is “as much a myth as a work of art:
when listening to it, ... it is difficult at times to say whether we are hearing the work
or its reputation.” Zacharias, whose thoughtful interpretations have been dubbed “as
much a self-exploration as a performance,” will bring his own ideas to the piece.
And check your phone. During a concert in October 2013, Zacharias paused at the
keyboard when a ringing cell phone interrupted a performance of a Haydn piano concerto
with the Gothenburg Symphony. The music resumed after the phone was silenced.
JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS
TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS & REVIEW.
Musique, and the ECHO Klassik award. With
that ensemble he most recently recorded
the four Schumann symphonies and
symphonies by C.P.E. Bach. Mr. Zacharias also
maintains close ties with the Gothenburg
Symphony Orchestra, of which he was
principal guest conductor for many years.
In 2009 he became an Artistic Partner of the
Saint Paul Chamber Orchestra.
In the 2014-15 season Mr. Zacharias will
conduct the Boston Symphony and the
Orchestre de Paris, in addition to touring
with the Stuttgart Philharmonic and the
Basel Chamber Orchestra, and visiting
Moscow for several concerts and recitals. In
November he will be joined by the Leipzig
String Quartet for various chamber music
recitals.
Since 1990 he has appeared in three
films: Domenico Scarlatti in Sevilla, Robert
Schumann—der Dichter spricht, and
Zwischen Bühne und Künstlerzimmer. Mr.
Zacharias was the 2007 MIDEM Classical
Awards Artist of the Year and he was also
recognized for his contributions to culture
in Romania in 2009. He has been named
an Officier dans l’Ordre des Arts et des
Lettres by the French government. Since
2011 he has been professor for orchestral
performance at the Academy of Music and
Drama in Gothenburg.
SAN FRANCISCO
SYMPHONY
The San Francisco Symphony gave its first
concerts in 1911 and has grown in acclaim
under a succession of distinguished music
directors: Henry Hadley, Alfred Hertz, Basil
Cameron, Issay Dobrowen, Pierre Monteux,
Enrique Jordá, Josef Krips, Seiji Ozawa, Edo
de Waart, Herbert Blomstedt, and Michael
Tilson Thomas, who assumed his post in
1995. The SFS has won such recording
awards as France’s Grand Prix du Disque,
Britain’s Gramophone Award, and the United
States’s Grammy. Each year the Symphony
offers Adventures in Music, the longest
running education program among this
country’s orchestras, which brings music to
every child in grades 1–5 in San Francisco’s
public schools. In 2004, the SFS launched
the multimedia Keeping Score on PBS-TV and
the web. For more information, go to www.
sfsymphony.org.
A day-long festival celebrating food, wine, beer and the arts
Sunday, OctOber 12, 2014 > uc daviS
Schedule Of eventS
1–3PM
“The Art of Science” > Wyatt Pavillion, UCDavis Arboretum. Performances, hands-on
science demonstrations, hands-on art activities, native seed give-away, a plant petting zoo
and so much more! FREE
Presented by the UCDavis Arboretum in partnership with the Sacramento Science Powerhouse Center.
2–6PM
Family Friendly Zone > the Vanderhoef Quad & Mondavi Center Corin Courtyard.
Pumpkin decorating, a petting zoo and face painting, Rocknasium climbing wall, local music,
food trucks, adult beverages for purchase and activity booths. FREE
2–4PM
World Food Center Think Tank > Vanderhoef Studio Theatre, Mondavi Center.
In-depth discussions on global and regional agriculture. FREE
2–7PM
Nelson Gallery Open to the public. FREE
4–7PM
MAKE: A New Museum for UC Davis Nelson Gallery.
Exhibit opening featuring interactive displays, wine (21+ only to drink) and light snacks.
Tahoe Sonification opening. Welcoming Remarks at 5:30 pm. FREE
4–6PM
Robert Mondavi Institute will feature bottomless food, wine, beer, pumpkin decorating
and live music in the Good Life Garden, as well as a silent auction. TICKETED*
Sponsored by the Julia Child Foundation for Gastronomy and the Culinary Arts.
6–7PM
Mondavi Center for the Performing Arts Corin Courtyard Concert: Local dream-pop
powerhouse Arts and Leisure. FREE
7:30PM Ray LaMontagne with the Bell Brigade > Jackson Hall, Mondavi Center. TICKETED
Presented by Another Planet Entertainment in association with the Mondavi Center for the Performing Arts, UC Davis and HARVEST.
*$20 for patrons 21 years-old and above; $10 for patrons 12–20 years-old; Free for patrons
12 and younger. Patrons under 21 years-old must be accompanied by a patron 21 years-old
or older. A limited commemorative HARVEST glass free with paid adult ticket.
Presented by:
mondaviarts.org/harvest
®
World Food Center
Jan shrem and maria manetti
shrem museum oF art
SAN FRANCISCO
SYMPHONY
Michael Tilson Thomas
MUSIC DIRECTOR AND CONDUCTOR
Herbert Blomstedt
CONDUCTOR LAUREATE
Donato Cabrera
RESIDENT CONDUCTOR
Ragnar Bohlin
CHORUS DIRECTOR
Vance George
CHORUS DIRECTOR EMERITUS
FIRST VIOLINS
Alexander Barantschik
CONCERTMASTER
NAOUM BLINDER CHAIR
Nadya Tichman
ASSOCIATE CONCERTMASTER
FOUNDATION CHAIR
Mark Volkert
ASSISTANT CONCERTMASTER
75TH ANNIVERSARY CHAIR
Jeremy Constant
ASSISTANT CONCERTMASTER
Mariko Smiley
PAULA & JOHN GAMBS
SECOND CENTURY CHAIR
Melissa Kleinbart
KATHARINE HANRAHAN CHAIR
Yun Chu
Sharon Grebanier
Naomi Kazama Hull
In Sun Jang
Yukiko Kurakata
CATHERINE A. MUELLER CHAIR
Suzanne Leon
Leor Maltinski
Diane Nicholeris
Sarn Oliver
Florin Parvulescu
Victor Romasevich
Catherine Van Hoesen
SECOND VIOLINS
CELLOS
OBOES
Dan Carlson
Michael Grebanier
Jonathan Fischer*
ACTING PRINCIPAL
DINNER & SWIG FAMILIES CHAIR
Paul Brancato
ACTING ASSOCIATE PRINCIPAL
AUDREY AVIS AASEN-HULL CHAIR
John Chisholm
ACTING ASSISTANT PRINCIPAL
Dan Nobuhiko Smiley
THE EUCALYPTUS FOUNDATION
Raushan Akhmedyarova
David Chernyavsky
Cathryn Down
Darlene Gray
Amy Hiraga
Kum Mo Kim
Kelly Leon-Pearce
Elina Lev
ISAAC STERN CHAIR
Chunming Mo
Polina Sedukh
Chen Zhao
Sarah Knutson†
VIOLAS
PRINCIPAL
PHILIP S. BOONE CHAIR
Peter Wyrick
ASSOCIATE PRINCIPAL
PETER & JACQUELINE HOEFER
CHAIR
Amos Yang
ASSISTANT PRINCIPAL
Margaret Tait
LYMAN & CAROL CASEY
Barbara Andres
THE STANLEY S. LANGENDORF
FOUNDATION
Barbara Bogatin
Jill Rachuy Brindel
GARY & KATHLEEN HEIDENREICH
Sébastien Gingras
David Goldblatt
CHRISTINE & PIERRE LAMOND
Carolyn McIntosh
Anne Pinsker
BASSES
Jonathan Vinocour
Scott Pingel
Yun Jie Liu
Larry Epstein
Katie Kadarauch
Stephen Tramontozzi
PRINCIPAL
ASSOCIATE PRINCIPAL
ASSISTANT PRINCIPAL
John Schoening
JOANNE E. HARRINGTON & LORRY
I. LOKEY
Nancy Ellis
Gina Feinauer
David Gaudry
David Kim
Christina King
Wayne Roden
Nanci Severance
Adam Smyla
Matthew Young
PRINCIPAL
ASSOCIATE PRINCIPAL
ASSISTANT PRINCIPAL
RICHARD & RHODA GOLDMAN
CHAIR
S. Mark Wright
LAWRENCE METCALF SECOND
CENTURY CHAIR
Charles Chandler
Lee Ann Crocker
Chris Gilbert
Brian Marcus
William Ritchen
FLUTES
Tim Day
The San Francisco Symphony string section utilizes
revolving seating on a systematic basis. Players listed in
alphabetical order change seats periodically.
Paul Welcomer
John Engelkes
Bass Trombone
Pamela Smith
DR. WILLIAM D. CLINITE CHAIR
Russ deLuna
ENGLISH HORN
JOSEPH & PAULINE SCAFIDI CHAIR
TUBA
Jeffrey Anderson
PRINCIPAL
JAMES IRVINE CHAIR
CLARINETS
Carey Bell
PRINCIPAL
WILLIAM R. & GRETCHEN B.
KIMBALL CHAIR
HARP
Douglas Rioth
Luis Baez
PRINCIPAL
David Neuman
Jerome Simas
Alex Orfaly†
ASSOCIATE PRINCIPAL & E-FLAT
CLARINET
BASS CLARINET
BASSOONS
TIMPANI
ACTING PRINCIPAL
MARCIA & JOHN GOLDMAN CHAIR
PERCUSSION
Stephen Paulson
Jacob Nissly
Steven Dibner
Raymond Froehlich
Tom Hemphill
James Lee Wyatt III
PRINCIPAL
ASSOCIATE PRINCIPAL
Rob Weir
Steven Braunstein
CONTRABASSOON
HORNS
Robert Ward
PRINCIPAL
KEYBOARDS
Robin Sutherland
JEAN & BILL LANE CHAIR
PRINCIPAL
Nicole Cash
ASSOCIATE PRINCIPAL
Bruce Roberts
ASSISTANT PRINCIPAL
Jonathan Ring
Jessica Valeri
Kimberly Wright*
TRUMPETS
Mark Inouye
Robin McKee
Mark Grisez†
Margo Kieser
PRINCIPAL LIBRARIAN
NANCY & CHARLES GESCHKE CHAIR
John Campbell
ASSISTANT LIBRARIAN
Dan Ferreira†
ASSISTANT LIBRARIAN
*On Leave
†Acting member of the San
Francisco Symphony
PETER PASTREICH CHAIR
Guy Piddington
ALFRED S. & DEDE WILSEY CHAIR
ANN L. & CHARLES B. JOHNSON
CHAIR
Catherine Payne
Jeff Biancalana
PICCOLO
Christopher Gaudi†
PRINCIPAL
CAROLINE H. HUME CHAIR
Linda Lukas
Timothy Owner
ASSOCIATE PRINCIPAL
PRINCIPAL
WILLIAM G. IRWIN CHARITY
FOUNDATION CHAIR
ASSOCIATE PRINCIPAL
CATHERINE & RUSSELL CLARK
CHAIR
PRINCIPAL
ROBERT L. SAMTER CHAIR
TROMBONES
Timothy Higgins
Mermaid Theatre of Nova Scotia’s
THE VERY HUNGRY CATERPILLAR
& OTHER ERIC CARLE FAVORITES
A Hallmark Inn, Davis
Children’s Stage Series Event
Sunday, October 26, 2014 • 3PM
Jackson Hall
SPONSORED BY:
38 MONDAVIARTS .ORG
Author/Illustrator: Eric Carle
Director/Production Designer: Jim Morrow Composer: Steven Naylor Narrator: Gordon Pinsent Narrator [French Version]: Jean-Fran ois
Casabonne
Narraror [Spanish Version]: Marco
Ledezma
Stage Manager: Christine Oakey
Performers: Jackson Fowlow, Graeme
Black Robinson
ABOUT THE VERY HUNGRY
CATERPILLAR & OTHER ERIC CARLE
FAVORITES
Mermaid Theatre’s compilations of
five Eric Carle stories have generated
remarkable statistics and earned
considerable praise from audiences
on several continents. In 2014, the
production celebrated its fifteenth year
of continuous touring and welcomed
its two millionth spectator. Featuring
innovative black-light puppetry and
evocative original music, the fifty-minute
production includes three beloved
stories: The Very Hungry Caterpillar, Little
Cloud and The Mixed-Up Chameleon.
To date over 3000 performances have
been presented in thirteen countries.
Presentations have been offered in
Dutch, English, Spanish, Japanese,
Korean and French.
ABOUT MERMAID THEATRE
OF NOVA SCOTIA Founded in 1972, Mermaid Theatre’s
unique adaptations of children’s literature
have delighted more than five million
young people in sixteen countries on four
continents. Based in Windsor, a small rural
town in Nova Scotia’s Avon Region, the
company performs for more than 300,000
spectators annually, and currently ranks
among North America’s most active touring
organizations. Mermaid Theatre offers
instruction for all levels at its Institute of
Puppetry Arts, which welcomes artists-inresidence. The company also founded a
unique outreach program for adolescents,
called “Youtheatre,” and offers a vibrant
performing arts series.
BIOS
ERIC CARLE Author/Illustrator
Eric Carle, internationally acclaimed author
and designer, has written and illustrated
more than seventy books for young
children. Born in Syracuse, N.Y., he spent his
youth in Germany where he studied fine
art in Stuttgart prior to returning to the U.S.
in 1952 to work as a graphic designer for
The New York Times and later as art director
of an international advertising agency. His
delightful books, which combine stunning
collage artwork with an imaginative
approach to learning, have sold more than
110 million copies worldwide. Eric and his
wife Barbara divide their time between the
Florida Keys and the hills of North Carolina.
In 2002, The Eric Carle Museum of Picture
Book Art opened to the public in Amherst,
M.A. For more information, visit eric-carle.
com and carlemuseum.org.
JIM MORROW Director/Production Designer Jim creates puppets for stage, television and
film. He’s directed numerous shows for the
Mermaid Theatre, including Stella, Queen of
the Snow; Guess How Much I Love You & I Love
My Little Storybook; Swimmy, Frederick and
Inch by Inch; Goodnight Moon & The Runaway
Bunny as well as designed many others. A
gifted performer, Jim hasadtoured
extensively
proofs.indd 1
in Canada, the U.S., the U.K. and Japan. He
serves as director of puppetry for Symphony
Nova Scotia’s production of The Nutcracker,
indulge
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THE VERY HUNGRY CATERPILLAR
and frequently conducts master classes in
puppetry in North America and abroad. Jim
is Mermaid Theatre’s Artistic Director.
STEVEN NAYLOR Composer
Steven has created the music for more than
a dozen Mermaid shows, including Stella,
Queen of the Snow; Guess How Much I Love
You & I Love My Little Storybook; Swimmy,
Frederick, and Inch by Inch; Goodnight Moon
& The Runaway Bunny. His many other
professional activities include original film
and television scores; contemporary music
composition and performance; university
teaching and curriculum development; and
a long-term international involvement with
electroacoustic concert music. Steven is
Mermaid Theatre’s Artistic Advisor for Music
and Sound Design.
GORDON PINSENT Narrator
Born in Grand Falls, Newfoundland,
Gordon is an actor, director, writer and
singer of great versatility, and one of
Canada’s most beloved artists. His work
for more than three decades in theater,
film, radio and television has earned
him international recognition, as well
as honorary doctorates from three
universities. In 1999 he was named a
Companion of the Order of Canada, the
country’s highest award of merit.
JEAN-FRANÇOIS CASABONNE
Narrator [French Version]
Jean-François is a prominent member of
Québec’s vibrant cultural community where
he has made his mark as a performer on
stage, radio, film and television, as well as
earned acclaim as a writer and musician.
He’s appeared in more than 50 productions
at major theatres including Théâtre
Denise Pelletier, Théâtre du Nouveau
Monde, Théâtre Jean-Duceppe, Théâtre
du Rideau Vert, Théâtre de l’Opsis, Théâtre
de Quat’sous and Espace GO. On the big
screen he played the main character in
Charles Binamé’s la Beauté de Pandore and
has worked under the direction of directors
such as Anaïs Barbeau-Lavalette, François
Delisle and Michel Brault. As a writer, he
published Du cœur au pied (Éditions Fides),
Jésus de Chicoutimi, une perséide de Damas
(Éditions du Silence) and a play entitled
La traversée, oratorio pour voix humaines
(Dramaturges Éditeurs). As singer and
40 MONDAVIARTS .ORG
songwriter Jean- François launched his first
album, l’Inconnu Zig Zag in 2009 and has
performed at Francofolies in Montréal in
2008 and 2010.
MARCO LEDEZMA Narrator [Spanish Version]
A graduate of the National Institute
of Fine Arts in Mexico City (Theatrical
Arts), Marco Ledezma has appeared as
a performer in a number of productions
staged at internationally renowned
festivals such as the Cervantino and the
Festival of Mexico City among others. He
immigrated to Canada in 1992, where
he works as an actor in film, theater and
television, and specializes in all facets of
dubbing. He is currently the major Spanishlanguage dubbing director in his home
city of Montreal. To keep fit mentally and
physically, Marco continues to take courses
related to his profession and regularly
practices both summer and winter sports.
Marco’s narration for Mermaid Theatre’s LA
ORUGA MUY HAMBRIENTA has been enjoyed
by audiences in both Mexico and the U.S.
ABOUT THE COMPANY
CHRISTINE OAKEY Stage Manager
Christine is a graduate of the University of
King’s College in Halifax and the National
Theatre School of Canada. She has served
as stage manager with Atlantic Canada’s
major theatres, including for Two Planks
and a Passion, Theatre New Brunswick, 2b
theatre and Eastern Front Theatre. Christine
has worked in Edmonton, Blyth and Toronto
as well as at the prestigious Shaw Festival
in Niagara-on-the-Lake, Ontario. She also
works as a venue manager for Sundance
Film Festival, Hot Docs, the Toronto
International Film Festival and the popular
BuskerFest in Toronto. Christine first joined
the company in 1997, and has now toured
to every state in the continental U.S.
JACKSON FOWLOW Performer
Jackson was born and raised in Hong
Kong, and moved to his family’s native
Newfoundland as a teenager. In the
summer of his third year in Dalhousie
University’s Acting Program, he appeared
in Two Planks and a Passion Theatre
Company’s productions of The Iliad and
As You Like It. Upon graduation in the
spring of 2014, he completed training at
the Mermaid Institute of Puppetry Arts
and happily began touring with Mermaid
Theatre that summer.
GRAEME BLACK ROBINSON Performer
Graeme was born and raised in
Toronto, Ontario. Since graduating from
George Brown College’s Theatre Arts
program, he has studied physical theater
forms across Canada with many esteemed
teachers. Graeme is the Artistic Director
of Toronto’s Silent Protagonist theatre
company. He starred in their inaugural
mask and puppet show, Or Be Eaten, at the
2013 Toronto Fringe Festival. Most recently
he wrote and directed Cryptids of the
Canadian Shield for the Toronto Puppetry
Collectivte‘s Puppet Allsorts Festival.
Graeme joined Mermaid Theatre in 2014.
Mermaid Theatre of Nova Scotia is
represented by KIDS’ ENTERTAINMENT 460 College Street, Suite 202 Toronto, Ontario, Canada M6G 1A1 Tel: (416) 971 4836
Fax: (416) 971 4841 email: [email protected] website: www.kidsentertainment.net
For general information, please contact Mermaid Theatre of Nova Scotia P.O. Box 2697 Windsor, Nova Scotia, Canada B0N 2T0 Tel: (902) 798 5841
Fax: (902) 798 3311 email: [email protected] website: www.mermaidtheatre.ca
MERMAID THEATRE OF NOVA SCOTIA
STAFF
Artistic Director: Jim Morrow Managing Director: Sara Lee Lewis General Manager: Lisa Gleave Artistic Advisor for Music and Sound Design:
Steven Naylor Administrator: Cathy White Office & Tour Coordinator: Jason Tucker Production Manager: Deborah MacLean Production Associate: Struan Robertson Technical Director: Michael Jamieson Youtheatre Coordinator: Kaleigh Heide
Scenic Painter: Sarah Haydon Roy
Seamstress: Sarah Harvey Hart
Production Assistant: Isaac Chaytor
Mermaid Theatre of Nova Scotia gratefully
acknowledges the support of the Canada
Council for the Arts and Arts Nova Scotia.
Mermaid Theatre of Nova Scotia is a
member of the Professional Association
of Canadian Theatres and engages
professional Artists who are members
of Canadian Actors’ Equity Association
under the terms of the Canadian Theatre
Agreement.
The Very Hungry Caterpillar by Eric Carle.
Copyright 1969 and 1987 by Eric Carle. All
Rights Reserved. Published by Philomel
Books. Little Cloud by Eric Carle. Copyright
1996 by Eric Carle. All Rights Reserved.
Published by Philomel Books. The Mixed-Up
Chameleon by Eric Carle. Copyright 1975 by
Eric Carle. All Rights Reserved. Published
by HarperCollins Publishers Inc.
Encore Arts
Programs is
proud to be part
of the world-class
performances
at the Mondavi
Center for the
Performing Arts.
To advertise in Mondavi Center programs
contact 800-308-2898 x105
or email [email protected]
EAP 092513 mondavi 1_3s.indd 1
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41
12/18/13 10:34 AM
THE ART OF GIVING
The Mondavi Center is deeply grateful for
the generous contributions of our dedicated
patrons whose gifts are a testament to the
value of the performing arts in our lives.
Annual donations to the Mondavi Center
directly support our operating budget and
are an essential source of revenue. Please
join us in thanking our loyal donors whose
philanthropic support ensures our ability
to bring great artists and speakers to our
region and to provide nationally recognized
arts education programs for students and
teachers.
For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5438.
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42 MONDAVIARTS .ORG
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THE ART OF GIVING
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Andrew and Merry Joslin
James Anthony Joye
Martin and JoAnn Joye*
Fred and Selma Kapatkin
Tim and Shari Karpin
Jean and Steve Karr
Yasuo Kawamura
Phyllis and Scott Keilholtz*
Charles Kelso and Mary Reed
Michael Kent and Karl Jadney
Robert and Cathryn Kerr
Leonard Keyes
Jeannette Kieffer
Gary and Susan Kieser
Larry Kimble and Louise Bettner
Kathryn and Leonard Goldberg
Robert Kingsley and Melissa Thorme
Dr. and Mrs. Roger Kingston
Dorothy Klishevich
John and Mary L. Klisiewicz*
Alan and Sandra Kreeger
Marcia and Kurt Kreith
Sandra Kristensen
Lorenzo Kristov and Robin Kozloff
Elizabeth and C.R. Kuehner
Leslie Kurtz
Cecilia Kwan
Ray and Marianne Kyono
Scarlet and Harvey Edber
Kit and Bonnie Lam*
Marsha M. Lang
Anne Lawrence
Leon E. Laymon
Peggy Leander*
Charlie and Joan Learned
Marceline Lee and Philip Smith
The Hartwig-Lee Family
Nancy and Steve Lege
The Lenk-Sloane Family
Joel and Jeannette Lerman
Evelyn A. Lewis
Motoko Lobue
Mary Lowry
Henry Luckie
Michael Luszczak
Ariane Lyons
Edward and Susan MacDonald
Karen Majewski
Alice Mak and Wesley Kennedy
Vartan Malian and Nova Ghermann
Julin Maloof and Stacey Harmer
Joseph and Mary Alice Marino
David and Martha Marsh
Dr. Carol Marshall
J. A. Martin
Vel Matthews
Leslie Maulhardt
Katherine Mawdsley*
Harry and Karen McCluskey*
Douglas McColm and Delores
McColm
Nora McGuinness*
Thomas and Paula McIlraith
Donna and Dick McIlvaine
Tim and Linda McKenna
Martin A. Medina and Laurie Perry
DeAna Melilli
Barry Melton and Barbara Langer
CORPORATE MATCHING GIFTS
Johnson Controls Foundation
We appreciate the many donors who
participate in their employers’ matching
gift program. Please contact your Human
Resources Department for more information.
ARTISTIC VENTURES FUND
We applaud our Artistic Ventures Fund’s
members, whose major gift commitments
support artist engagement fees, innovative
artist commissions, artist residencies, and
programs made available free to the public.
Ralph and Clairelee Leiser Bulkley
John and Lois Crowe
Patti Donlon
Richard and Joy Dorf
Anne Gray
Barbara K. Jackson
Larry and Rosalie Vanderhoef
The Merchant Family
Fred and Linda Meyers*
Beryl Michaels and John Bach
Leslie Michaels and Susan Katt
Eric and Jean Miller
Lisa Miller
Sue and Rex Miller
Steve and Kathy Miura*
Kei and Barbara Miyano
Vicki and Paul Moering
Joanne Moldenhauer
Ruth and Lloyd Money
Irene Montgomery*
Elaine and Ken Moody
Amy Moore
Christopher Motley
The Muller Family
Terence and Judith Murphy
Elaine Myer
Guity Myers*
Margaret Neu*
Cathy Neuhauser and Jack Holmes
Robert Nevraumont and Donna
Curley Nevraumont*
Keri Mistler and Dana Newell
Nancy Nolte and James Little
Marilyn Olmstead
Dana K. Olson
Jim and Sharon Oltjen
Marvin O’Rear
Jessie Ann Owens and Anne
Hoffmann
Bob and Elizabeth Owens
Mike and Carlene Ozonoff*
Michael Pach and Mary Wind
Thomas Pavlakovich and Kathryn
Demakopoulos
Mari Perla
Ann Peterson and Marc Hoeschele
Brenda Davis and Ed Phillips
Pat B. Piper
Jane Plocher
Dr. Robert Poppenga and Amy
Kapatkin
Jerry and Bernice Pressler
Ed and Jane Rabin
LEGACY CIRCLE
Thank you to our supporters who have remembered the
Mondavi Center in their estate plans. These gifts make a
difference for the future of performing arts and we are
most grateful.
Wayne and Jacque
Bartholomew
Ralph and Clairelee Leiser
Bulkley
John and Lois Crowe
Dotty Dixon
Anne Gray
Mary B. Horton
Margaret E. Hoyt
Barbara K. Jackson
Yvonne Le Maitre
Jerry and Marguerite Lewis
Robert and Betty Liu
Don McNary
Verne E. Mendel
Kay E. Resler
Hal and Carol Sconyers
Joe and Betty Tupin
Anonymous
If you have already
named the Mondavi
Center in your own
estate plans, we
thank you. We would
love to hear of your
giving plans so that
we may express our
appreciation.
If you are interested in
learning about planned
giving opportunities,
please contact Debbie
Armstrong, Sr. Director
of Development
(530.754.5415 or
djarmstrong@ucdavis.
edu ).
Note: We apologize if we listed your name incorrectly.
Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections.
44 MONDAVIARTS .ORG
Jan and Anne-Louise Radimsky
Lawrence and Norma Rappaport
Olga Raveling
Sandi Redenbach*
Catherine Ann Reed
Dr. and Mrs. James W. Reede Jr.
Mrs. John Reese, Jr.
Fred and Martha Rehrman*
Michael A. Reinhart and Dorothy
Yerxa
Elizabeth and Eugene Renkin
Francis E. Resta
Jeannette and David Robertson
Ronald and Morgan Rogers
Richard and Alice Rollins
Richard and Evelyne Rominger
Teddy Wilson and Linda Roth
Cynthia Jo Ruff*
Paul and Ida Ruffin
Hugh Safford
Raymond Salomon
Beverly “Babs” Sandeen and Marty
Swingle
Elia and Glenn Sanjume
Polly and Fred Schack
Julie Schmidt*
Janis J. Schroeder and Carrie L.
Markel
Bee Happy Apiaries
Jenifer and Bob Segar
Dan Shadoan and Ann Lincoln
Jill and Jay Shepherd
Edward Shields and Valerie Brown
Consuelo Sichon
Jo Anne Silber
Dan and Charlene Simmons
Marion E. Small
Robert Snider
Jean Snyder
Roger and Freda Sornsen
Marguerite Spencer
Janet L. Spliman
Miriam Steinberg and Ben Glovinsky
Harriet Steiner and Miles Stern
Johanna Stek
Raymond Stewart
Deb and Jeff Stromberg
Yayoi Takamura and Jeff Erhardt
Dr. Stewart and Ann Teal
Francie F. Teitelbaum
Julie A. Theriault, PA-C
Brian Toole
Robert and Victoria Tousignant
Michael and Heidi Trauner
Rich and Fay Traynham
James E. Turner
Nancy Ulrich*
Ramon and Karen Urbano
Peter and Carolyn Van Hoecke
Chris and Betsy Van Kessel
Diana Varcados
Robert Vassar
Bart and Barbara Vaughn*
Rosemarie Vonusa*
Richard Vorpe and Evelyn Matteucci
Carolyn Waggoner and Rolf Fecht
Kim and James Waits
Maxine Wakefield and William
Reichert
Carol Walden
Vivian and Andrew Walker
Walnut Creek Civic Arts League
Andy and Judy Warburg
Valerie Boutin Ward
Marny and Rick Wasserman
Jack and Rita Weiss
Douglas West
Kimberly West
Martha S. West
Robert and Leslie Westergaard*
Edward and Susan Wheeler
Jane Williams
Janet G. Winterer
Timothy and Vicki Yearnshaw
Norman and Manda Yeung
Heather Young
Verena Leu Young
Melanie and Medardo Zavala
Darrel and Phyllis Zerger*
Dr.Mark and Wendy Zlotlow
remain anonymous
PATRON LOYALTY INITIATIVE
We are grateful to the following donors who have made special gifts to the
Mondavi Center’s “Patron Loyalty Initiative”. This project will provide MC
leadership and staff with an important set of tools and analyses to assist our
efforts to build the loyalty and commitment of our wonderful base of donors
and subscribers.
Ralph & Clairelee Leiser Bulkley
John and Lois Crowe
Patti Donlon
Anne Gray
Stephen Meyer &
Mary Lou Flint
Randy Reynoso &
Martin Camsey
Bill and Nancy Roe
Joan and Tony Stone
Joe and Betty Tupin
Thank you to the following donors for their special program support.
YOUNG ARTISTS COMPETITION AND PROGRAM
John and Lois Crowe
Merrilee and Simon Engel
Mary B. Horton
Barbara K. Jackson
ARTS EDUCATION STUDENT TICKET PROGRAM
Donald and Dolores Chakerian
*Members of The Friends of Mondavi Center
Carole Pirruccello, John and Eunice Davidson Fund
Sharon and Elliott Rose
DANCE FOR PARKINSON’S PROGRAM
Hugh Griffin
Leo Warmolts
BOARDS & COMMITTEES
MONDAVI CENTER ADVISORY BOARD
The Mondavi Center Advisory Board is a
support group of University Relations whose
primary purpose is to provide assistance
through fundraising, public outreach and
other support for the mission of UC Davis and
the Mondavi Center.
13–14 ADVISORY BOARD MEMBERS
Joe Tupin, Chair • Cecilia Delury • Patti Donlon •
Mary Lou Flint • Anne Gray • Karen Karnopp •
Nancy Lawrence • Garry Maisel •
Sean McMahon • Stephen Meyer •
Randy Reynoso • Grace Rosenquist •
John Rosenquist • Joan Stone • Tony Stone •
Larry Vanderhoef • Carol Wall
HONORARY MEMBERS
Barbara K. Jackson • Margrit Mondavi
THE ARTS & LECTURES ADMINISTRATIVE
ADVISORY COMMITTEE is made up of
interested students, faculty and staff who
attend performances, review programming
opportunities and meet monthly with the
director of the Mondavi Center. They provide
advice and feedback for the Mondavi Center
staff throughout the performance season.
14–15 COMMITTEE MEMBERS
Sharon Knox, Chair • Marta Altisent • Lauren
Brink • Catherine Dao Nguyen • Jim Forkin •
Jeremy Ganter • Carol Hess • Charles Hunt • Ian
Koebner • Cameron Mazza • Eleanor McAuliffe
• Kyle Monhollen • Erin Palmer • Erica Perez •
Susan Perez • Don Roth • Rob Tocalino
EX OFFICIO
Linda P.B. Katehi, Chancellor, UC Davis •
Ralph J. Hexter, Provost and Executive
Vice Chancellor, UC Davis • Francie Lawyer,
President, Friends of Mondavi Center •
Susan Kaiser, Dean, Division of Humanities,
Arts & Cultural Studies, College of Letters
& Sciences, UC Davis • Don Roth, Executive
Director, Mondavi Center, UC Davis • Sharon
Knox, Chair, Arts & Lectures Administrative
Advisory Committee
Friends
of Mondavi Center
is an active donor-based volunteer organization
that supports activities of Mondavi Center’s
presenting program.
Gift Shop at Mondavi Center
THE FRIENDS OF MONDAVI CENTER is an
active donor-based volunteer organization
that supports activities of the Mondavi Center’s
presenting program. Deeply committed to
arts education, Friends volunteer their time
and financial support for learning opportunities
related to Mondavi Center performances.
For information on becoming a Friend of
Mondavi Center, email Jennifer Mast at
[email protected] or call 530.754.5431.
14–15 FRIENDS EXECUTIVE BOARD
& STANDING COMMITTEE CHAIRS:
Francie Lawyer, President
Sandi Redenbach, Vice President
Jo Ann Joye, Secretary
Lydia Baskin, School Matinee Support
Judy Fleenor, Mondavi Center Tours
Karen Street, School Outreach
Wendy Chason, Friends Events
Kathy Bers, Membership
Joyce Donaldson, Chancellor’s Designee, Ex-Officio
Shirley Auman, Gift Shop, Ex-Officio
The Gift Shop at the Mondavi Center is located in
the southeast corner of the Yocha Dehe Grand Lobby.
The Gift Shop is currently stocking new and festive
holiday merchandise and is open prior to and during
intermission for performances in Jackson Hall.
Managed and staffed by Friends of Mondavi Center,
the Gift Shop is a friendly gathering spot and
perfect place to shop for a special gift.
We hope to see you there!
All profits from the Gift Shop help to support
Mondavi Center’s Arts Education program.
For more information regarding
the Friends of Mondavi Center,
call the Mondavi Center Arts Education Coordinator
at 530.754.5431
POLICIES & INFORMATION
TICKET EXCHANGE
• Tickets must be exchanged at least one
business day prior to the performance.
• Tickets may not be exchanged after the
performance date.
• There is a $5 exchange fee per ticket for
non-subscribers and Pick 3 purchasers.
• If you exchange for a higher-priced ticket,
the difference will be charged. The difference
between a higher and a lowerpriced ticket
on exchange is non-refundable.
• Subscribers and donors may exchange
tickets at face value toward a balance on
their account. All balances must be applied
toward the same presenter and expire June
30 of the current season. Balances may not
be transferred between accounts.
• All exchanges subject to availability.
• All ticket sales are final for events
presented by non-UC Davis promoters.
• No refunds.
• Prices subject to change.
PARKING
PARKING You may purchase parking passes
for individual Mondavi Center events for
$9 per event at the parking lot or with your
ticket order. Rates are subject to change.
Parking passes that have been lost or stolen
will not be replaced.
GROUP DISCOUNTS
Entertain friends, family, classmates or
business associates and save! Groups of
20 or more qualify for a 10% discount off
regular prices. Payment must be made in
a single check or credit card transaction.
Please call 530.754.2787 or 866.754.2787.
STUDENT TICKETS
UC Davis students are eligible for a 50%
discount on all available tickets.
Proof Requirements: School ID showing
validity for the current academic year.
Student ID numbers may also be used to
verify enrollment.
Non-UC Davis students age 18 and
over, enrolled full-time for the current
academic year at an accredited institution
and matriculating towards a diploma or a
degree are eligible for a 25% discount on
all available tickets. (Continuing education
enrollees are not eligible.)
46 MONDAVIARTS .ORG
Proof Requirements: School ID showing
validity for the current academic year and/ or
copy of your transcript/report card/tuition bill
receipt for the current academic year. Student
discounts may not be available for events
presented by non-UC Davis promoters.
YOUTH (AGE 17 AND UNDER)
A ticket is required for admission of all patrons
regardless of age. Any child attending a
performance should be able to sit quietly
through the performance. For events
other than the Children’s Stage Series, it is
recommended for the enjoyment of all patrons
that children under the age of 5 not attend.
PRIVACY POLICY
The Mondavi Center collects information
from patrons solely for the purpose of
gaining necessary information to conduct
business and serve our patrons efficiently.
We sometimes share names and addresses
with other not-for-profit arts organizations.
If you do not wish to be included in our
email communications or postal mailings,
or if you do not want us to share your
name, please notify us via email, U.S.
mail or telephone. Full Privacy Policy at
mondaviarts.org.
TOURS
Group tours of the Mondavi Center are
free, but reservations are required. To
schedule a tour call 530.754.5399 or
email [email protected].
ACCOMMODATIONS FOR
PATRONS WITH DISABILITIES
The Mondavi Center is proud to be a
fully accessible state-of-the-art public
facility that meets or exceeds all state and
federal ADA requirements. Patrons with
special seating needs should notify the
Mondavi Center Ticket Office at the time
of ticket purchase to receive reasonable
accommodation. The Mondavi Center
may not be able to accommodate special
needs brought to our attention at the
performance. Seating spaces for wheelchair
users and their companions are located at
all levels and prices for all performances.
Requests for sign language interpreting,
real-time captioning, Braille programs
and other reasonable accommodations
should be made with at least two weeks’
notice. The Mondavi Center may not be
able to accommodate last-minute requests.
Requests for these accommodations
may be made when purchasing tickets at
530.754.2787 or TDD 530.754.5402.
OPERA GLASSES
Opera glasses are available for Jackson Hall.
They may be checked out at no charge from
the Patron Services Desk near the lobby
elevators. The Mondavi Center requires an
ID be held until the device is returned.
ASSISTIVE LISTENING DEVICES
Assistive Listening Devices are available for
Jackson Hall and the Vanderhoef Studio
Theatre. Receivers that can be used with
or without hearing aids may be checked
out at no charge from the Patron Services
Desk near the lobby elevators. The Mondavi
Center requires an ID to be held at the Patron
Services Desk until the device is returned.
ELEVATORS
The Mondavi Center has two passenger
elevators serving all levels. They are located
at the north end of the Yocha Dehe Grand
Lobby, near the restrooms and Patron
Services Desk.
RESTROOMS
All public restrooms are equipped with
accessible sinks, stalls, babychanging
stations and amenities. There are six public
restrooms in the building: two on the
Orchestra level, two on the Orchestra Terrace
level and two on the Grand Tier level.
SERVICE ANIMALS
Mondavi Center welcomes working service
animals that are necessary to assist patrons
with disabilities. Service animals must
remain on a leash or harness at all times.
Please contact the Mondavi Center Ticket
Office if you intend to bring a service animal
to an event so that appropriate seating can
be reserved for you.
LOST AND FOUND HOTLINE
530.752.8580
Music touches the heart
From a simple tune to the richest harmony, music expresses emotion in ways
that can resonate with all of us.
We’re proud to salute Mondavi Center for the Performing Arts.
wellsfargo.com
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