UW World Series_March_Encore Arts Seattle

Transcription

Cloud Gate
Dance Theatre
of Taiwan
Songs of the Wanderers
MAR 6-8
Richard Goode
CIRCA
MAR 20
MAR 22-23
UW MEDICINE
|
S TOR I E S
A DEMANDING CAREER.
A NEIGHBORHOOD CLINIC.
A DANCER ON HER TOES.
I
STARTED DANCING ballet when I was 2 years
old. Dance is everything to me — and it demands
practically everything. It’s not only physically
grueling, but between daily rehearsals, workouts and
weekend performances, it demands a lot of my time
as well.
I think your primary care physician is the most
important healthcare relationship you have, especially
as a young dancer starting out in a new city. I came to
Seattle to join the Pacific Northwest Ballet when I was
only 17. Dr. Heinen (UW Physician, UW Neighborhood
Clinics) knows me and the demands I put on my body,
so I trust her. In addition to helping me manage my
general health, she also helps track things critical to
dancing like bone density and iron intake. She even
accommodates my unpredictable schedule. It’s the little
things that make a big difference for me.
I can hardly remember a time in my life when I wasn’t
dancing. And that’s exactly how I want to keep it.
READ LAURA’S ENTIRE STORY AT
uwmedicine.org/stories
Photographed onstage at McCaw Hall
U W M E D I C I N E . ORG
March-April 2014
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ALL GOOD
THINGS.
Original art from contemporary Northwest artists
Locally made jewelry and handcrafted gifts
Uncommon objects | Art and design books
SAM BOOKS, GALLERY & SHOP
1st Ave between Union and University
206.654.3120
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encore artsseattle.com 3
CONTENTS
UW World Series
Cloud Gate
Dance Theatre
of Taiwan
A1
MAR 6-8
Richard Goode
CIRCA
MAR 20
MAR 22-23
ES054 covers.indd 1
2/18/14 9:14 AM
E N C O R E A RT S N E W S F RO M C I T Y A RT S M A G A Z I N E
SPACES AND PLACES
Prepare for an unusual journey down memory lane at Cougar Mountain’s
Wildland Park, where a 15-minute walk leads visitors into the heart of the
forest on a gravel path lined with ferns and moss-covered evergreens. A
bend in the trail reveals a clearcut area and an unexpected patch of lanky
alder trees, their mottled, pale-white bark in stark contrast to the artificially
charcoal-blackened ground.
The project—land artist Hans Baumann’s Black Forest (29,930,000 tons)—
is inspired by the park’s 100-year history as a coal mine, which closed
in 1963. As of March 1, an acre of land will be covered with biochar, an
inky-black charcoal that removes carbon from the atmosphere. Baumann’s
concept is to sequester the mine’s 29,930,000 tons of pollution.
“There is so much history here,” Baumann says. “It’s showing it in an
unconventional way that’ll maybe create a visual, atmospheric experience
people have to reckon with.”
Baumann’s project is part of 4Culture’s Site Specific Program. Founded
in 2005, the program funds artistic work in unconventional settings around
King County. Beginning last year, the program required projects to somehow connect with historic locations, among them Washington Hall, Rainier
Beach’s Kubota Gardens and the Duwamish River. Last year 4Culture
funded 15 of 36 proposals for works to be presented throughout 2014.
“Artists are looking for stories and ways to connect to communities,” says
Charlie Rathbun, arts program director for 4Culture. “This program is an
opportunity for artists and audiences to engage in different contexts.”
Jane Kaplan, co-owner of Belltown’s Rendezvous JewelBox Theater, is
involved in two 2014 site-specific projects: video artist Stacie Bernstein’s
documentary Enumclaw Decades: 100 Years, as well as her own project,
The Box House, about Seattle’s legacy of underground, rowdy, liquor-fueled
entertainment spots.
“Nightlife has always played a large part in the politics of Seattle,” says
Kaplan. “These stories are still our stories.”
4 ENCORE STAGES
Black Forest rendering
HANS BAUMANN
4Culture Program Pushes History
She’s excited to dig into the University of Washington’s and Seattle
Public Library’s archives and breathe life into true accounts of Seattle’s
colorful, turn-of-the-20th century characters, gun shootouts and Perry
Mason-esque court trials. The Box House will launch next fall at the
JewelBox.
For another project, the South King County Cultural Coalition
(SoCo) is organizing an unprecedented project among the Federal
Way, Highline, Kent and Tukwila Historical Societies to celebrate the
150th anniversary of Military Road, one of Washington’s oldest routes.
Spanning from Fort Steilacoom to Seattle, Military Road established
telegraph communication for early settlers. As part of the project, SoCo
is partnering with the Seattle-Tacoma Chapter of the Morse Telegraph
Club, which will set up stations where people can send telegraphs.
“You get a sense of the technology through the clackety-clack of the
[telegraph] keys. It engages your imagination,” says SoCo administrator
Barbara McMichael.
The majority of 4Culture’s site-specific projects are free to the public.
Many are still in development, and projects will occur throughout the
year, with a full schedule available in late March. DEANNA DUFF
A
romantic new musical based on the classic E. M. Forster novel that inspired the Merchant Ivory film.
If you love Downton Abbey, you’ll be enchanted by A Room with a View.
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6 ENCORE STAGES
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Last year, a subtle, atmospheric thriller shot by
a Seattle production company collected various
awards on the festival circuit and won acclaim
from the horror press. Now it’s about to be
unleashed on the rest of the world in high-profile
BC
fashion.
In The Invoking, originally titled Sader Ridge,
a young woman visits a property she’s inherited
from a long-lost relative, awakening a flood of
repressed memories and setting into motion a
chain of events that put her and her best friends
in jeopardy. Despite its cliché set-up, The Invoking
eschews blood and sensationalism in favor of
slow-burning unease and an unpredictable
structure. It takes time and care in introducing its
small cast of characters, an abject rarity in today’s
horror films.
“There’s a ton of horror being made right now,”
says director Jeremy Berg, “but people like that
The Invoking delves into the characters.”
In 2011, Berg, screenwriter John Portanova
and Berg’s San Diego-based childhood pal Matt
Medisch formed their production company—
The October People—specifically to make The
Invoking. The movie shot in a single week on
location in Red Bluff, Calif., with a mostly Seattlebased cast and crew. Following its success among
fans and critics, the movie was acquired by
Ruthless Pictures and debuted Feb. 18 on DVD and
Video on Demand.
“We heard about [Ruthless] while we were on
the festival circuit, so we reached out to them, and
they asked for a screener,” Portanova says. “They
had a lot of experience with low-budget horror.”
Portanova and Berg are talking about their debut
feature over pizza and an Italian horror flick—
Mario Bava’s Kill, Baby, Kill—and they’re certifiably stoked.
Ruthless founder Jesse Baget, a horror film
director himself, suggested re-titling the movie,
but otherwise the film remains unchanged from
its original 2012 final cut.
“They were fine with what we delivered,”
Portanova says. “Honestly, if it did come down
to changing the movie in a big way, we wouldn’t
have gone with the deal. We want to get the movie
out to as wide an audience as possible, but we
didn’t want to sacrifice our artistic vision just to
sell it.”
Image Entertainment, the company behind
digital editions of classic horror films like Night of
the Living Dead, is handling distribution for The
Invoking.
The high-profile distribution deal spells greater
visibility for The October People’s future projects,
which include Valley of the Sasquatch, a team-up
with another upstart Seattle production
1/22/14 12:59company,
PM
Votiv Films. “It’s a siege film—Night of the Living
Dead, but with Bigfoot,” Portanova says. TONY KAY
01
CHONA KASINGER
F RO M C I T Y A RT S M A G A Z I N E
Guests dig into a recent Pantry family dinner.
How to Cook
a Community
BY GEMMA WILSON
IT’S FREEZING OUTSIDE the front door of
the Pantry at Delancey, situated up a wide,
oasis-like garden path off of a quiet Ballard
side street. But inside, the inviting warmth
is overwhelming. Painted white walls and a
low, beamed ceiling frame a massive farm
table, surrounded by ocean blue metal bar
chairs. On a recent Sunday night, 16 cooking students have gathered, wearing soft,
off-white aprons and sipping wine before
class gets started. It’s impossible not to feel
welcome.
After introductions around the table, the
Pantry’s in-house chef Kim Cozzetto Maynard
kicks off a class on Oaxacan mole. Soon
everyone is hard at work—reaming limes,
charring tomatoes, toasting nuts. Chatter fills
the space as people share tips, ask questions,
loosen up and get to know their neighbors.
“Community building was definitely
the thing,” says Pantry co-founder Brandi
Henderson, sipping Prosecco next door
at Essex, the cocktail bar attached to the
Pantry’s namesake restaurant, Delancey.
“I was trying to tap into what attracted me
BIR 022414 truth 1_6v.pdf
Nonhlanhla Kheswa in The Suit. Photo by Johan Persson
The Pantry at Delancey
breaks the mold
on breaking bread.
“Pretty close to perfect”—The New York Times
SRT
MARCH 19—APRIL 6, 2014
based on The Suit by Can
Themba, Mothobi Mutloatse, and Barney Simon
Peter Brook
direction, adaptation, and music by
,
Marie-Hélène Estienne, and Franck Krawczyk
The US tour of The Suit is produced by David Eden Productions, Ltd.
206–443–2222 seattlerep.org
season
sponsor
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NESHOLM FAMILY
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E N C O R E A RT S N E W S
Culture
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Special event
INCITE•INSIGHT: CoNTEmporary
arT afTEr THE STudIo
pablo HElGuEra
Mar. 27, 7 p.m.
henry Auditorium
A partnership with the henry Art Gallery
theater/performance production
THE SECrET GardEN
Apr. 9-12
Book and lyrics by Marsha norman, music by Lucy simon
directed by Timothy Mccuen Piggee, choreographed by
dannul dailey and Tinka Gutrick-dailey, music direction
by Joshua Zimmerman
cornish Playhouse at seattle center
corniSh muSic SerieS
WomEN IN muSIC
Apr. 13, 7 p.m.
Mara Gearman, Paul Taub, valerie Muzzolini Gordon,
oksana ezhokina and Matt Kocmieroski explore works
for viola by female composers.
Poncho hall
dance
CorNISH daNCE THEaTEr
SprING 2014 CoNCErT
Apr. 18 & 19
Broadway Performance hall
choreography by iyun Ashani harrison, Jamie Karlovich,
Zoe scofield & deborah Wolf.
Tickets: cornish.edu/evenTs or call 800.838.3006
to food, which was the idea of people sitting
down and breaking bread. I wanted to find
how to capture that connection in a business
model.”
Henderson first came to Seattle in 2009 to
celebrate a friend from architecture school
who’d completed her first big project: a pizza
restaurant called Delancey. She got to chatting
with the restaurant’s owners, Brandon Pettit
and Molly Wizenberg (of popular food blog
Orangette), who were looking for a pastry chef.
Henderson is one—she went to culinary school
while working as an architect and switched
professions while interning at San Francisco’s
award-winning Tartine Bakery. Serendipity
struck and five weeks later, Henderson and her
fiancé (now husband) moved to Seattle.
When a tenant in the space behind
Delancey moved out in 2011, Henderson had
a chance to bring to life an idea she had for a
community-centric kitchen space. But what
would the space be? Her interest in the craft
food movement swayed her toward classes,
but she also wanted to host family dinners,
where people could just come together and
eat. When the Pantry opened that summer,
it offered six classes a month. Now it offers
32, priced around $75, and they sell quickly.
Upcoming classes like winter risotto, birthday
layer cakes, the curries of Asia, the whole crab
and home brewery and are all well on their
way to maxing out.
“I think of it as an art show that I get to
curate every quarter,” Henderson says.
In addition to classes taught by staff
(including Henderson’s ever-popular classes
on pizza and pie), the Pantry has a lengthy
roster of impressive guests. Russ Flint of
Rain Shadow Meats has taught butchery and
charcuterie. Lissa James from Hama Hama
Seafood teaches “Oysters 101.” Anna Wallace
from the Walrus and the Carpenter teaches
cocktail classes. Sheri Lavigne from the Calf &
Kid teaches cheese appreciation and pairing.
Rob Tallon from Mighty Ramen taught a startto-finish ramen class—from boiling pig trotters
for broth to rolling soba noodles. Classes are
technique-based, instead of menu-focused;
Henderson wants you to write your own
recipes.
Family dinners are also very much a part of
the Pantry community fabric. Several times
a month, 24 people come together to enjoy a
five-course dinner, prepared by Pantry staff
chefs. For $90, these high-concept menus (upcoming themes are “In Celebration of Tea” and
“The South of France”) come complete with
wine pairings and, often, new friends.
Henderson also recently started offering
a less formal alternative to the pricey family
dinner: a potluck supper at which a cookbook
is chosen, everyone signs up to cook a dish
from the book, then sits down to Henderson’s
favorite event—a big ol’ dinner party. n
THE PANTRY AT DELANCEY
1417 NW 70th Street
8 ENCORE STAGES
2013-14 SEASON
Chris Thile | October 1, 2013
AXIS Dance Company | October 3-5, 2013
Emerson String Quartet | October 15, 2013
Mariza | October 25, 2013
MOMIX | October 31-November 2, 2013
AnDa Union | November 8, 2013
* SITI Company: Café Variations | November 14-16, 2013
Modigliani Quartet | November 19, 2013
Garrick Ohlsson | January 15, 2014
A Far Cry | January 16, 2014
Grupo Corpo | January 23-25, 2014
SPECIAL THANKS TO OUR LEAD SPONSORS
Béla Fleck and Brooklyn Rider | February 4, 2014
Joyce Yang | February 19, 2014
Cloud Gate Dance Theatre of Taiwan | March 6-8, 2014
* JACK Quartet | March 15, 2014
Richard Goode | March 20, 2014
CIRCA | March 22-23, 2014
Ballet du Grand Théâtre de Genève | April 3-5, 2014
Trio con Brio Copenhagen | April 8, 2014
Soweto Gospel Choir | April 12, 2014
STUDIO SERIES SPONSOR
André Watts | April 15, 2014
Hilary Hahn | April 29, 2014
Alonzo King LINES Ballet | May 1-3, 2014
David Finckel, Wu Han, Phil Setzer | May 21, 2014
* Robert Moses’ Kin | May 29-31, 2014
* Studio Series event
uwworldseries.org | 206-543-4880
Director's Welcome
Dear Friends,
More than a year ago, the World Series was presented with the incredible opportunity to host Cloud Gate,
the foremost contemporary dance company in all of Asia, for its debut performance in the U.S. Pacific
Northwest. Those of you who are winter Olympics fans might remember this group—they opened the
Vancouver 2010 Cultural Olympiad.
Bringing this company and its legendary choreographer, Lin Hwai-min, to Seattle is an enormous honor and
also an enormous undertaking—in addition to 39 dancers, the performance also features 3.5 tons of rice! We
couldn’t have done it without the support of the Taiwanese business community in Seattle and on the Eastside.
Cloud Gate will be performing Lin Hwai-min’s evening-length piece, Songs of the Wanderers, a work that
presents audiences with an aesthetic that’s very different from what we’re used to in the West. Part of our
mission here at the World Series is to fuel artistic discovery, life-long learning, and cultural exchange; we
believe Cloud Gate offers a perfect opportunity for Western audiences to open up to a different way of
thinking about dance.
In addition to Cloud Gate, we’re excited to be welcoming Richard Goode back for the President’s Piano
Series. Goode is a true musician’s musician and one of my favorites of the season.
And we’ll end March with three days of performances by Australia’s premiere cirque group, Circa. Circus is
a relatively new genre for us, and this highly athletic cirque with a contemporary sensibility is redefining the
nature of the art form.
We hope you enjoy your evening, and we’re so glad you came.
Warm regards,
Michelle Witt
Executive Director of Meany Hall & Artistic Director of UW World Series
A-2 UW WORLD SERIES
World Dance Series
March 6-8, 2014
Special thanks to our Title Sponsors:
CLOUD
GATE
DANCE THEATRE OF TAIWAN
photo: YU Hui-hung
Media Partners:
UW World Series would like to thank
the following donors for their support
of this evening’s program:
Kenneth and Marleen Alhadeff
Linda and Tom Allen
Nancy D. Alvord
JC and Renee Cannon
Katharyn Alvord Gerlich
Catherine and David Hughes
Glenn Kawaskai, Ph.D.
Cecilia Paul and Harry Reinert
Eric and Margaret Rothchild
Joseph Saitta
Lee and Judy Talner
206-543-4880
uwworldseries.org
This tour is made possible by grants from the Ministry of Culture,
and the Ministry of Foreign Aﬀairs, Republic of China (Taiwan)
Cloud Gate Dance Theatre of Taiwan
5F, #19 Lane 231, Fu-hsing N. Rd., Taipei 105, Taiwan
Tel:+886-2-2712-2102; Fax: +886-2-2712-2106
E-mail: [email protected]; Website: www.cloudgate.org.tw
encore artsseattle.com A-3
Special thanks to our
Community Sponsors
Seattle Taiwanese Stray
Animals Care Society
James Buckley, Buckley & Associates
Michael Chang, EVA Air
Andy Chin, Director General, Taipei
Economic & Culture Office in Seattle
Christine Chen, Pacific Asia
Pro-Health Foundation
Elizabeth Chen
Choreography: LIN Hwai-min
Music: Georgian Folk Songs by Ensemble Rustavi of Georgia
Lighting Design: CHANG Tsan-tao
Set Design: Austin WANG
Costume Design: Taurus WAH
Props Design: SZU Chien-hua | YANG Cheng-yung
Liang C. Chen
John Chou, Asia Today
Taidi Fong, Reliance Mortgage
Victoria Hou, Golden International
Import & Export
Dr. Eugene Hsu, DDS
Ted Hsueh, Director, Chinese Culture Center
Dr. Ming Hsiung Huang, DDS
Chang Chi Hwang, Seattle Taiwanese
Stray Animal Care Society
Tiffany Kan, Northwest Association of
Chinese Language Schools
Hsiao-Lin Sun, China Harbor Restaurant
Thomas Wolf, Vinos Argentinos
undiscovered wines
Shiao Yen Wu, WPI Real Estate Services
A-4 UW WORLD SERIES
Premiere
November 4, 1994
National Theater, Taipei, Taiwan
90 minutes with no intermission
Prayer I
WANG Rong-yu
Holy River
CHEN Wei-an | CHIU I-wen | HOU Tang-li | HSIAO Tzu-ping
HUANG Lu-kai | HUANG Mei-ya | KO Wan-chun | LEE Tsung-hsuan | LEE Tzu-chun
LIU Hui-ling | SU I-ping | TSAI Ming-yuan | WONG Lap-cheong | YANG I-chun
Prayer II
HUANG Pei-hua
On the Road I
CHEN Mu-han | HSIAO Tzu-ping | KO Wan-chun
KUO Tzu-wei | LEE Tzu-chun | WONG Po-nien
Rite of Tree
CHEN Wei-an | HSIAO Tzu-ping | HUANG Mei-ya
KUO Tzu-wei | LAI Chun-wei | LEE Tsung-hsuan
LIU Hui-ling | WANG Po-nien | WONG Lap-cheong | YANG I-chun
Prayer III
HOU Tang-li
On the Road II
CHEN Mu-han | HUANG Lu-kai | LEE Tsung-hsuan
SU I-ping | TSAI Ming-yuan | WONG Lap-cheong
Rite of Fire
CHEN Tsung-chiao | HUANG Hsiao-che | KO Wan-chun
LAI Chun-wei | LIU Hui-ling | LEE Tsung-hsuan | TSAI Ming-yuan
WANG Po-nien | WONG Lap-cheong | YANG I-chun
Prayer IV
CHEN Tsung-chiao | CHIU I-wen | HUANG Hsiao-che | HUANG Mei-ya
HUANG Pei-hua | KUO Tzu-wei | LAI Chun-wei
LEE Tsung-hsuan | LEE Tzu-chun | SU I-ping | WONG Lap-cheong
Finale or the Beginning
LIN Hsin-fang
There is no happiness for him who does not travel, Rohita!
Thus we have heard. Living in the society of men,
the best man becomes a sinner...
Therefore, wander!
The feet of the wanderer are like the flower, his soul is
growing and reaping the fruit; and all his sins are destroyed
by his fatigues in wandering.
Therefore, wander!
The fortune of him who is sitting, sits; it rises when he rises;
it sleeps when he sleeps; it moves when he moves.
Therefore, wander!
—The God Indra urges the life of the road
upon a young man named Rohita in Aitareya Brahmana
A-6 UW WORLD SERIES
photo: YU Hui-hung
About Songs of the Wanderers
A monk stands still at a downstage
corner throughout the 90-minute
performance, while a shimmering
stream of rice grains showering from
above and onto his shaved head.
Golden rice grains on stage transform
from a river to hills to a desert. Rice
grains shower like a summer storm
and waterfalls. Onto this landscape,
dancers in ragged garb holding a tall
staff, move slowly in a pilgrim journey.
Inspired by the wealth of religious
practices found throughout Asia,
and Herman Hesse’s account of
Siddhartha’s quest for enlightenment,
Lin Hwai-min transforms ancient rites
into resonant dance theatre.
A visually stunning paean to spiritual
pilgrimage, Songs of the Wanderers creates
a world of intense reverence, distinctly
Asian in its imagery yet with powerful
relevance far beyond Asia. Spiritually
evocative movements set to soulful
Georgian folksongs are brought to life
on a truly astonishing set with 3½ tons
of shimmering golden grains of rice.
The production has been toured to
more than 20 countries, acclaimed a
masterpiece at festivals and theatres,
including the Internationales
Tanzfestival NRW directed by the late
Pina Bausch, the Next Wave Festival
in New York, the American Dance
Festival, Paris quartier d’été, the Bergen
International Festival, Lucerne Festival,
Jacob’s Pillow Dance Festival, Festival
Iberoamericano de teatro de Bogotá,
International Festival of Contemporary
Dance and Movement Theatre TANEC
A-8 UW WORLD SERIES
PRAHA in Prague, Dublin Dance
Festival, the Chekhov International
Theatre Festival in Moscow, the Athens
Festival at the Odeon of Herodes Atticus
on the Acropolis, the Lyon Biennale
de la Danse, the Adelaide Festival, and
major venues in London, Berlin, Rome,
Copenhagen, Melbourne, São Paulo,
Beijing, Shanghai, Guangzhou, and
Hong Kong.
Since 2011, Songs of the Wanderers
has also been presented with the
live accompaniment of the Rustavi
Ensemble of Georgia around the
world, including the Dresdner
Musikfestspiele at the HELLERAU European Center for the Arts Dresden,
the Tanzsommer Innsbruck, the
Istana Budaya Kuala Lumpur, and the
Taiwan International Festival of Arts
at the National Theater, Taipei.
Journey to Bodhgaya
By Lin Hwai-min
I do not know when the name
Bodhgaya first entered my mind. For
a few years I wanted to go there badly,
even if I didn't know what I would do
once I got there. I only knew it was
in Bodhgaya that Buddha attained his
enlightenment under a bodhi tree. In
the summer of 1994, when I finally
had a few free days, I hurriedly booked
an air ticket. Still I did not know why
I had set my mind on going.
Bodhgaya was a village with only a
muddy track for access. Little shops
and open-air stalls gathered around
the compound of Mahabodhi Temple
to form a market. Constructed in the
sixth century, the Mahabodhi stupa,
a stone structure, was 50 meters tall.
Standing in the temple courtyard, it
ascended towards the blue sky. To the
back of the stupa stood a bodhi tree, a
fourth generation descendent in 2,500
years; its trunk spreading into infinity,
and its leaves and branches shielding
over mortal souls. The Diamond Seat
of Buddha sat beneath the tree; a fence
had been set up around it. Monks
and pilgrims of different nationalities
sat on the ground outside the fence.
Under the guidance of the monks, the
pilgrims chanted Buddhist scriptures.
Between the rising and falling of
the chanting, one could hear birds
twittering from near and afar.
In the afternoon I would sit on the
banks of the Neranjra River outside
of the Temple compound and stare
blankly at it. The water was muddy
and seemed motionless. From time
to time, a big bubble would break
out and pop, to remind one of the
turbulent life coursing underneath the
smooth surface of the river.
I suppose that the Neranjra river
which Buddha saw would have been
flowing in much the same way. It was
in the grove of trees on the opposite
shore that Prince Siddhartha engaged
in six years of ascetic practice on a
daily diet of sesame seeds and a grain
of wheat, at last reducing himself
to skin-and-bones before realizing
that this consuming desire to be
enlightened was the biggest obstacle to
his enlightenment.
So Prince Siddhartha accepted the
offerings of a village maiden. He
crossed the river to take his place in
the diamond seat that destiny had
prepared for him.
I stood on the river bank and
marveled at Buddha's determination
to cross the river.
To turn away from the world and
become self-reliant, to live the life of
a hermit and practice asceticism, is
completion of the self. To receive, to
accept another person's bodily warmth
was for Buddha, at the moment of
receiving, a return to the world of birth,
old age, illness, and death. Having
crossed the river himself, Buddha
would now guide humanity to cross it.
The Agama Scripture tells us that, at
the time of his nirvana, Buddha did
not, as popular Buddhist mythology
would have us believe, take leave of
the world easily. He summoned his
beloved disciple, Ananda, to give him
detailed instructions on his cremation
and the construction of the stupa. It
was too much for Ananda to bear, and
he ran into the woods to cry. Buddha
heard him crying and called him back
to his side and comforted him. There
is infinite beauty within the beauty of
nirvana – the reluctance to leave, and
the reluctance to let go.
On the bank of the Neranjra River, I
realized for the first time in my life that
Buddha was an ordinary mortal who
also endured human confusion and
struggle. Out of his compassion, he
practiced asceticism and meditation,
and pointed out to us the path of
salvation. I felt warmth and was filled
with love and admiration for Buddha.
I sat quietly under the bodhi tree,
shoulder to shoulder with the monks.
I opened my eyes, and saw sunlight
coming from the top of the stupa
through the branches to land directly
on my forehead. My heart became
full of joy; I felt a quietude that I had
never experienced.
Back in Taipei, I often remembered
the cool bodhi tree, and the Neranjra
River that ran quietly through time.
Every day the dancers of Cloud Gate
Dance Theatre of Taiwan meditated.
I created Songs of the Wanderers with
great ease, a work about practicing
asceticism, the river's mildness, and
the quest for quietude.
As I review this piece of work from
1994, it feels as though I am studying
an entry in my diary. The memory of
the journey to Budhgaya causes my
heart to be overcome with joy, which I
hope can be shared with the audience
of Songs of the Wanderers.
About Cloud Gate Dance
Theatre of Taiwan
Cloud Gate is the name of the
oldest known dance in China. In
1973, choreographer Lin Hwai-min
adopted this classical name for the first
contemporary dance company in any
Chinese speaking community.
Its 24 dancers receive trainings of
meditation, Qi Gong, an ancient
form of breathing exercise, internal
martial arts, modern dance, ballet,
and calligraphy. Through Lin Hwaimin’s choreographies the company
transforms ancient aesthetics into
The Bellingham Festival of Music
presents a Special Event
Violinist
HILARY
HAHN
in Recital
APRIL 28, 2014
Western Washington University
Performing Arts Center
Tickets are$35 and $45. A limited number of premium tickets, at $75,
will include a post-recital reception with Hilary Hahn
Tickets on Sale from the WWU Box Office (360) 650-6146
http://purchase.tickets.com/buy/TicketPurchase?organ_val=22357
JULY 5 – 20, 2014
Michael Palmer, Artistic Director
and the Festival Orchestra and Chorus
Includes Major Works by Brahms, Elgar, Mozart, Prokofiev, and Schumann
Visit the Website for a Complete List of Artists, Programs, and Venues
bellinghamfestival.org • (360) 201–6621 • facebook.com/bellingham.festival
BFM
thrilling modern celebration of
motion. Cloud Gate dancers make
stillness as eloquent as animation.
Cloud Gate has toured extensively
with frequent engagements at the Next
Wave Festival in New York, the Sadler's
Wells Theatre and Barbican Centre
in London, the Moscow Chekhov
International Theatre Festival, and the
Internationales Tanzfest NRW directed
by Pina Bausch.
In 2003, Cloud Gate opened the
Melbourne International Arts Festival
with Cursive II (now known as Pine
Smoke), winning both the Age Critics’
Award and the Patrons’ Award; while
Moon Water was named the best dance
of the year by The New York Times. In
2006, Cursive: A Trilogy was chosen
as the best dance choreography of the
year as a result of critics’ poll by BalletTanz and Theater Heute.
At home, Cloud Gate also enjoys high
acclaim and popularity. In addition
to the regular seasons in theatres, the
company stages annual free outdoor
performances in various cities in
Taiwan, drawing audiences of up to
60,000 per performance.
named Fu-Hsing North Road Lane
231, home of Cloud Gate’s office,
as “Cloud Gate Lane.” In 2010, a
new asteroid, discovered by National
Central University, Taiwan, was
named after Cloud Gate.
Most of Cloud Gate's productions
have been made into videos. Among
them, Songs of the Wanderers, Moon
Water, Bamboo Dream, and Cursive
II (now known as Pine Smoke) were
filmed in Europe.
About LIN Hwai-min
In his homeland, Taiwan, Lin Hwaimin was first known as a critically
acclaimed writer. In 1969, at the age
of 22 and with two books of fiction
published, he went to study in the
States and obtained a Master of Fine
Arts degree from the Writer’s Workshop
at the University of Iowa. He also
studied modern dance at the University
and in New York.
photo: LIU Chen-hsiang
To perform for grass-roots
communities, and to foster young
choreographers in Taiwan, Cloud
Gate 2 was founded in 1999. In
1998, Cloud Gate Dance School was
founded to bring the joy of dance to
students, aged 4 to 84.
Honouring Lin Hwai-min with a
Lifetime Achievement Award in
2009, the jury of the International
Movimentos Dance Prize, Germany,
hailed him as “a foremost innovator of
dance” and said that “Lin Hwai-min
ranks amongst artists of the century
such as William Forsythe, George
Balanchine, Birgit Cullberg….”
In 2003, in recognition of Cloud
Gate’s contribution to the cultural life
of Taipei, the Taipei City Government
In July 2013, Lin followed in the
footsteps of Martha Graham, Merce
Cunningham and Pina Bausch to
A-10 UW WORLD SERIES
receive the prestigious Samuel H.
Scripps/American Dance Festival
Award for Lifetime Achievement. The
Festival announcement stated that:
“Mr. Lin's fearless zeal for the art form
has established him as one of the most
dynamic and innovative choreographers
today...his choreographic brilliance
continues to push boundaries and
redefine the art form.” He is the first
recipient of this award who is based
in Asia. Invited by the International
Theatre Institute, Lin served as the
author for the 2013 International
Dance Day Message.
Lin Hwai-min founded Cloud Gate
Dance Theatre of Taiwan in 1973,
the Dance Department at the Taipei
National University of the Arts in
1983, and Cloud Gate 2 in 1999.
Heralded as “the most important
choreographer in Asia,” Lin often
draws his inspiration from traditional
Asian culture and aesthetics to create
original works with contemporary
resonance, which have made Dance
Europe acclaim: “No company in
the world dances like Cloud Gate.
It presents a distinct and mature
Chinese choreographic language. The
importance of this evolution in Asian
dance is no less profound than the
impact of Forsythe’s Ballett Frankfurt
on European classical ballet.”
Among the honours Lin Hwaimin has received are honorary
doctorates from six universities
in Taiwan and Hong Kong, the
Taiwan National Award for Arts,
the Ramon Magsaysay Award, the
John D. Rockefeller 3rd Award, the
award for ‘Best Choreographer’ at
the Lyon Biennial Dance Festival,
“Distinguished Artist Award”
presented by International Society for
the Performing Arts (ISPA), and the
Chevalier of the Order of Arts and
Letters from the French Ministry of
Culture. In 2005, he was honored by
Time Magazine as one of the “Asia’s
Heroes.” In 2013, he was awarded
by President Ma Ying Jeou with the
First Rank Order of Brilliant Star
with Special Grand Cordon. He is
the second artist, after film director
Ang Lee, to have been bestowed the
highest honor from the government
of Taiwan.
Lin Hwai-min has been the subject of
full-length television documentaries,
including Portraits Taiwan: Lin Hwaimin (Discovery Channel), Floating
on the Ground (Opus Arte), and Lin
Hwai-Min - Interface Between Worlds
(ARTE/ZDF). Since 2000, he has
served as the Artistic Director of
“Novel Dance Series” for the Novel
Hall for Performing Arts, Taipei
introducing contemporary dance to
audience in Taiwan. Choreographers
featured in the series include Eiko
and Koma, Meredith Monk, Susanne
Linke, Akram Kahn, Ea Sola, Sidi
Larbi Cherkaoui and Jerome Bel.
In 2012-13, Lin Hwai-min served
as the mentor of dance for Rolex
Mentor and Protégé Arts Initiative,
guiding Eduardo Fukushima, a young
Brazilian choreographer selected from
around the world by a panel of dance
experts.
About LEE Ching-chun
Associate Artistic Director
Lee Ching-chun obtained her MA
degree in Dance Studies from City
University of Laban Centre, London,
in 1999. In 2004, she received the
National Award for the Arts from
Taiwan National Culture and Arts
Foundation, the highest award for
artists in Taiwan.
Working with Cloud Gate since
1983, Ms. Lee has taken leading roles
in Lin Hwai-min’s works including
Wild Cursive, Cursive II (now known
as Pine Smoke), Cursive, The Road
to the Mountain, Smoke, Bamboo
Dream, Burning the Juniper Branches,
Portrait of the Families, Songs of the
Wanderers, Nine Songs, The Dream of
the Red Chamber, and Legacy. She has
also danced in Helen Lai’s The Rite
of Spring, Invisible Cities, La Vie en
Rose, and Frida.
Her choreographic works include
Woman and Man, Man and Woman
for Cloud Gate and While White
Is Revealing for Spotlight Dance
Company, both of which premiered
in 1996. In 1999, collaborating
with Canadian stage designer Tania
Etienne, she choreographed and
performed the dance solo work
Courtyard of Pearls. In 2006,
she choreographed Blossom and
Moonlight for Kaohsiung City Ballet
Company.
Serving as Rehearsal Director for 9
years, Ms. Lee was appointed as the
Associate Artistic Director in 2003.
In 2004 and 2005, she represented
Lin Hwai-min to re-stage his works,
Smoke and White, for Zurich Ballet
in Switzerland and Introdans in the
Netherlands respectively.
Ms. Lee is also the Chief Consultant
for Cloud Gate Dance School and
has helped to create and develop class
syllabuses for students aged from 4
to 84.
About CHANG Tsan-tao (1957-2010)
Lighting Designer
Acclaimed “a master painter in light”
by Chicago Sun-Times and “the best
lighting designer that theater currently
knows” by Germany’s Süddeutsche
Zeitung, Chang Tsan-tao held an MFA
in Design and Technical Production
from Brooklyn College, City
University of New York.
Chang worked with Cloud Gate
Dance Theatre of Taiwan since 1982
and from 1991 he served as Cloud
Gate’s Resident Lighting Designer
as well as the Technical and Lighting
Director until his unfortunate
passing due to Lymphoma in 2010.
Chang’s design works encompassed
operas, dance works, and theatre
productions. His major lighting
design achievements with Lin Hwaimin were Whisper of Flowers (2008),
Wind Shadow (2006), White (2006,
1998), Wild Cursive (2005), The
Road to the Mountain (2004), Smoke
(2002), Cursive (2001), Bamboo
Dream (2001), Moon Water (1998),
and Songs of the Wanderers (1994).
He had also designed lighting for
Diabolo Dance Theatre, Golden
Bough Theatre, Sun-Shier Dance
Theatre, Taipei Crossover Dance
Company, and Godot Theatre
Company.
In 1990, he designed the lighting
for the Taiwanese Opera, Chi Kung
the Miraculous Taoist Monk (1990)
by Ming Hua Yuan, presented at
the Beijing Asia Games. In the same
year, he also served as the lighting
director for Contemporary Legend
Theatre presenting The Kingdom of
Desire on its overseas premiere at
the National Theatre of London. In
2002, he was the lighting designer
for National Symphony Orchestra’s
presentation of the opera Tosca
directed by Lin Hwai-min.
About Austin M.C. WANG
Set Design
Lauded by Frankfurter Allgemeine
Zeitung that his stage design “creates
a magical room that unfolds a poetry
of its own,” Austin Mang-chao
Wang holds an MFA in Scenery and
Lighting Design from the University
of Southern California.
Wang’s key scenic designs for Cloud
Gate Dance Theatre of Taiwan
include The Road to the Mountain
(2004), Pine Smoke (2003, formerly
known as Cursive II), Smoke (2002),
Bamboo Dream (2001), Moon Water
(1998), Symphony of Sorrowful Songs
(1995), and Songs of the Wanderers
(1994). Other major design credits
include set designs for Creative
Society, National Symphony
Orchestra’s opera directed by Lin
Hwai-min, and Lincoln Center
in the United States; and lighting
designs for Creative Society, Tai
Gu Tales Dance Theatre, and
Contemporary Legend Theatre.
Currently serving as Technical
Design Director for Creative Society,
Wang has taken offices as Chairman
of Publish & Communication
Commission of OISTAT
(Organisation Internationale des
Scenographes, Techniciens et
Architectes de Theatre), President
of TATT (Taiwan Association of
Theatre Technology) from 2004
to 2006, Jury for PQ07, Technical
Manager and Stage Manager at
National Theater in Taipei, and
Technical Director at China Times
Performing Arts Center.
In 2013, Wang was appointed as the
Director of the Taipei Arts Center, a
new performing arts center in Taipei
City to be inaugurated in 2016.
About Taurus WAH
Costume Design
A former dancer trained with
renowned ballet teacher Joan
Campbell in Hong Kong during his
teens, Taurus Wah holds a Master
of Arts Degree in Scenography from
Central St. Martin's College of Art &
Design in London under a fellowship
from the British Council. In June
of 1995, Wah represented Hong
Kong to participate in the Prague
Quadrennial of Theatre Design and
Architecture in the Czech Republic.
Founded an independent production
house Open Daily, Wah has been
involved in various fields of the arts
community for many years with
experiences in arts administration
as well as graphic and theatrical
designs. His theatrical experiences
as costume and set designer include
productions with Cloud Gate Dance
Theatre of Taiwan for Songs of the
Wanderers, and for The Rite of Spring
and Invisible Cities by Helen Lai;
with City Contemporary Dance
Company of Hong Kong for The Rite
of Spring, Lam Mot, Invisible Cities,
Quadrille, and Six Dance Brocade;
and with Guangdong Modern Dance
Company of China for Nine Songs
(1994 New Version) and Ancestral
Vibrations.
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President's Piano Series
March 20, 2014
Special thanks to our Title Sponsor:
RICHARD GOODE
Tonight's Program
Janáček
Selections from On an Overgrown Path
Our Evenings
A Blown-away Leaf
Come with Us!
Good Night!
Media Partner:
Schumann
Lebhaft; Innig; Mit Humor; Ungeduldig; Einfach;
Sehr rasch; Nicht schnell; Frisch; Lebhaft;
Balladenmassig-Sehr rasch; Einfach; Mit Humor;
Wild und lustig; Zart und Singend; Frisch; Mit gutem
Humor;Wie aus der Ferne; Nicht schnell
Anonymous
Nancy D. Alvord
Linda Armstrong and the late
Aaron Lowin
The Bitners Family
Gail Erickson and Phil Lanum
Ernest and Elaine Henley
Kurt Kolb
Mina B. Person
David Vaskevitch
206-543-4880
uwworldseries.org
Davidsbündlertänze, Op. 6
Intermission
Debussy
Préludes, Book I
Les danseuses de Delphes: Lent et grave
Voiles: Modéré
Le vent dans la plaine: Animé
Les sons et les parfums tournent dans l’air du soir: Modéré
Les collines d’Anacapri: Très modéré
Des pas sur la neige: Triste et lent
Ce qu’a vu le vent d’ouest: Animé et tumultueux
Le fille aux cheveux de lin: Très calme et doucement expessif
La sérènade interrompue: Modérément animé
La cathédrale engloutie: Profondément calme
La danse de Puck: capricieux et léger
Minstrels: Modéré
About the Program
Selections from On an Overgrown Path
Leoš Janáček (1854–1928)
Leos Janáček must have been a patient
man, or at least one with a strong
sense of his own musical worth. Born
in the middle of the 19th century to
a large and poor family, he showed
musical talent early and pursued a
career in that field with tremendous
determination. Still in his teens, he
borrowed money to go to Prague to
study and completed a three-year
course at the Organ School in one
year. Despite his enthusiasm and
perseverance, fame did not thrust
itself upon the gifted musician until
relatively late in his career. Not until
1916, in his 63rd year, did he achieve
recognition with a performance of
his powerful opera Jenufa (completed
in 1908). He went on to write other
works for the stage—including
the operas Kát’a Kabanová and
The Cunning Little Vixen—and his
fervent large-scale Glagolitic Mass
(“Glagolitic” refers to a Medieval form
of the Czech language he chose for
his Mass in place of the customary
Latin). He also wrote a number of
colorful orchestral works, such as his
popular Sinfonietta and Taras Bulba,
that have maintained a foothold in the
symphonic repertory.
Because his reputation ultimately
has rested on his later works, he
has been viewed as a “modern”
composer, though one who remained
connected to an essentially tonal
vocabulary. Though by no means an
intentional primitivist in the manner
of Carl Orff, Janáček made little use
of counterpoint in his writing; he
preferred a strongly rhythmic and
melodic style.
In the first decade of the 20th century,
Janáček channeled his still-vibrant
love for his homeland into his two
books of piano miniatures titled On
an Overgrown Path. The work is not
merely evocative of a state of mind.
It is clearly autobiographical, with
several of the songlike pieces referring
to events recalled from his youth. A
fine pianist, Janáček’s writing for the
keyboard is idiomatic and imaginative.
The entire work enchants through
its fetching rhythms and bittersweet
melodies. Like Mussorgsky in Russia
and Debussy in France, Janáček
studied the speech patterns of his
native land, and infused them into his
music, never more so than in these by
turns haunting and delectable works.
The opening number, Our Evenings
portrays the half-light of dusk. The
main theme is constructed from
irregular phrases that are punctuated
by rustling or twittering sounds that
suggest birds or ground critters.
A Blown-away Leaf is nothing less
than a tender love song replete with
rhythms from spoken language;
its timbres mimic the sound of the
central-European dulcimer known as
a cimbalom. Come with Us is based
on a four-note fragment from a Czech
folk song, herein repeated more than
20 times. The lovely and gentle Good
Night is somewhat redolent of Brahms,
even in its understated melancholy
and nocturnal mood.
Davidsbündlertänze, Op. 6
RobeRt Schumann (1810–1856)
The credo of E.T.A. Hoffmann, the
early Romantic writer/composer much
esteemed by artists of his time, could
have been written by Robert Schumann:
“Music is the most romantic of all the
arts—one might almost say the only
genuinely romantic one—for its sole
subject is the infinite. Music discloses
to man an unknown realm, a world in
which he leaves behind him all definite
feelings to surrender himself to an
inexpressible longing.”
Having ruined his hand before a
promising career as pianist took off,
Schumann transferred his musical gift
into composition. Most of his solo
piano music derives from the 1830s,
including his Davidsbündlertänze,
composed in 1837. The title and the
music evoke the spirit of Schumann’s
imaginary brotherhood of like-minded
artists who wage perpetual battle against
the increasing Philistinism that to the
composer threatened the integrity and
deep meaning of the sacred art of music.
The work flows by as a continuous
sequence of 18 dance-inspired
numbers, its individual parts suggesting
homage to his also imaginary artistic
guides, the excitable Florestan and the
comparatively serene and contemplative
Eusebius. No doubt his growing love
for his future wife Clara Wieck infuses
the pages of this unabashedly romantic
outpouring of passion.
Movements 3, 4, 6, 10 and 12 are
often considered the bailiwick of
Florestan, while numbers 2, 5, 7, 11
and 14 fall into Eusebius’ sphere of
influence. As befits Schumann’s mental
image of these potent incorporeal
figures, the Florestan pieces are
generally faster and galvanic while
Eusebius handles the more legato and
lyrical side of Schumann’s musical
world. Clara’s presence is reflected
in the very opening mazurka-like
dance; she was its original composer.
The remaining sequence explores a
wide variety of emotions before the
final C-Major conclusion ends gently,
perhaps suggesting an unforced and
optimistic outcome in the ongoing
battle against the numerically superior
Philistines!
Global Rhythms 2013-14
Brian Faker, Curator
March 21
feat. legendary Celtic harpist
Máire Ní Chathasaigh
$20 advance/$25 at the door & ALWAYS $20 seniors/$17 Town Hall members/$10 students
WWW.TOWNHALLSEATTLE.ORG
Préludes, Book 1
cLaude debuSSy (1862–1918)
Music for solo piano occupied
Claude Debussy during most of
his life, including two livres of
Préludes published in 1910 and 1913
respectively. Both groups demonstrate
the composer’s gift for using the
piano’s sonorities in a truly innovative
manner at odds, for the most part,
with the 20th century’s treatment
of the keyboard instrument as a
percussion instrument rather than in
its traditional role as a bel canto vehicle
for lyrical utterance. In Chopin’s
Préludes—very much in the bel canto
style—we encounter a composer who
seems to be living his passions in his
music; in Debussy’s case we hear the
music of a keen observer, a master of
reflected light and life.
WSO 012914 duol 1_3s.pdf
Debussy did not expect that either set
of his Préludes should be performed
as a set; in his own recitals he typically
played only a few of them, mixed
TH 0
with other of his pianistic creations.
Further, in the hopes of preventing
audiences from falling prey to a
preconceived notion of what each
piece’s title connoted he placed the
undeniably evocative headings at the
end of each work.
The first Prélude, Les danseuses de
Delphes: Lent et grave limns an image
of Greek dancers as depicted on
ancient pottery and friezes. A sequence
of mildly dissonant chords proceeds
largely with single tones offset by spare
chords. The music conveys a kind of
stasis, as if frozen in time.
In Voiles (“Veils or sails”): Modéré
Debussy utilizes a whole-tone scale,
one of several such ventures designed
to free his music from major/minor
tonality. Descending scales with
rumblings in the bass underscore the
piece whose ambience is enriched by
upwardly sweeping scalar material.
In Le vent dans la plaine: Animé
Debussy instructs the pianist to play
“as light[ly] as possible” to suggest
the swirling energy of winds moving
through the plains. A bristling central
episode ultimately surrenders to
quietude as the wind ebbs into virtual
nothingness.
Les sons et les parfums tournent dans
l’air du soir: Modéré is an atmospheric
and dream-like reflection of
Baudelaire’s poem Harmonie du Soir
(“Harmony of the Evening”).
Les collines d’Anacapri: Très modéré
refers to the mountains of Capri. Belllike sounds are suggested in the quiet
opening moments and lead to the
primary motive, an energetic sound
picture of the wild tarantella. Serene
moments offer respite before the
prélude simply evaporates.
Debussy described Des pas sur la
neige: Triste et lent as “a sad and frozen
landscape” in which the music conveys
hesitant footsteps, to be performed
in a melancholy fashion per the
composer. An almost palpable sense of
chilling loneliness pervades the piece.
As with the third Prélude, Ce qu’a vu
le vent d’ouest: Animé et tumultueux
returns to evoke the wind, in this case
a thoroughly tempestuous weather
event, driven and utterly brilliant.
The eighth Prélude, La fille aux
cheveux de lin: Très calme et doucement
expessif is within the ken of a decent
amateur pianist with a feel for good
pedaling. The wistful lyricism of this
evocative piece in pentatonic mode
has assured its continued popularity to
this day.
La sérènade interrompue: Modérément
animé finds the composer in an ironic
state of mind. An earnest serenader
pleads amorously in 3/8 meter only
to be interrupted by a rivals stroking
in 2/4; all the while Debussy fondly
evokes the guitar-like conventions of
flamenco.
La cathédrale engloutie: Profondément
calme reflects Debussy’s imaginary
world of legend, in this instance
deriving from the story of the
mythical kingdom of Ys used earlier
by Édouard Lalo in his opera Le roi
d’Ys. Parallel fifths and octaves add a
sense of the unreality of myth. Deep
swirling figures in the bass evoke the
dark watery home of the cathedral,
which surges up above the sea before
submerging again to its virtually
unapproachable resting place.
A light-hearted sketch of Shakespeare’s
Puck dances in La danse de Puck:
capricieux et léger. Rapidly changing
harmonies and playful rhythmic
urging animate the piece.
Minstrels: Modéré reminds us of
Debussy’s fascination with and
fondness for the “Negro minstrel
shows” that were the rage in turn-ofthe-century Europe. A dollop of ironic
drollery infuses the music; Debussy
suggests an interpretation that is
“nervous and with humor.”
2014 © Steven Lowe
About Richard Goode
Richard Goode has been hailed
for music-making of tremendous
emotional power, depth and
expressiveness, and has been
acknowledged worldwide as one
of today’s leading interpreters of
Classical and Romantic music. In
regular performances with the major
orchestras, recitals in the world’s music
capitals, and through his extensive and
acclaimed Nonesuch recordings, he
has won a large and devoted following.
Gramophone magazine recently
captured the essence of what makes
Richard Goode such an original and
compelling artist: '‘Every time we hear
him, he impresses us as better than we
remembered, surprising us, surpassing
our expectations and communicating
perceptions that stay in the mind.”
In the 2013-2014 season, Mr. Goode
appears as soloist with such orchestras
as the New York Philharmonic
with David Zinman, the Chicago
Symphony with Mark Elder, the
Deutsches Symphonie-Orchester
Berlin with Herbert Blomstedt, and
the Royal Scottish National Orchestra
with Peter Oundjian, with whom he
will also appear in Toronto, Ottawa
and Montreal with the Toronto
Symphony. His always compelling
recitals will be heard at Carnegie Hall
in New York, in London, in Paris,
at the Aldeburgh Festival and on
leading concert and university series
around the world. In addition, he will
perform a chamber music concert
with members of Boston Symphony
Orchestra, and will hold master classes
at major conservatories and music
schools on both sides of the ocean.
Among the highlights of the 20122013 season were recitals in which,
for the first time in his career, Mr.
Goode performed the last three
Beethoven Sonatas in one program,
drawing capacity audiences and
raves in such cities as New York,
London and Berlin. The New York
Times, in reviewing his Carnegie Hall
performance, hailed his interpretations
as “majestic, profound readings."
Mr. Goode’s playing throughout
was organic and inspired, the noble,
introspective themes unfolding with a
simplicity that rendered them all the
more moving.” Recent seasons have
also included performances with the
Metropolitan Opera Orchestra led
by Fabio Luisi at Carnegie Hall; with
the Los Angeles Philharmonic and
Gustavo Dudamel; with Orpheus on
tour and at Carnegie Hall playing the
Schumann Concerto; and with the
Boston Symphony in Boston and on a
west coast tour
An exclusive Nonesuch recording
artist, Goode has made more than
two dozen recordings over the years,
ranging from solo and chamber
works to lieder and concertos. His
latest recording of the five Beethoven
concertos with the Budapest Festival
Orchestra and Iván Fischer was
released in 2009 to exceptional critical
acclaim, described as “a landmark
recording” by the Financial Times
and nominated for a Grammy award.
His 10-CD set of the complete
Beethoven sonatas cycle, the firstever by an American-born pianist,
was nominated for a Grammy and
has been ranked among the most
distinguished recordings of this
repertoire. Other recording highlights
include a series of Bach Partitas, a
duo recording with Dawn Upshaw,
and Mozart piano concertos with the
Orpheus Chamber Orchestra.
A native of New York, Richard Goode
studied with Elvira Szigeti and Claude
Frank, with Nadia Reisenberg at the
Mannes College of Music, and with
Rudolf Serkin at the Curtis Institute.
His numerous prizes over the years
include the Young Concert Artists
Award, First Prize in the Clara Haskil
Competition, the Avery Fisher Prize,
and a Grammy award for his recording
of the Brahms Sonatas with clarinetist
Richard Stoltzman. His first public
performances of the complete cycle
of Beethoven sonatas at Kansas City’s
Folly Theater and New York’s 92Y in
1987-88 brought him to international
attention being hailed by The New
York Times as “among the season’s
most important and memorable
events.” It was later performed with
great success at London’s Queen
Elizabeth Hall in 1994 and 1995.
Mr. Goode served, together with
Mitsuko Uchida, as co-Artistic
Director of the Marlboro Music
School and Festival in Marlboro,
Vermont from 1999 through 2013.
Participating initially at the age of
14, at what the New Yorker magazine
recently described as "the classical
world's most coveted retreat," he
has made a notable contribution
to this unique community over the
28 summers he has spent there. He
is married to the violinist Marcia
Weinfeld, and, when the Goodes are
not on tour, they and their collection
of some 5,000 volumes live in New
York City.
About the Piano Technicians
Susan Cady and Doug Wood
The expertise of Susan Cady and
Doug Wood contributes directly to
the excellent quality of the UW World
Series. Their skillful touch with our
piano is greatly appreciated.
World Music & Theatre Series
March 22-23, 2014
Special thanks to our Lead Sponsors:
Director
Yaron Lifschitz
Ensemble Members
Nathan Boyle
Jessica Connell
Casey Douglas
Daniel O’Brien
Brittannie Portelli
Kimberley Rossi
Duncan West
Media Partner:
Technical Director / Lighting Designer
Jason Organ
Costume Designer
Libby Mcdonnell
Nancy D. Alvord
Executive Producer, US Tour
ArKtype / Thomas O.kriegsmann
Director Of International Partnerships
Jennifer Cook
206-543-4880
uwworldseries.org
Circa acknowledges the assistance of the Australian Government through
the Australia Council, its arts funding and advisory body and the Queensland
Government through Arts Queensland.
About Circa
With the self-titled work CIRCA
audiences can expect to see amazing
circus skills in new and startling
configurations, bold and innovative
use of video and lights, a moving
soundtrack, and a muscular and
precise movement sensibility. CIRCA
is a work created for seven performers
from three of Circa’s previous works –
The Space Between, by the light of stars
that are no longer... and FURIOSO.
Over 75 intense minutes, the
performers move from highly
connected acrobatic and tumbling
sequences, through fast-paced intricate
scenes through to the hauntingly
beautiful closing scenes of by the light
of stars of stars that are no longer...
This is all embodied within Circa’s
signature style – combining poetic
physical beauty, extraordinary circus
skills and an immersive use of sound,
light and projection. The work is
accompanied by a soundtrack of Sigur
Ros, Leonard Cohen, Jacquel Brel,
and Radiohead, among others.
The Company’s' work is very fresh –
contemporary circus, acrobatic dance,
multi-media. But at the end of it all,
Circa’s work brings human emotion
to Circus. Its shows are deeply felt and
make audiences think and feel.
Artistic Director Yaron Lifschitz says
“We are all looking for some way to
make our work more powerful. In the
actuality of circus, in acrobatics, there is
immediacy, a danger and a skill that is
extraordinary. Many people want to tap
into this and use its power. Circa is lucky
because it is a circus, so it starts with
these elements. It is Circa’s basic script.
Rather than add circus to choreography,
they discover choreographic possibilities
inside circus.”
With Circa, Yaron has created works
such as by the light of stars that are
no longer…, Wunderkammer, How
Like an Angel, “S” and, most recently,
Beyond and Opus.
With work that has toured to 28
countries across six continents since
2006, the company is relevant across
cultures, audiences and venues. It’s the
appeal of something that is skillful but
hasn’t forgotten that to be human is, in
the first instance, to feel. Where other
companies tend to add elements (story,
character) Circa’s work is a stripped
back circus of the heart. It finds new
emotional landscapes inside what is
generally considered to be a spectacle.
Yaron lives in Brisbane with his son,
Oscar. His passion is creating works of
philosophical and poetic depth from
the traditional languages of circus.
About the Ensemble
About Yaron Lifschitz
Artistic Director Yaron Lifschitz
is a graduate of the University of
New South Wales, University of
Queensland and National Institute of
Dramatic Arts (NIDA) where he was
the youngest director ever accepted
into its prestigious graduate director’s
course. Since graduating, Yaron
has directed over 60 productions
including large-scale events, opera,
theatre, physical theatre, and circus.
His work has been seen in twenty-four
countries, across five continents by
over 500,000 people.
He was founding artistic director of
the Australian Museum’s theatre unit,
head tutor in directing at Australian
Theatre for Young People and has
been a regular guest tutor in directing
at NIDA since 1995. He is currently
artistic director and CEO of Circa.
Nathan Boyle has been a natural
performer his whole life. After
terrorising his parents at a young age
with handstands and cartwheels, his
parents saw his passion for performing
and acrobatics and enrolled him in
gymnastics. His passion for acrobatics
took him to sports acrobatics where
he represented and won titles for
New South Wales at many national
championships.
After accepting his position at The
National Institute of Circus Arts,
(NICA) Nathan specialised in
cloudswing, adagio, bungee trapeze
and teeterboard. A memorable
moment for Nathan whilst at NICA
was performing at an International
Circus Festival (CIRCA festival) in
Auch, France in 2009.
Nathan joined Circa as a full time
ensemble member in 2011 and has
since entertained audiences nationally
and internationally. Some highlights
for Nathan so far has been creating
and world premiering ”S” at Brisbane
Festival and travelling around
Australia performing CIRCA on the
National Roadworks Tour in 2012. He
is excited for all the new adventures
still to come.
a three-month Australian regional
tour of the Helpmann Award-winning
show CIRCA. Jessica says one of her
highlights was world premiering “S”
at the Brisbane Festival in September
2012, which was her first new creation
with the company. Jessica is excited to
continue touring with Circa in 2014.
Edinburgh Fringe, Watch This
Space and Galway International
Art Festivals. ThisSideUp was also
commissioned by the Sydney Festival
to create Smoke and Mirror, which
won Best New Australian Work, Best
Cabaret Performer and Best New
Score in the prestigious Helpmann
Awards.
Casey joined the Circa ensemble in
2012 and is looking forward to the
new challenges Circa will bring his
way, both for his mind and his body.
Casey Douglas was born in Perth,
Western Australia. Right from the
start, he was a hyperactive child
playing all the sports possible,
leading him to ten years as a
competitive gymnast.
Jessica Connell completed a Diploma
in circus arts at the National Institute
of Circus Arts (NICA) in Melbourne.
Formerly a member of the Flying
Fruit Fly Circus specializing in hulahoops and aerials, Jessica spent five
years performing around Australia
in a variety of productions. She also
contributed to A4’s first production,
Downpour in 2009.
In 2011 Jessica joined Circa where
she was part of an eight-month season
of Wunderkammer at the Chamäleon
Theatre in Berlin. She then performed
After completing his degree at the
National Institute of Circus Arts
(NICA) he received a grant for a
training project in France where he
completed further studies with seven
handstand professors from around the
European Federation of Professional
Circus Schools (FEDEC).
On returning to Melbourne, Casey
ran Hardy Street Productions, a
Circus Training and Arts Centre
before becoming a founding member
of ThisSideUp Acrobatics. Where
he performed in France, London,
Daniel O'Brien, born in 1992, has
been physically active throughout
his whole life, primarily focusing
on his gymnastics training in his
hometown and a few small gyms
along the Queensland coastline.
After high school Daniel made a
decision to transition from the sport
of gymnastics to a possible career
in circus performance. He decided
to move to Melbourne and study
at the National Institute of Circus
Arts (NICA), specialising in handbalancing and aerial straps, where
he gained his first experiences as a
performer. Daniel spends his spare
time feeding his unhealthy addiction
to video games or reading whatever
he can get his hands on.
After attending NICA for three
years, Daniel has fostered an
immense passion for circus, honed
his skills to a level, which has
allowed him to join Circa as an
ensemble member, and is excited to
see what new and exciting skills he
can bring to the company in 2014.
Brittannie Portelli has over 10
years experience in elite sport, and
so had the perfect foundations
to transition into circus. After
competing internationally in
both aerobic gymnastics and
synchronized swimming, she
wanted to combine her love for
physical movement with her passion
for performing. She completed the
three-year Bachelor Degree Program
at the National Institute of Circus
Arts (NICA) in 2010 where she
specialised as an aerialist. Shortly
after graduating, at the age of 20,
she started working with Circa as a
full-time ensemble member.
Whilst at Circa, Britt has
toured extensively and has many
highlights including 3 Helpmann
awards, an eight-month season of
Wunderkammer at the Chamaleon
Theater in Berlin, an Australian tour of
CIRCA and performing in New York
City and Montreal. Britt was involved
in the creation and premiere of “S” at
the Brisbane Festival 2012 as well as
one of the 14 acrobats to perform in
the world premiere of Opus. Kimberley Rossi grew up competing
in athletics and playing representative
AFL. After seeing one of Circa’s
show’s, Kimberley joined Circa’s youth
performance troupe Circa Zoo. After
two years of training and performing
Kimberley was given the opportunity
to be the very first member of fast
track, a program designed for young
and aspiring performers within Circa.
In 2011 Kimberley left Circa Zoo
and fast track and became a fulltime ensemble member. Since then
Kimberley has toured numerous
shows in various countries. One
of her highlights was performing
Wunderkammer at the Sydney Opera
House. Kimberley is excited about her
career with Circa and cannot wait to
see what the future brings.
Duncan West started his working life
as a fireman, somewhere along the
way he realised that the fun parts were
climbing trees, breaking into peoples
houses (helpfully, mostly to save
babies), carrying people and anything
involving a ladder. Seeking greener
fields he briefly considered a career
in petty larceny but instead segued
smoothly (via numerous face plants)
into circus. A relative newcomer to
the circus world he follows bravely in
the footsteps of his younger brother,
jumping nervously at funny noises
and giving in to the occasional urge
to put strange things up his nose. He
hopes to return to the Fire Brigade one
day with many new and exciting skills
to apply.
Duncan appears courtesy of Fire and
Rescue New South Wales.
Your Guide to Our Events at Meany Hall
Food and Beverage
Infrared Hearing Devices
Food and beverage stations are located in the main lobby and downstairs
at the Gallery Café on the east side of the lower lobby. The stations are
open one hour prior to the performances and at intermission.
Meany Hall is equipped with an infrared hearing system. Headsets are
available at no charge. A driver's license or credit card is required as
collateral. If you would like a headset, please speak with an usher.
Restrooms
Fragrances
Restrooms are located on the lower and upper lobby levels.
In consideration of patrons with scent allergies, please refrain from
wearing perfume, cologne, or scented lotions to a performance.
Late Arrival
Unless noted otherwise, all World Dance and World Music evening
performances begin at 8pm. Special Event, Piano, and Chamber Music
Series events begins at 7:30pm. Family Matinees start at 2pm. Out of
respect for the artists and seated patrons, late seating may be limited.
Late arrivals will be escorted into the theater at appropriate intervals, to
be determined by the artists and theater personnel.
Cell Phones, Cameras, and Other Electronic Devices
Please turn off these devices before performances. Because of
contractual obligations with our artists, the use of photographic
recording equipment is prohibited. Flash cameras can be disruptive
and dangerous to some artists.
Lost and Found
Contact the House Manager immediately following the performance
or contact the Meany Hall House Manager's office at
206-543-2010 or [email protected].
Evacuation
In case of fire or other emergency, please follow the instructions of
our ushers, who are trained to assist you. To ensure your safety, please
familiarize yourself with the exit routes nearest your seat.
Admission of Children
Children five years of age or older are welcome at all UW World
Series performances. A ticket is required for admission.
Wheelchair Seating
Wheelchair locations and seating for patrons with disabilities are
available. Requests for accommodation should be made when
purchasing tickets.
Smoking Policy
Smoking is not permitted on the University of Washington campus.
Cancellations
Due to unforeseen circumstances, we sometimes have to cancel or postpone
performances. All programs, dates, and artists are subject to change.
Parking Options
Limited, underground paid parking is available in the Central Plaza
Parking Garage, located underneath Meany Hall. There are also several
surface lots and on-street parking within walking distance of Meany.
Taxi Service
For Yellow Cab use only. To arrange door-to-door service, provide this
Meany Hall address: 4140 George Washington Lane
UWWS/Meany Address and Contact Information
• Meany Hall/UW World Series
University of Washington
Box 351150
Seattle, WA 98195-1150
Phone: 206-543-4882 | Fax: 206-685-2759
meany.org | uwworldseries.org
• UWArtsTicketOffice
1313 NE 41st Street
Seattle, WA 98105
Ph: 206-543-4880 | Toll-free: 800-859-5342 | Fax: 206-685-4141
Email: [email protected]
Office Hours: Mon-Fri, 11 AM – 6 PM
• MeanyHallBoxOffice
The Meany Hall Box Office opens one hour before the
performance and is located in Meany Hall's main entrance.
Tapestries Displayed on Stage
The artwork on display on stage during Piano and Chamber Music
events are tapestries woven by Danish artist Charlotte Schrøder.
Friends of the UW World Series
Many thanks to the following donors whose generous support make our programs possible:
Producer’s Circle
Distinguished Patron
($25,000+)
(between $1,000 and $2,499)
(between $500 and $999)
Mina B. Person
Anonymous
Stephen Alley and Amy Scott
Joseph Ashley
Cynthia and Christopher Bayley
Luther Black and Christina Wright
William Bollig
Stephen and Sylvia Burges
William Calvin and Katherine Graubard
Heidi Charleson
Wimsey J. N. Cherrington
Thomas Clement
Susan and Lewis Edelheit
In Memory of Mary Janice Fleck
Michael L. Furst
Lisa Garbrick
Bill and Ruth Gerberding
William Gleason
Helen Gurvich (D)
Wolfram and Linda Hansis
Stephen and Marie Heil
Susan Herring and Norman Wolf
Paul and Alice Hill
In Memory of Gene Hokanson
Hugues Hoppe and Sashi Raghupathy
Mary and Emily Hudspeth
Susan Knox and Weldon Ihrig
Bernita Jackson
Jennifer Jacobi and Erik Neumann
Ilga Jansons and Michael Dryfoos
Anne Johnson
Karen Koon
Leander Lauffer and Patricia Oquendo
Nathan Ma*
Ingeborg and Heinz Maine
Peter Tarczy-Hornoch and Candice McCoy
Tomilynn and Dean McManus
Peter and Linda Milgrom
Margaret Dora Morrison
Kevin Murphy and Karen Freeman
Jerry Parks and Bonny O'Connor
Alice Portz and Brad Smith
Stephen R. Poteet and Anne Shu-Wan Kao
Dick Roth and Charlene Curtiss
Donald and Toni Rupchock
Bela and Yolande Siki
Evelyn Simpson
Sigmund and Ann Snelson
Nepier Smith and Joan Affleck-Smith
Carrie Ann Sparlin
Ethel and Bob Story
Scott and Colleen Stromatt
Diana F. and Richard H. Thompson
Lorraine Toly
Ernest Vogel and Barbara Billings
Ellen Wallach and Thomas Darden
Michelle Witt and Hans Hoffmeister
Joanne Young
Anonymous (2)
Jean-Loup and Diane Baer
Jillian Barron and Jonas Simonis
Mel Belding and Kathy Brostoff
Cristi Benefield
Robert Bergman
Michael Bevan and Pamela Fink
Kalman Brauner and Amy Carlson
Heida Brenneke
Irvin and Hope Carnahan
Donald Cavanaugh
Timothy Clifford
Joan and Frank Conlon
Jill Conner
Leonard Costello and Patricia McKenzie
Richard Cuthbert and Cheryl Redd-Cuthbert
Robert Delisle
Suzanne Dewitt and Ari Steinberg
Robin and G. Douglas Ferguson
Robert C. Franklin
Sergey Genkin
Gerald Ginader and Karen Elledge
Lester Goldstein
Torsten and Daniela Grabs
Theodore and Sandra Greenlee
Carolyn and Gerald Grinstein
Arthur and Leah Grossman
Raymond and Dorothy Guth
Susan and Richard Hall
Steven Haney
Ron Hull
Paul Kassen
Aaron Katz and Kate Dougherty
Frank and JoAnna Lau
Michael Linenberger and Sallie Dacey
Arni Hope Litt
Theresa Marinelli
Dr. Michael and Nancy Matesky
Marcella Dobrasin McCaffray
John and Gail Mensher
Susan P. Mitchell
Mary Monfort and Kevin Coulombe
Paul and Susan Moulton
James and Pamela Murray
Anne Stevens Nolan
John O'Connell and Joyce Latino
Tracy and Todd Ostrem
Brian Pirie
Cyndie Phelps (D)
Geoffrey Prentiss
Nancy Robinson
Marcia Sohns and Mark Levy
Carol Swayne
Dennis Tiffany
Manijeh Vail
Bob and Andrea Watson
Eugene Webb and Marilyn Domoto Webb
Stephen and Debra Wescott
Wright Piano Studio Students
Director’s Circle
(between $10,000 and $24,999)
Kenneth and Marleen Alhadeff
Nancy D. Alvord
Gail Erickson and Phil Lanum
Lynn and Brian Grant
Ernest and Elaine Henley
Glenn Kawasaki, Ph.D.
Cecilia Paul and Harry Reinert
Lee and Judy Talner
Series Benefactor
(between $5,000 and $9,999)
Anonymous (2)
Linda Armstrong and Aaron Lowin
Linda and Tom Allen
The Bitners Family
JC and Renee Cannon
Martin Greene and Toby Saks (D)
Matthew and Christina Krashan
Hans and Kristin Mandt
Lois H. Rathvon
Joseph Saitta
Dave and Marcie Stone
Donald and Gloria Swisher
David Vaskevitch
Kathleen Wright
Event Sponsor
(between $2,500 and $4,999)
Cathryn Booth-LaForce and W Kenneth LaForce
Jeanne Dryfoos
Vasiliki Dwyer
Hellmut and Marcy Golde
Elizabeth Hebert and The Petunia Foundation
Richard and Nora Hinton
Catherine and David Hughes
Kim and Randy Kerr
Douglas F. King
Kurt Kolb
Sally Kincaid
Gregory Wallace and Craig Sheppard
George Wilson and Claire McClenny
*denotes in-kind donation
Patron
about this list About this list: This listing includes donors ($50 and above) to the UW World Series from July 1, 2012 through December 1, 2013. To change your
program listing or correct an error, please call us at (206) 685-2819. Contributions to the UW World Series are tax-deductible to the extent allowed by law. To make a
gift or for more information on donor benefits, please call (206) 685-2819 or visit uwworld.series.org/support-us
Great Performer
Anonymous (2)
Frank and Nola Allen
Charles Alpers and Ingrid Peterson
Lauralyn Andrews
Gretchen and Basil Anex
Mary Ann Berrie
Dennis Birch and Evette Ludman
Nancy and Edward Birdwell
Gene Brenowitz and Karen Domino
Nathaniel R. Brown
Jason Bubolz
Dave Buck
Kevin Burnside
Leo Butzel and Roberta Reaber
Elizabeth Cantrell
M.G.A. Charlesworth
Daniel and Sandra Ciske
Monica Clare Connors
Karen Conoley and Arthur Verharen
Consuelo and Gary Corbett
Donald Cumming and Margaret Kenly
Leroy and Marybeth Dart
Frederick Davis and Harriet Platts
Kenneth Dayton
Dr. Barbara DeCoster
Arlene B. Ehrlich
Susan Elliot
Luther and Gladys Engelbrecht
Jean Burch Falls
Eric and Polly Feigl
Eckhard and Susanna Fischer
Janet Geier and Peter Seitel
Genevra Gerhart
Gene Graham
Laurie Griffith
Tim Groggel
Chris and Amy Gulick
David Gutsche
G. Lester and Lucille Harms
Steve and Sarah Hauschka
Missy Hoo
Randy and Gwen Houser
David Isla
Marcia Kamin
Sumedh Kanetkar
Gail and David Karges
David Kimelman and Karen Butner
Richard Kost
Lisa Kroese
Gregory Kusnick and Karen Gustafson
Christopher Landman and Julia Sommerfeld
Rhoda and Thomas Lawrence
Emily J. Levy
Margaret Levi and Robert Kaplan
Dennis Lund and Martha Taylor
Jeffrey and Barbara Mandula
Connie Mao
Robin L. McCabe
Wayne McCleskey
Christopher and Mary Meek
Mary Mikkelsen
Rik Muroya
Charles Nelson
John Nemanich and Ellendee Pepper
Margarete Noe
Blair Osborn and Alice Cunningham
Carol and Simon Ottenberg
Richard and Sally Parks
James and Louise Peterson
Irene M. Piekarski
Carla Rickerson
Joy Rogers and Bob Parker
Janet and John Rusin
Cathy Sarkowsky
Mark and Patti Seklemian
Giles and Sue Shepherd
Roger Simpson
David Skar and Kathleen Lindberg
Kaj Sonjia
Derek Storm and Cynthia Gossett
Richard Szeliski and Lyn McCoy
Gary Takacs and Patricia Tall-Takacs
Thomas and Doris Taylor
Gayle and Jack Thompson
Krystyna Untersteiner
Yvonne and Bruno Vogele
Crispin Wilhelm and Sundee Morris
Carolyn Wood
Lee and Barbara Yates
Ying Gi Yong
Key Player
Anonymous (3)
Michelle Acosta
Laila Adams
Kathryn Alexandra
Jeff and Cameron Altaras
Julie Anderson
Marjorie Anderson
Roland Anderson, Ph.D.
Suzanne and Marvin Anderson
Elizabeth Baker
Lisa Baldwin and John Cragoe
Dana and Rena Behar
Arlene and Earl Bell
Nan Bentley
Safiya Bhojawala
David Bird
Thomas Bird
James and Edith Bloomfield
Susan Borg
Lisa Boulanger
Susan Braun
Thomas and Virginia Brewer
Herbert Bridge and Edie Hilliard
Paul Brown and Amy Harris
Rita Calabro
Dianne Calkins
Timothy Callahan
Linda and Peter Capell
Susan and Kevin Carmony
Molly Carney
Charles Carosella and Mary Vanveen
Luther and Frances Carr
Robert Catton
Bert Cehovet
Pamela and Robert Center
Robert and Patricia Charlson
Candace Charlwood
Gian-Emilio Chatrian and Teresa Rattazzi
Lynne and David Chelimer
Robert and Molly Cleland
Deborah Clothier
Gayle Cloud
Leonard and Else Cobb
Diane Colclough
Carol Cole
R. Bruce and Mary Louise Colwell
Elizabeth Cooper
Jan and Bill Corriston
Kathy Cowles and Bradford Chamberlain
Jean Crill
Gavin Cullen and David Jamieson
Sharon Cumberland
Judy Cushman and Robert Quick
Janice DeCosmo and David Butterfield
The de Soto Family
Martha and Theodore Dietz
Xiaoli Duan
Laurie Ann and C. Bert Dudley
Maria and James Durham
Sally Eagan
Sheila Edwards Lange and Kip Lange
Richard Eide
Ruth and Alvin Eller
Nancy Elliott
Nigel Ellis and Lynn Paquette
Penelope and Stephen Ellis
Susan Encherman
Costin Eseanu
Luis Fernando and Maria Isabel Esteban
Alan and Jane Fantel
Kirstin and W. J. Thomas Ferguson
James Fesalbon and Edward Francis Darr, II
Melanie Field
Jerry and Gunilla Finrow
David Fischbach (D)
Patricia Fischbach
Albert Fisk and Judith Harris
Gerald Folland
Brenda Fong
Jacqueline Forbes and Douglas Bleckner
Stuart Fountain and Tom Highsmith
Sam Friedlander
Lucille Friedman
Gary Fuller and Randy Everett
James Gale
Stanley and Marion Gartler
George Gilman
Sara and Jay Glerum
J. David Godwin and Virginia Reeves
Susan and Russell Goedde
Fred and Debra Goetz
Helen Goh
Joan and Steven Goldblatt
Igor and Olga Gousman
Nancy Green
David and Ann Griffin
Chris Gross
Nancy Grout
Jayme Gustilo
Nan Haberman
Lynn Hagerman
John Hall
Walter and Willa Halperin
Hylton and Lawrence Hard
Larry Harris and Betty Azar
Sally and Robert Hasselbrack
John and Geraldine Hay
Patricia Hayden
Weinian He
Kathryn Heafield
Ian Hellen and Paula Cerni
Marjorie Hemphill
Ellen and Jerry Hendin
Robin Hendricks
Richard Hesik and Barbara Johns
Lori Hess and Benjamin Miller
Ray and Ulrike Hilborn
Alan and Judy Hodson
Kate Hokanson
Norman Hollingshead
Sharon Horan
Eric and Mary Horvitz
Andrew and Theda Houck
Frank and Mary Hungate
Todd and Jane Ihrig
Juju Ishmael
Elizabeth and Edwin James
Darryl and Kathleen Johnson
David B. Johnson
Linda and Christopher Johnson
Chris Kalinski
H. David Kaplan
Michael and Nancy Kappelman
Deborah Katz
Otis and Beverly Kelly
Linda A. Kent and James Corson
June Kerseg-Hinson and Ron Hinson
F. Christian Killien
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Matching Gifts
UW World Series offers its sincere thanks to the following companies for matching gifts received or pledged between July 1, 2012 and December 1, 2013:
Bill & Melinda Gates Foundation | The Boeing Company | IBM Corporation | Merck Company Foundation | Microsoft Corporation
Puget Sound Energy Foundation | Shell Oil Company | US Bancorp Foundation | Washington Chain & Supply, Inc.
Endowment and Planned Gifts
We would like to thank the following individuals for supporting the future of the UW World Series through planned gifts and contributions to our endowment:
Planned Gifts
UW World Series Programming Endowment
Anonymous
Richard Cuthbert and Cheryl Redd-Cuthbert
Linda and Tom Allen
Elizabeth Cooper
Ellsworth and Nancy Alvord
Maria and James Durham
Wimsey J. N. Cherrington
Consuelo and Gary Corbett
Gregory Kusnick and Karen Gustafson
Naoko Noguchi
Windsor R. Utley* (D)
Margaret Dora Morrison
Mina B. Person
Lois Rathvon
UW World Series Education Endowment
Ernest and Elaine Henley*
Lee and Judy Talner
Diane and Ronald King
Ellen J. Wallach
Matthew and Christina Krashan*
J. Pierre and Felice Loebel*
Kristen Pearcy
Arts AL!VE Student Fund for Exploring the Performing Arts
Lee and Judy Talner*
Elizabeth Cooper
Todd and Jane Ihrig
Susan Knox and Weldon Ihrig*
Matt Krashan Endowed Fund for
Artistic and Educational Excellence
in the Performing Arts
Nancy and Eddie Cooper Endowed Fund
Linda and Tom Allen
for Music in Schools
Nancy D. Alvord
Lucille Friedman
JC and Renee Cannon
Dave and Marcie Stone*
Christopher Landman and Julia Sommerfeld
Tracy and Todd Ostrem
Elaine and Ernest Henley Endowment
Mina B. Person
for Classical Music
Ernest and Elaine Henley*
Peter and Linda Milgrom
Lee and Judy Talner
Gregory Wallace and Craig Sheppard
Live Music for World Dance Series Endowment
(Multiple Founders)
Cecilia Paul and Harry Reinert*
* Endowment Founder
about this list
This listing includes endowment founders and endowment donors from July 1, 2012 to December 1, 2013. For more information on how to
make a gift through your will or trust, or to name the UW World Series as a beneficiary of your retirement plan or insurance policy, please call (206) 685-1001,
(800) 284-3679, or visit www.uwfoundation.org/giftplanning.
UW World Series Season Sponsors
We are deeply grateful to the following corporations, foundations, and government agencies whose generous support make our programs possible:
$25,000 and above
Paul G. Allen Family Foundation
The Boeing Company
Microsoft
National Endowment for the Arts
Nesholm Family Foundation
$10,000 - $24,999
ArtsFund
4Culture
Seattle Office of Arts & Cultural Affairs
Seattle Weekly *
Up to $9,999
Classical Wines From Spain | Hotel Deca* | Horizons Foundation | KEXP* | KING FM* | KUOW FM* | Ladies Musical Club
New England Foundation for the Arts | Peg and Rick Young Foundation | University Inn* | U.S. Bank
Washington State Arts Commission | Western States Arts Federation
Business Circle Sponsors
Agua Verde Cafe and Paddle Club | College Inn Pub | Eltana Bakery * | Macrina Bakery * | Pagliacci * | Fran's Chocolates * | Ten Mercer *
Community Partners
Alliance Française de Seattle | Arts Impact | ArtsUW | Ladies Musical Club | Langston Hughes Performing Arts Institute
Seattle Music Partners | Simpson Center for the Humanities | Town Hall | UW Alumni Association | UW Dance Program
UW Residential Life Program | UW School of Drama | UW School of Music | UW Walker-Ames Lectures
* Denotes full or partial gift in kind.
Join an impressive roster of companies of all sizes that support UW World Series, its mission, and its performances.
Sponsors receive significant recognition throughout the UW World Series season and an array of benefits catered to your organization's goals.
For more information, please contact Cristi Benefield at (206) 616-6296 or [email protected].
UW WORLD SERIES ADVISORY BOARD
UW WORLD SERIES AND MEANY HALL STAFF
Randy Kerr, President
Michelle Witt, Executive Director, Meany Hall
Kurt Kolb, Vice-President
Artistic Director, UW World Series
Dave Stone, Treasurer
Rita Calabro, Managing Director
Linda Linford Allen
Linda Armstrong
Robert Babs, Student Board Member
Cathryn Booth-LaForce
Ross Boozikee, ArtsFund Board Intern
Luis Fernando Esteban
Brian Grant
Cathy Hughes
Sonja Mykelbust, Student Board Member
Mina Person
Cristi Benefield, Director of Philanthropy
Ashley Bontje, Philanthropy Coordinator
Anita Ibarra, Student Development and Events Assistant
Alix Wilber, Grants and Communications Officer
Elizabeth C. Duffell, Director of Campus and Community
Engagement, Artist Relations
Robert Babs, Education Assistant
Courtney Meaker, Education and Artist Relations Coordinator
Sonja Myklebust, Campus Engagement Assistant
Don Swisher
Teri Mumme, Director of Marketing and Communications
Lee B. Talner
Julia Guo, Student Marketing Assistant
David Vaskevitch
Drew Moser, Publications Coordinator
Gregory Wallace
Scott Coil, Director of Finance and Administration
Kathleen Wright
Ex-Officio Members
Elizabeth Cooper, Divisional Dean of Arts
Robert C. Stacey, Dean, College of Arts & Sciences
Ana Mari Cauce, Provost
Yevgeniy Gofman, Accountant
David Grimmer, IT Administrator
Doug Jones, Tessitura System Administrator
Sue Stark, Fiscal Specialist
Tom Burke, Technical Director
Brian Engel, Head Electrician
UW ARTS TICKET OFFICE
Doug Meier, Meany Studio Stage Technician
Juniper Shuey, Head Carpenter
Rosa Alvarez, Director of Patron Services
Liz Wong, Assistant Director of Patron Services
Matt Stearns, Sound Engineer
Nancy Hautala, Audience Services Manager
Eric Henke, Patron Services Associate
Tom Highsmith, Head House Manager
Patrick Walrath, Patron Services Associate
Spencer Hildie, Student House Manager
Cathy Wright, Patron Services Associate
Becky Plant, House Manager
Tashara Robinson, Fiscal Assistant
Amy Tachasirinugune, Assistant Student House Manager
Patron Services Assistants
Jason Cutler | Kat Deininger | Keeli Erb | Tasha Feng
Evan Jones | Colette Moss | Jordan Nichols
Lead Ushers
Shannon Chen | Darcy Jamieson | Tina Li
Casey Semanskee | J.J. Woodley
Ushers
Béné Bicaba | Matthew Cancio | Ashley Coubra | Craig Dittman
Catering by
Jordan Fuzie | Shantel Gunter | Gillian Hollerich | Loralyn Jackson
Annie Morro | Jacob Parkin | Mitch Ryiter | Yuki Seki
Alex Tang | Julia Viherlahti | Nani Vo
Shelby Simonson, Student Concessions Manager
Wines provided by
Lauren Norton, Student Assistant Concessions Manager
Sangrudee Sriweerawanidchakun, Student Concessions Helper
E N C O R E A RT S N E W S F RO M C I T Y A RT S M A G A Z I N E
ROOM TO
GROW
Love City Love is seizing a
chance to keep culture alive
on Capitol Hill. T
BY JONATHAN ZWICKEL PHOTO BY AVI LOUD
here’s no stage inside this former auto showroom on Capitol Hill, but the piano in the
center of the room radiates enough gravity to keep the small crowd gathered in close
orbit. The baby grand’s chipped white paint matching the elegant decay of the secondfloor space, white walls and rafters lit by strings of white café lights.
Teasing the keys and leading the band is a lanky guy with graying hair under an
orange knit cap. His eyes are locked on a diminutive dude to his right thumping a massive upright
bass next to a young woman sizzling on a drum kit with minimalist precision, blond hair bobbing
over her face. They volley a groove, jazz-ish, propulsive and wide open. The green scent of sage
smoke spikes the air.
From the semi-circle of about 50 people, a woman approaches the piano and grabs the
microphone. A tiny infant papoosed to her chest sports oversized plastic headphones and
appears to be sleeping. The woman bounces with the mike in her hand and begins a wordless
chant. The crowd joins in call-and-response style, clapping in unison.
E N C O R E A RT S N E W S This exhibition is organized by the Seattle Art Museum
and the Museo Nacional Centro de Arte Reina Sofía.
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
The Seattle presentation of this exhibition is made possible with critical funding provided by SAM’s Fund for
Special Exhibitions. Major Sponsors are Christie’s and the Seattle Art Museum Supporters (SAMS).
Image: Woman, Bird and Star (Homage to Picasso), February 15, 1966 / April 3–8, 1973, Joan Miró, Spanish, 18931983, oil on canvas, 96 7/16 x 66 15/16 in., Museo Nacional Centro de Arte Reina Sofía. © Successió Miró / Artists
Rights Society (ARS), New York / ADAGP, Paris 2014.
10 ENCORE STAGES
She cedes the mike to a young woman who
begins reciting a line from Billie Holiday’s
“Strange Fruit,” recently revived via Kanye
West: Blood on the leaves… Blood on the
leaves… The crowd repeats it back. She turns
over the mike to a tall African-American man
with a long burgundy scarf draped around his
neck. He raps a few bars in low tones, bows
out and everyone cheers.
A new drummer—a stocky 20-something
guy in glasses—takes over, bursting into a
rapid-fire breakbeat rhythm. A sax player
sneaks in, blowing tentatively at first, then
insistent and raw. The musicians adjust, but
the music never stops. The whole room is
dancing.
Between performers, Hollis Wong-Wear—
fresh off touring the world with Macklemore
and Ryan Lewis—works the mike in casual-MC
mode, singing and rapping and leading
call-and-response. A guy joins her for an
impromptu blues-hop version of “Hit the Road,
Jack,” and between freestyle verses, everyone
sings the chorus at full volume.
I turn to the person next to me, a handsome,
dark-skinned dude with deep-set eyes and
long thin dreads. Judging by the hellos and
hugs he’s been spreading among the crowd,
he’s been here before.
“This is incredible!” I say. “What’s this night
called?”
“They just call it Love City Love,” he says.
Love City Love: It’s a name, a description,
a slice of poetry. It’s a wellspring of
unselfconscious spontaneity and intentional
good vibes set in the middle of Seattle’s
densest neighborhood. An urban cultural
experiment in visible, participatory form.
Along with these weekly sessions, it comprises
an ongoing pop-up boutique that showcases
local designers and various other events. In
February it hosted a music video premiere
party, a massive Valentine’s Day art show and
an all-female photo exhibit.
Events will continue through the end of
February, possibly into March, and then the
temporary lease runs out. After that, the
90-year-old Dunn Motors building, a piece of
prime real estate at Pike and Summit, will be
shuttered for retrofitting and development.
If the stars align—which is to say, if investors
and organizers can find common cause to
maintain its existence—Love City Love will
find a new home on Capitol Hill. Otherwise,
like so much grassroots culture in this restless
part of town, it will disappear completely.
I
f Seattle has a prevailing mood, it’s
embedded in youth and newness.
Seattle—the inexorable terminus
of westward
migration,
period
SAM
011014
mirothe2_3v.pdf
to the run-on sentence that was Manifest
Destiny—remains a mostly blank slate in
SEATTLE—THE
INEXORABLE TERMINUS
OF WESTWARD
MIGRATION, THE
PERIOD TO THE RUN-ON
SENTENCE THAT WAS
MANIFEST DESTINY—
REMAINS A MOSTLY
BLANK SLATE IN ITS
SOCIAL TEMPER.
its social temper. Maybe coming of age with
the rise of mass media—first television, then
the Internet—unsettled our sense of self,
swaddling a robust city in a permanent state of
becoming. All this yearning and ambivalence
and indecision, this blank-slate-ness—it’s a
blessing.
The rampant property development
currently overtaking Seattle is rebuilding
the city’s physical image, completely and
indelibly. The skyline we knew five years ago
is already a memory, the one we see now a
mirage. In five years we’ll hardly recognize the
city we now live in.
Right now, Capitol Hill activists are racing
to establish a foothold of alternative culture
before heedless development establishes
something else: potentially a generic corridor
of ugly architecture and clueless newcomers
with no ken of the neighborhood’s artistic
bent. Every art gallery, black-box theatre
and local-goods retailer, every preserved
historic building counterbalances faceless
construction and encroaching national chains.
Opening a large urban environment to free
form, street-level expression isn’t a new idea.
Plenty of people imagine a creative sandbox
set inside a beautiful old building in the heart
of the city. These things rarely materialize.
Space and resources are painfully hard to
come by, and the gap between a pipe dream
and a signed lease is vast. But the timing,
scale and visibility of Love City Love are
unprecedented and its execution has been
flawless. It’s an of-the-moment reinvention—
and it’s working.
The space’s ground-floor storefront,
previously home to Ed Murray’s campaign
office, is a fishbowl, fully visible to the outside
world through floor-to-ceiling windows. In late
continued
WUC
APRIL 23 – JUNE 7, 2014
CO-CREATORS GEROME RAGNI AND JAMES RADO
COMPOSER GALT MACDERMOT
DIRECTED BY DAVID GASSNER
MUSICAL DIRECTION BY ZACHARY ORTS
206-938-0339 www.ArtsWest.org
4711 CALIFORNIA AVE. SW, SEATTLE, WA 98116
SEASON
SPONSORS
SHOW
SPONSOR
E N C O R E A RT S N E W S December Love City Love’s organizers turned
it into a gallery and boutique called Closed
Circuit. The space is full of impeccably stylish
local fashion—leather jackets, unisex jewelry,
textile art and other inscrutable décor. This
stuff represents the edgiest indie designers in
the city, the essence of Seattle style and taste
right now.
But the second floor is the centerpiece.
Industrial-sized neon radiates the words
LOVE CITY LOVE from the corner window—a
signpost as much as a directive. Along with
the Wednesday night sessions, the space
has hosted dance parties, rock bands and a
35-piece jazz orchestra. Several artists and
clothing designers have set up shop there,
producing the stuff that will be shown
downstairs in Closed Circuit. It’s as much a
venue as an engine, a room devoid of anything
more remarkable than beautiful natural light
and potential, fueled by creative intention.
A
UWSM 012714 handel 1_3s.pdf
12 ENCORE STAGES
s an idea, Love City Love began
years ago with a young artist named
Lucien Pellegrin. Born in Indiana,
raised in the Northwest and the
San Francisco Bay Area, Pellegrin, 30, grew
up surrounded by a lifestyle that could
generously be called “bohemian.” His mother
was absent and addicted to drugs, his father
forever in search of the right partner and
place and manner to raise his son. They lived
in communal houses on Capitol Hill and in
Green Lake, in a school bus in Olympia and an
apartment in San Francisco’s Mission District.
They traveled a lot. No TV, no junk food,
but whatever music and art and literature
Pellegrin could get his hands on.
By his early 20s, Pellegrin was an itinerant
skateboarder taking photos and making
videos of his travels. He’d studied abroad in
Holland, lived in Paris for a year and attended
art school in Oakland. After finding his way
back to Seattle, he dedicated himself to Arts
Corps, a Seattle nonprofit that offers music
and arts education to at-risk youth. He became
a part-time teaching artist, leading classes
in book arts and photography. He scraped
rent together by working at coffee shops and
restaurants on the side.
All around him, he saw poverty—not just
economic, but poverty of the mind and spirit.
Life was struggle. He began to apply the name
Love City Love to his projects because he
couldn’t find love anywhere else.
Spurred equally by frustration and
wanderlust, Pellegrin tried to relocate—to New
York, LA, Mexico City, places that boasted arts
scenes more entrenched, diverse and activated
than Seattle’s. But they were weak attempts,
with little money and not much of a plan
behind them. For better or worse, Seattle kept
him moored to the Northwest.
ALL AROUND HIM, HE
SAW POVERTY—NOT
JUST ECONOMIC, BUT
POVERTY OF THE MIND
AND SPIRIT. HE BEGAN
TO APPLY LOVE CITY
LOVE, THE WORD, TO
HIS PROJECTS AS A
WAY TO SURROUNDING
THE PLACE HE LIVED IN
WITH POSITIVITY.
Through happenstance, good looks and
a sort of guileless suavity, Pellegrin found a
high-paying gig as a model for TCM, a local
talent agency. He was placed in a Men’s
Wearhouse commercial that went national.
Paired with the finances he’d saved over
the years—a childhood of instability bred
in him an innate sense of frugality and
responsibility—modeling money suddenly
provided the means to invest in something he
believed in.
In early 2012, the corner of Pine and
Melrose became the latest battleground in the
ongoing campaign to bring urban density to
Capitol Hill. Eastside developers announced
plans to raze the decades-old Bauhaus
building and replace it with a high-rise,
mixed-use building, in turn eradicating the
businesses housed there. One of those, the
Warren Knapp Gallery, vacated the space it
had occupied for years. In the empty gallery
Pellegrin saw the opportunity he’d been
waiting for. Sometime around the end of 2012,
he slipped a hand-written note through the
mail slot:
I’ve seen this space has been available
for some time. I’m an artist living in the
neighborhood and would like to create a gallery
here.
The simplicity of the wording belied
Pellegrin’s deeper intentions, but it got the
job done. Two months later, he’d signed a
six-month lease on the space at a deep, deep
discount and opened it as Love City Love.
He enlisted a slew of arts-world friends and
began to host events. Friends from local
menswear label Tarboo debuted their summer
line and other designers showed theirs as
well. The Wednesday night sessions launched
with Amos Miller, a keyboardist and music
producer Pellegrin knew from Arts Corps,
as musical director. Word spread and artists
and musicians from around the city made
Wednesday night a regular stop. Throughout
last summer, crowds spilled out the door and
onto the sidewalk—and often the jam session
did too.
The summer of Love City Love culminated
with “Vigil,” a group show of 100 artists
organized by a group of Seattle’s sharpest
young curators. It was billed as a wake for Old
Capitol Hill, but the buzz inside the gallery
that night in early September suggested more
of a beginning than an end. The following
week, the entire block was boarded with
plywood, like a death shroud laid over a
corpse.
The success of the LCL’s initial run
propelled Pellegrin into action. He resolved
to email five developers a week seeking a
new space. One of those was Jill Cronauer, an
associate at Hunters Capital, the Capitol Hill
investment firm that had recently purchased
the Dunn Motors building, formerly the
longtime home of CK Graphics, a printing
company. Pellegrin sent her an email similar
to the note he wrote the owners of Warren
Knapp.
Cronauer had attended Love City Love
events over the summer and was familiar
with their low-key atmosphere. She endorsed
Pellegrin’s proposal to the owners of
Hunters Capital, Mike and Barbara Malone.
In turn, the Malones—philanthropists and
preservationists who own the Sorrento
Hotel, among other classic buildings on the
Hill—invited Pellegrin in with a tremendous
discount in rent. Love City Love opened in its
current location in December of last year.
Soon after the first events started upstairs,
Jessica Carter joined the fold full-time. A San
Francisco transplant, Carter had recently
quit her job as a trend forecaster and package
designer for Nordstrom. Like Pellegrin, she’s
well traveled, with art world roots in Seattle
and beyond, and her background in the
fashion and retail industries adds a degree of
credibility to Love City Love’s idealism.
“We all have our own dreams that we want
to accomplish, and we realized it would be
easier if we did it together and housed it under
one roof and worked together to create,” she
says.
Through her professional connections,
she’s booked the second floor to the likes of
Tempur-Pedic and American Eagle Outfitters
for commercial photos shoots. The money
those shoots have brought in has helped offset
the cost of expenses. Carter, Pellegrin and the
project’s manager are making a modest living
from the operation, but really it’s generosity,
savvy and dedication that keep Love City Love
sustainable.
continued
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14 ENCORE STAGES
E N C O R E A RT S N E W S
W
e agree, and I think the
community agrees, that
art builds civilization,”
says Barbara Malone. “It’s
important.”
Malone says she appreciates Pellegrin’s
directness, focus and humility and is proud
to give him a temporary platform. “He’s
masterful in what he’s doing and how
he’s bringing people together, creating
conversation and introducing audiences to
artists.”
Pellegrin is quick to compliment the
community work Hunters has done, the
commitment to the arts the Malones have
demonstrated. His mantra these days is
“collaboration with gentrification.” He’d
prefer to let the obvious speak for itself—art
builds civilization—than to ask for funding
for his idea, successful as it’s been. But that’s
what he’s after. Imagine a curated space,
free to all ages, featuring live music and
street fashion and art, installed in every new
building on Capitol Hill.
“It’s about accessibility, man,” says
Pellegrin. “If it’s Starbucks and a gym in your
condo storefront, then you’re gonna grab a
cappuccino and hop on the treadmill. But
if there’s a Love City Love, then maybe you
print out your photos from your Instagram
and you have a photo show at Love City Love
because you just bought this condo for 450K
and moved here from DC and you make six
figures and you’re like, I got this new condo
and they have this cool thing called Love City
Love and it’s this creative platform for people
who live in the condo but also people that
don’t live in the condo have access to it.”
Ideally, the next space Love City Love
occupies will be long-term. Not necessarily
a preserved historic building, but certainly
somewhere on Capitol Hill, close to the heart
of the city. It will provide a livelihood for the
artists who run it and a creative outlet for the
artists who use it.
Pellegrin admits to pipe-dreaming. He’s
an artist, not an entrepreneur, which is
why his passion is so contagious. For all his
easygoing can-do, he’s plagued by questions.
Why hasn’t this happened already? How do
we pay for it? Who are we waiting for? The
Malones? Paul Allen? The Mayor?
All these exasperated mutterings bespeak
the extreme urgency of the situation.
Because regardless of specifics, Pellegrin’s
vision is captivating and the stakes in this
race are nothing short of the soul of the city.
No single one of us can win it. It’s a collective
effort.
“With true leadership, you build
something up and then you step away, and
you trust that the community can hold it up,”
2/3/14
4:57 PM This
Pellegrin says. “Everything
is possible.
stuff is worth more than money.” n
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