carolina performing arts 2010-11 season - program book 4

carolina performing arts 10/11 1

Carolina Performing arts 2010/11

BeijingDance/lDtXTuesday & Wednesday, April 12 & 13 at 7:30pm

For the last several months, we at Carolina Performing Arts have been working to finalize the schedule for our 2011-12 season. Every year, I find this process exhilarating and challenging, rewarding and frustrating.

Our 2010-11 season has been filled with performances from legendary, established artists such as Yo-Yo Ma, Chick Corea and McCoy Tyner, as well as emerging voices like Nicola Benedetti, Sidi Larbi Cherkaoui (with his Sutra), and the young virtuosi who make up Gidon Kremer’s Kremerata Baltica. And there is much more to come in these last months.

As we work to craft our new season, selecting works that engage, delight and enliven our audiences, I am constantly reminded of the budgetary considerations that make curating a season so difficult. As you probably know, the costs associated with bringing the caliber of art we have all come to expect from this series far exceed the revenue brought in from ticket sales alone. As we handpick each performance, I am constantly forced to consider cost, to weigh our curatorial mission against our bottom line, to ask myself, “Can we afford to bring this work to our audiences?” Many exciting artists do not make the cut.

All told, ticket sales make up about 45% of the money needed to keep Carolina Performing Arts running. In a surrealist thought experiment, my colleagues in development and I often wonder what our season would look like at 45%. We picture the St. Petersburg Philharmonic Orchestra playing with only 45 of its breathtaking musicians. We imagine only eight of 17 Shaolin monks performing Sutra, in half-built spruce boxes. We imagine the left half of Yo-Yo Ma playing the right half of a two-stringed cello, flanked by 45% of The Silk Road Ensemble.

Thought experiments aside, this is a serious concern. The gap between ticket revenue and costs is enormous. We remain enormously grateful to the University for its generous support, but these are difficult times for our state and we must turn to you. The only way we can fill the gap is with private giving, with generous support from you, our patrons.

So, as we look toward the end of our current season and to the beginning of our next, I ask you to consider supporting Carolina Performing Arts. I invite you to join the Carolina Performing Arts Society to give back to the arts that have given so much to all of us. Please join us in helping make sure that this series, and the cultural landscape in this community, remain 100% vibrant.

sincerely,

Emil J. Kang Executive Director for the Arts Director, Carolina Performing Arts Professor of the Practice, Department of Music

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in•spi•ra•tionwww.carolinaperformingarts.org (919)843-3333

aCKnoWleDgmentsCarolina Performing Arts gratefully acknowledges the generous contributions of time, energy and resources from many individuals and organizations including the Office of the Provost, Office of the Chancellor, University Advancement, Department of Public Safety, the Faculty Council, Student Body Government and UNC News Services.

Elite Coach is the of ficial transpor tation provider for Carolina Performing Arts’ artists.

aDministrative staffEmil J. Kang – Executive DirectorKelly Boggs – Audience Services ManagerMichelle Bordner –Director of Artist RelationsPriscilla Bratcher – Director of DevelopmentBarbara Call – Finance and Human Resources ManagerAmy Clemmons – Development AssistantReed Colver – Director of Campus and Community EngagementJennifer Cox – Administrative AssistantMary Dahlsten – Box Office ManagerButch Garris – Production ManagerErin Hanehan – Campus and Community Engagement CoordinatorMatt Johnson – Production ManagerMelchee Johnson – Development and Stewardship ManagerMike Johnson – Director of OperationsSean McKeithan – Marketing and Communications CoordinatorDan McLamb – Tessitura Systems AdministratorMeghan McNamara – Artistic CoordinatorMelody Pineda – Artistic AssistantMark Steffen – Events ManagerAaron Yontz – Production Manager

memorial Hall stuDent staffCarolina Performing Arts is grateful for the over 100 students who work in our Box Office, House and Tech staffs. It is their hard work and dedication that make every performance at Memorial Hall a success.

advertisers make this Book PossibleThis program book would not be possible without the advertisers who support it. Their patronage means this information is available to you without cost to Carolina Performing Arts. We extend our gratitude and encourage you to thank them, as well.

The Carolina Performing Arts programs are published and designed by Opus 1, inc., in cooperation with Carolina Performing Arts. If you are interested in reaching our audience with your message in the Carolina Performing Arts program book, please call or email Amy Scott at (919) 834-9441 or [email protected].

Carolina Performing arts 2010/11

tableofcontents 6 iD – Cirque Éloize

10 leon fleisher, piano

12 The Andersen Project – ex machina

16 nederlands Dans theater

20 Woyzeck on the Highveld – Handspring Puppet Company

24 st. Petersburg Philharmonic orchestra with Yuri temirkanov, conductor and alisa Weilerstein, cello

28 BeijingDance/lDtX

32 Bach and Beyond – Jennifer Koh

34 tony allen’s afrobeat orchestra

36 Branford marsalis, saxophone with the north Carolina Jazz repertory orchestra

in•spi•ra•tion

season10/11season

38 Important Information

39 Board, Endowment, Society

40 Donor Spotlight

41 Donors

48 Student View

49 Advertisers Index

50 The Last Word


www.carolinaperformingarts.org (919)843-3333

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The Wednesday, March 2 performance of iD – Cirque Éloize is dedicated to Kim and Clarence Perszyk by Carol and Rick McNeel.

Photo credit: Valérie Remise

iD – Cirque ÉloizeTuesday & Wednesday, March 1 & 2 at 7:30pm

“stunningly beautiful…”- Newsday

This performance is supported, in part, by sponsors of the International Theater Festival, Tom Kearns and Joseph and Beatrice Riccardo.


DanCetues & WeD mar 1 & 2 | 7:30 Pm

Word from the author and director

At Cirque Éloize, we have always nurtured our shows through encounters with creators from different horizons. We have always favored a multidisciplinary artistic approach, which is enriched by artists of several nationalities. No exception lies in this new creation. Sixteen artists on stage, ten circus disciplines, and the discovery of a world that is new to us – urban dances such as breakdance and hip-hop. I imagined this show at the heart of a futuristic city, where the omnipresence of image causes us to lose our reference points. I sought to create an estheticism at the crossroads of comic books, science-fiction movies and the rich universe of graffiti. The decidedly rock, elec-tronic and poetic music, coupled with the presence of video, highlight the show’s play-ful, energetic, youthful and urban aspects. In the middle of this surreal megalopolis exists a public place. A public place as a spot where one can seek refuge and escape anonymity, express one’s individuality and affirm one’s identity, in order to reclaim possession of public space, and to dance the city… An area for encounters, a site of passage, a hood where clans confront one another, where friendships are woven, where love is created and dissolved. I am proud to invite you to join us on this new adventure.

- Jeannot Painchaud

Cirque Éloize

Éloize is a word that comes from the Magdalen Islands and means “flashes of heat lightning seen on the horizon.” An inspiration for the troupe’s seven founding members, this lightning symbolizes the heat and energy that feed the troupe’s spirit.

Positioned at the heart of the renewal of circus arts, Cirque Éloize has been creating moving performances filled with magic since 1993. Continually striving for artistic perfec-tion, it is one of the leaders in contemporary circus arts. Based on the multidisciplinary talents of its artists, Cirque Éloize expresses its innovative nature through theatricality and humanity, and combines circus arts with music, dance and theater in a path-breaking and original manner. With seven original productions to its credit, Cirque Éloize has presented almost 4,000 performances in 395 cities over 31 countries. Cirque Éloize has taken part in numerous prestigious international festivals and recently seduced Broadway with its show Rain, which has been

touring that major network of theaters since 2007. In addition to its tour performances, Cirque Éloize develops custom-made con-cepts for international special events. To date, more than 1000 events have taken place. Since 2004, Cirque Éloize’s head office and creative studio are located in the Dalhousie Station, a historic building in the heart of Old Montréal, departure station of the first train going from Montréal to Vancouver in 1886. In order to maintain this site as a place for dialogue and encounters for the circus community, Cirque Éloize invites up-and-coming artists to visit. Today, the company hires more than 100 individu-als working in various teams and projects.

Jeannot Painchaud, CEO and Artistic Director, Cirque Éloize Director

A graduate of Montréal’s National Circus School, Jeannot Painchaud began as a performing artist with circuses and multidis-ciplinary artistic troupes. He was an acrobat, juggler and actor with a specialty in artistic bi-cycle, for which he won a bronze medal at the prestigious Paris Festival Mondial du Cirque de Demain in 1992. In 1993, he became a founder of Cirque Éloize, gathering the best performers and designers over 17 years. In 2001, he staged the first version of Cirque Orchestra, mixing contemporary dance, acro-batics and a live symphony orchestra.

In 2002, he met director Daniele Finzi Pasca, whose poetic style was an important contribution to Cirque Éloize. He staged three Cirque Éloize shows from 2002-07, Nomade and Rain for Cirque Éloize and Nebbia in co-production with Teatro Sunil, Finzi Pasca’s own company. In 2006, Finzi Pasca and Teatro Sunil invited Jeannot to join the creative team of the 20th Olympic Winter Games closing ceremonies in Turin, Italy. As assistant director, Jeannot was in charge of the acrobatic components. Jeannot is also head of Special Events at Cirque Éloize, overseeing tailor-made concepts for large-scale international shows, galas, corporate events, special television presentations and more. In 2009, he became president of the board of En Piste, the Circus arts national network. With 24 years’ experience in the new arts circus, Jeannot has made Cirque Éloize a world leader in contemporary circus movement. Having traveled to more than 30 countries, he continues his dream of bringing the new circus art form to the world. He is back to directing with iD, a dynamic

and powerful show that mixes urban dance with the new art circus universe. iD is Cirque Éloize’s 7th creation.

The TROUPE

In addition to their disciplines, all performers take part in group choreographies.

NICOLAS FORTIN - Juggling, TrampowallMELISSA “MELLY MEL” FLERANGILE - Urban DancesCHRISTIAN “SANCHO” GARMATTER - Urban DancesXUAN LE - In-line SkatingJOSIANNE LEVASSEUR - Cyr Wheel, TrampowallRICHARD MAGUIRE - Urban Dances, Hand Balancing, TrampowallBAPTISTE MONTASSIER - Urban DancesHUGO OUELLET-CÔTÉ - Straps, Trampowall, JugglingIRIS PELZ - Hand to HandTHIBAUT PHILIPPE - Trial BikeMANDA RYDMAN - Contortion, Aerial HoopFLETCHER SANCHEZ - Chinese Pole, TrampowallCHRISTOPHER SCHLUNK - Hand to HandRYAN SHINJI MURRAY - Trampowall, StiltsEMI VAUTHEY - Aerial Silks, Contortion

TECHNICAL Team on Tour

ALICE KOP - Tour DirectorALEXIS BEAUDET-ROY - Technical Director, Head Sound TechnicianPATRICK ALLARD - Head Light TechnicianNICOLAS BELLE-ISLE - Head RiggerMYLÈNE CAYA - Stage ManagerERICK GALIPEAU - Head Stage CarpenterSIMON METHOT - Head Video Technician

CREATIVE Team

JEANNOT PAINCHAUD - DirectorJONATHAN ST-ONGE - Executive ProducerROBERT MASSICOTTE - Set Designer, Illustrator and Video Projections Co-DesignerKRZYSZTOF SOROCZYNSKI - Show Acrobatic Designer, Head-trainer and Trampowall Act DesignerMOURAD MERZOUKI - Artistic ContributorPIERRE BERNARD - Artistic ConsultantJEAN-PHI GONCALVES - Co-ComposerALEX McMAHON - Co-ComposerLINDA BRUNELLE - Costume DesignerNICOLAS DESCOTEAUX - Light DesignerALEXIS LAURENCE - Video Projections Co-Designer


SUZANNE TRÉPANIER - Make-up DesignerMARIE-ÈVE SOUTIÈRE - Assistant DirectorJACQUES POULIN-DENIS - Sound Designer – Urban AmbianceVÉRONIQUE ALLARD - Production Director – phase 2MARC-ANDRÉ LECLERC - Assistant Production Director, Technical Director CATHERINE LEBOEUF & LOUISE BOURRET - Assistants & Costume CoordinatorsSIMON GAUTHIER - Video System DesignerMARC-ANDRÉ GILBERT - Sound Technology ConsultantPIERRE LAFONTAINE - Hair StylerJOSIANNE LEVASSEUR - Assistant to the Show Acrobatic Designer and Head TrainerOLIVIER LEMIEUX - Trampoline TrainerCHRISTIAN “SANCHO” GARMATTER Responsible for ChoreographyCHRISTIAN “SANCHO” GARMATTER, ELON HÖGLUND, EMMANUELLE LEPHAN, RICHARD MAGUIRE, KONE THONG VONGPRASEUTH – Choreographic CollaboratorsRENÉ BIBAUD - Coach – Skipping RopeMARIÈVE HÉMOND - Coach – Aerial Silk

PRODUCTION Team

MARIYA MONEVA - Project ManagerALICE KOP - Tour DirectorALEXIS BEAUDET-ROY - Technical Director, Head Sound TechnicianMYLÈNE CAYA - Stage ManagerPATRICK ALLARD - Head Light TechnicianERICK GALIPEAU - Head Stage CarpenterSIMON METHOT - Head Video TechnicianROBERT OUELLETTE - Head RiggerCAROLE LAPOINTE - Production AccountantCLAIRE BREGEON - Assistant to the Project ManagerNATASHA DROUIN-BEAUREGARD - Assistant – Casting

SOUNDTRACK

JORANE, BETTY BONIFASSI, BOOGAT, ARIANE MOFFATT, SYLPHIR CHAREST, GEORGI LAZAROV, MILENA BOZOUKOVA - Vocals

STAGECRAFT Shop

SCÈNE ÉTIQUE - Sets Workshop – TrampowallACMÉ SERVICES SCÉNIQUES - Accessories WorkshopR & R TREMBLAY - TransportJOËL NORTON - Technical Consultant – Trampowall

JEAN-PHILIPPE BÉNARD, HUGO BOURQUE, LIONNEL DECHAMPS, YANICK DÉCARIE, VALÉRIE DESROSIERS,MARILYSE FILLION, LOUIS HÉON, CHRISTIAN LECLERC, FRANCIS LECLERC, FRANÇOISMORIN, DIOGO PINTO, JEAN-LOUIS ROBERT, ZAKI-PAUL SALIB, SEBASTIEN SAVOIE, STÉPHANE ST-JEAN - Technicians

COSTUME Shop

CHANTAL BACHAND - Costume AssistantMICHEL PROULX, JULIE SAURIOL - CuttersMATHIEU AUDY - TailorATELIER D À COUDREANDRÉE POITRAS - Graphic Designer

Make-Up

ANNE POULIN - Make-up Assistant

Image, Promotion & iD’s Communication

ÉRIC BEAUSÉJOUR - Graphic ArtistVALÉRIE REMISE/RAMIRO COLOMA - PhotographersALBERT RUDNICKI - Producer & Director of Photography – Promotional VideoVINCENT HOSS-DESMARAIS - Editor and TranslatorCOMUNIKA - iD Poster and Logo Design

Participants in iD’s creation - Phase 1 Troupe

MASON AMES - Hand to Hand, TrampowallVALÉRIE BENOÎT-CHARBONNEAU - Hand to Hand, TrampowallSTACEY CARLSON - Flying HammockFLORIAN ZUMKEHR - Chinese Pole, Trampowall

CREATIVE Team

NADIA LABRIE - Director’s AssistantMARC BEAUDRY - Delegate Producer, Production Manager and Technical DirectorNATHALIE ENAULT - Production Stage ManagerCLAUDIA COUTURE - Stage Manager, Director’s AssistantFLORENCE CORNET - Make-up Designer

PRODUCTION Team

KATHERINE RIVA GUERRA - Tour Director & Project ManagerMATHIEU URVOY-LETELLIER - Head Sound Technician

MARIE-FRANCE LEFEBVRE - Head RiggerSIMON WATKINS-DONALD - Head Video TechnicianPASCAL LEBLANC - Technical Director, Head Sound TechnicianCLARA FEFERBERG - Production AssistantTIAGO CHASQUEIRA - Acrobatic CarpenterFRANÇOIS DESROCHERS - Video ConsultantJEAN-LOUIS ROBERT, SAMUEL MALLIÉ, NANCY BOUCHER, CHRISTIAN CLAVEAU, STEEVE CARON - TechniciansREAL DORVAL, FRANCIS LECLERC, LUC-VINCENT OUELLET - Video TechniciansMARIO NOËL - Key-Grip & RunnerLINDA PROULX - Trainee – Stage ManagerMARC “MARCUS” GAUTHIER & MARIE-FRANCE LEFEBVRE – Riggers

CO-COMMISSIONERS

PROJECT MANAGER

MARIYA MONEVA, Project [email protected] 596-3838 ext. 263

PRESS & PUBLICITY

NICOLE BOUCHARD, Communications [email protected]+1 514 596-3838 ext. 240

BOOKING

SYLVIE BAUMANN, Assistant Director, International Development - Touring [email protected]+1 514 596-3838 ext. 226

VINCENT MESSAGERAgent, International Development - Touring [email protected]+1 514 596-3838 ext. 232


While I didn’t have the chance to train in circus arts until I was seventeen, my marvel of them has been with me from a very early age. From watching street performers across the nation from

New Orleans to Boulder, Colorado, to seeing the traveling Ringling Brothers Circus at age five, I was instantly hooked by the art form’s ability to expand human possibility. The circus has the power to leave the audience breathless without tricks or gimmicks, but by the sheer capability of the human body.

When I was seventeen, I had the opportunity to receive training in circus skills at the

on Cirque Éloize evan mitChell

University of North Carolina School of the Arts. From juggling to plate spinning, hat manipulation and basic tumbling, it got me hooked no longer just on the spectacle but the practice as well.

Now at UNC-Chapel Hill, despite there being no specific class devoted to the circus arts, I still continue to train, learn new skills and practice with fellow students. Friends and I even amassed all our circus apparatuses in order to provide recent workshops to the dramatic art community. It’s an important study to promote because, for me, it’s not just a hobby, not just something fun and entertaining, but an activity that inspires the imagination. Few other performances allow the spectator (young or old) to question the limits of what is or is not possible.

Cirque Éloize is no exception. The feats they perform inspire wonder. They are especially remarkable to a person like me who has trained in many of these disciplines (trust me when I say these are no simple tricks, but the result of hours and hours spent training in order to provide for you – in that wonderful circus tradition – the belief that anything is possible).

As the performers take the stage, all this will soon become clear. The body has no limits if you allow yourself to believe in it.

Enjoy the show!

Evan Mitchell (’11) is majoring in Dramatic Arts at UNC-Chapel Hill and founded the After Hours Ensemble to provide ensemble-based workshops on performance techniques including circus skills.


classical recitalsC

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Thursday, March 3 at 7:30 PM

Classical music performances are made possible by the William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

“…rhapsodic and affecting…”

- The New York Times

ClassiCal reCitals

Credit: Eli Turner


classical recitalsLeon Fleisher

When pianist/conductor Leon Fleisher accepted the 2007 Kennedy Center Honor, Caroline Kennedy recognized him as “a piano prodigy ... who rose to the heights, embraced adversity and became a musician for all seasons.” His inspiring story Nine Lives, written with Washington Post critic Anne Midgette, was published by Doubleday in late 2010.

Fleisher’s musicianship is the stuff of leg-end, and his personal story is as heartbreak-ing as it is life-affirming. Well on his way to conquering the music world at 16, singled out in The New York Times as “one of the most gifted … keyboard artists” and soon hailed as “the pianistic find of the century” by the great conductor Pierre Monteux, he was cruelly sidelined at the height of his powers by a rare neurological disease that lost him the use of his right hand at the age of thirty-seven. Treatments have restored mobility, winning him enormous acclaim for his 2004 recording Two Hands. His story is the subject of the 2006 Oscar-nominated documentary Two Hands, written and directed by Nathaniel Kahn (My Architect). Fleisher’s Sony recordings continue to be among the most admired in the catalogue.

His first two-hand performances in over forty years, as soloist with the London Philharmonic conducted by Vladimir Jurowski, were hailed as among the most moving and memorable performances of the season.

Recent and forthcoming appearances include his acclaimed Carnegie Hall workshops; conducting the Irish Chamber Orchestra, the Brazilian Symphony and Osaka Philharmonic; and appearances at the Aldeburgh and Ravinia Festivals and the Hollywood Bowl. He will perform and conduct in a series of concerts at New York’s 92nd Street Y and will appear as a conductor, soloist, recitalist, chamber music artist, master class mentor and invaluable resource in college and uni-versity residencies around the world.

“sheep may safely graze” from Cantata no. 208 (1713) J.s. Bach arr. Egon Petri (1685-1750)

Capriccio in B-flat major “on the Departure of a most Beloved Brother” BWv 992 (1703-1706) I. Arioso. Ist eine Schmeichelung der Freunde, um denselben von seiner Reise abzuhalten. II. Andante. Ist eine Vorstellung unterschiedlicher Casuum, die ihm in der Fremde könnten vorfallen. III. Adagissimo. Ist ein allgemeines Lamento der Freunde. IV. Allhier kommen die Freunde, weil sie doch sehen, dass es anders nicht sein kann, und nehmen Abschied. V. Aria di Postiglione. Adagio poco. VI. Fuga all´imitatione della cornetta di Postiglione

Chromatic fantasia and fugue in D minor, BWv 903 (1720)

Chaconne for the left Hand from violin Partita no. 2 in D minor BWv 1004 (1717-1723) arr. Brahms (1877)

intermission

sonata in B-flat major, D. 960 (1828) schubert Molto moderato (1797-1828) Andante sostenuto Allegro vivace con delicatezza Allegro ma non troppo

Program

tHurs mar 3 | 7:30 Pm


the andersen Project – ex machinaThursday, March 17 at 7:30pm & Friday, March 18 at 8pm

Credit: Emmanuel Valette

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“...dazzling...” - The Guardian (UK)



WorlD tHeatertHur mar 17 | 7:30Pm | fri mar 18 | 8Pm

Written and directed by Robert LepagePerformed by Yves Jacques

Script Collaborators: Peder Bjurman, Marie Gignac

Assistant Director: Félix Dagenais

Associate Set Designer: Jean Le Bourdais

Associate Lighting Designer: Nicolas Marois

Sound Designer: Jean-Sébastien Côté

Costume Designer: Catherine Higgins

Properties: Marie-France Larivière

Puppeteer: Jean-Nicolas Marquis

Images produced by: Jacques Collin, Véronique Couturier, David Leclerc

Wig Master: Richard Hansen

Robert Lepage’s agent: Lynda Beaulieu

Production Manager: Louise Roussel

Production Manager (touring): Marie-Pierre Gagné

Tour Manager: Isabelle Lapointe

Technical Director: Serge Côté

Technical Director (touring): Eric Gautron

Stage Manager: Nathalie Godbout

Lighting Manager: Félix Bernier Guimond

Sound Manager: Caroline Turcot

Video Manager: Nicolas Dostie

Wardrobe and Prop Manager: Isabel Poulin

Head Stagehand: Simon Cloutier

Technical Consultant: Tobie Horswill

Collaboration on the improvisational and creative process: Normand Poirier

Make-up: Nathalie Gagné

Assistant to the Costume Designer: Jennifer Tremblay

Costumes Cutter: Nicole Fortin

Seamstress: Hélène Ruel

Set building: Les Conceptions visuelles Jean-Marc Cyr

Horse’s cart maker: Martin Beausoleil

Sculpture Maker (“Femme piquée par un serpent”)” Patrick Binette

Lighting Designer’s Trainee (creation): Jennifer Jimenez (Theatre Ontario’s Professional Theatre Training Program)

Audioguide voice: Ulla Henningsen

Production: Ex Machina

Coproduction: Carolina Performing arts, Auckland Festival; Bite:06, Barbican, London; Bonlieu Scène Nationale, Annecy; Festival de Otoño de la Comunidad de Madrid; Cal Performances, Berkeley; Canadian Stage, Toronto; Célestins, Théâtre de Lyon; Change Performing

Arts, Milan; Emerson College, Boston; La Comète (scène nationale de Châlons-en-Champagne); La Coursive, La Rochelle; Le Festival d’automne à Paris; Le Grand Théâtre de Québec; Le Théâtre du Nouveau Monde, Montréal; Le Théâtre du Trident, Québec; Le Théâtre français du Centre national des Arts d’Ottawa; Le Théâtre National de Bordeaux Aquitaine; Le Théâtre National de Chaillot; Le Théâtre National de Toulouse Midi-Pyrénées; Le Volcan - Scène nationale du Havre; LG Arts Center, Seoul; Maison des Arts, Créteil; MC2 : Maison de la Culture de Grenoble; National Chiang Kai-Shek Cultural Centre, Taipei; Pilar de Yzaguirre - Ysarca Art Promotions, Madrid; Setagaya Public Theatre, Tokyo; spielzeiteuropa I Berliner Festspiele; Teatre Lliure, Barcelona; The Hans Christian Andersen 2005 Foundation; The Sydney Festival; Théâtre de Caen

Associate Producer – Europe, Japan: Richard Castelli

Associate Producer – United Kingdom: Michael Morris

Associate Producer –The Americas, Asia (except Japan), Australia, NZ: Menno Plukker

Producer for Ex Machina: Michel Bernatchez

Music

Donizetti’s “Una furtiva lagrima”

Performed by Vincenzo La Scola

Used by arrangement with Naxos of America

Grieg’s Sonata No. 1 for violin and piano in F major

Performed by Olivier Charlier and Brigitte Engerer

Used by arrangement with Harmonia Mundi

Sarah McLachlan’s “Sweet Surrender” (DJ Tiësto Remix)

Used by arrangement with Tyde Music & Nettwerk Productions

Offenbach’s “Pas de deux” (from the ballet Le Papillon)

Performed by John Georgiadis

Used by arrangement with Universal Music Canada for Decca London

Acknowledgements: Le-Maillon, Théâtre de Strasbourg; Odense City Museums

Ex Machina is funded by the Canada Council for the Arts, Quebec’s Arts and Literature Council and the City of Quebec.

www.lacaserne.net

The Andersen Project: A Modern Fairy Tale

Having come to Paris at the behest of the Opéra Garnier, which has commissioned him to write the libretto for a children’s opera based on a fairy-tale by Hans Christian Andersen, a Québécois songwriter settles down in a friend’s apartment on Rue Saint-Denis. During his stay, he necessarily meets people: one of the Opéra’s senior managers (a man with some odd and unusual likings), a young janitor and graffiti artist of North African descent, as well as a dog who could well be guiding the tale along its way.

Freely inspired from two stories by Andersen (“The Dryad” and “The Shadow”) and from anecdotes drawn from the famed Danish author’s Parisian travels, The Andersen Project calls on some of Lepage’s recurring themes: the confrontation between romanti-cism and modernism, between recognized and underground art forms, between past and present. However, in this new solo work, he also explores more troubling territories: questions about sexual identity, unfulfilled fantasies and a thirst for recognition and fame that are drawn from Andersen’s life and writings, only to serve as a filigree to the modern tale.

Once again, Lepage tells the story of a Québécois whose travels abroad and meet-ings with others allow him to find out what defines, motivates and inspires him.

Robert Lepage

Versatile in every form of theater craft, award-winning Robert Lepage is equally talented as a director, scenic artist, play-wright, actor and film director. His original approach to theater has won him interna-tional acclaim and shaken the dogma of classical stage direction to its foundations, especially through his use of new technolo-gies. Contemporary history is his source of inspiration, and his modern and unusual work transcends all boundaries.

His plays include Circulations (1984), The Dragons’ Trilogy (1985), Vinci (1986), Polygraph (1987) and Tectonic Plates (1988). From 1989-93 he was Artistic Director of the Théâtre français at the National Arts Centre in Ottawa, meanwhile pursuing his own cre-ative projects, Needles and Opium (1991), Coriolanus, Macbeth, A Midsummer Night’s Dream and The Tempest (1992).


In 1994, he founded Ex Machina, produc-ing The Seven Streams of the River Ota (1994), A Midsummer Night’s Dream (1995) and Elsinore (1995). In 1994, he wrote and directed his first feature film, Le Confessional, going on to direct Polygraph (1996), Nô (1997), Possible Worlds (2000) and a film adaptation of his play The Far Side of the Moon (2003). In 1997, he opened La Caserne, a multidisciplinary production center, creating and producing Geometry of Miracles (1998), Zulu Time (1999), The Far Side of The Moon (2000), a new version of The Dragons’ Trilogy (2003), The Busker’s Opera (2004), The Andersen Project (2005), Lipsynch (2007), The Blue Dragon (2008) and Eonnagata (2009).

He directed Peter Gabriel’s Secret World Tour (1993) and Growing Up Tour (2002) and designed and directed Cirque du Soleil shows KÀ (2005), a permanent show in Las Vegas, and TOTEM (2010). For Québec City’s 400th anniversary in 2008, Lepage and Ex Machina created the largest architectural projection ever achieved: The Image Mill™, followed by Aurora Borealis (2009).

Lepage’s opera productions include Bluebeard’s Castle and Erwartung (1993),

La Damnation de Faust (1999), 1984 (2005), The Rake’s Progress (2007), The Nightingale and Other Short Fables (2009), and Rheingold, Wagner’s Ring prelude, which premiered in 2010 at The Metropolitan Opera with the cycle being presented during 2010-11 and 2011-12.

Yves Jacques

In 1984, Yves Jacques’ part in Denys Arcand’s The Decline of the American Empire confirmed his standing as an actor and was followed by a succession of hits in film, tele-vision and on stage. Appearances include Les Feluettes, French-language versions of Brecht’s Galileo and The Threepenny Opera, Brad Fraser’s Unidentified Human Remains and the True Nature of Love, the Denys Arcand film Jésus de Montréal and Luc Plamondon’s rock opera La Légende de Jimmy.

He has lived in Paris since 1993, appearing alongside Rupert Everett in Jérome Savary’s production of Oscar Wilde’s The Importance of Being Earnest (1996) and in Savary’s hit Paris production of Molière’s Le Bourgeois gentilhomme. Montréal appearances include Oscar Wilde’s An Ideal Husband (1999) and

Goldoni’s Les Jumeaux vénitiens. In 1999 and 2000, he earned coveted nominations for Québec’s Métrostar and Jutra awards for his parts in André Melançon’s hit TV series Ces enfants d’ailleurs II and Jean Beaudin’s film Souvenirs intimes.

He has appeared in movies including Patrice Leconte’s La veuve de Saint-Pierre with Juliette Binoche, Gabriel Pelletier’s La vie après l’amour, Nuit de noces by Émile Gaudreault, Yves Simoneau’s Napoléon with John Malkovich, Gérard Depardieu and Isabella Rossellini, Claude Miller’s La Petite Lilly (2003) and Denys Arcand’s Oscar-winning The Barbarian Invasions (2004). From 2001-05, he has orbited the earth with Robert Lepage’s The Far Side of the Moon, winning Montreal’s Theatre du Nouveau Monde’s Best Actor Award (Prix Gascon-Roux) in 2003. Recently, he appeared in Sébastien Rose’s Le Banquet, Léa Pool’s La Dernière Fugue, Alain Desrochers’ Cabotins and Kevin Tierney’s French Immersion. He has worked extensively with French director Claude Miller on films including Voyez comme ils dansent (2010), Un secret (2006), Betty Fisher et autres histoires (International Critics’ Award 2001), La chambre des magiciennes (International Critics’ Award, Berlin, 2000) and La classe de neige (Prix du Jury, Cannes 1998). He was awarded the Chevalier de l’Ordre des Arts et des Lettres (2001) and the Officier de l’Ordre du Canada (2009).

Ex Machina

In 1994, when Robert Lepage asked his collaborators to help find a name for his new company, he had one condition: the word “theater” could not be part of the name. Ex Machina is thus a multidisciplinary company bringing together actors, writers, set designers, technicians, opera singers, puppeteers, computer graphic designers, video artists, contortionists and musicians. Ex Machina’s creative team believes that the performing arts – dance, opera, music – should be mixed with recorded arts – film-making, video art and multimedia. That there must be meetings between scientists and playwrights, set painters and architects, and between artists from Québec and the rest of the world. New artistic forms will surely emerge from these gatherings. Ex Machina wants to rise to the challenge and become a laboratory, an incubator for a form of theater that will reach and touch audiences from this new millennium.


In Québec, when one mentions Robert Lepage, no questions are asked. He is the emblem of theater, performance, artistic production and non-conformism in the province. He is a great

source of inspiration for artists of all media, and with every new project, he pushes the boundaries of traditional artistic creation, multimedia and storytelling techniques.

As a Québécoise, I am filled with pride to see Robert Lepage succeeding internationally – no matter the medium, I find inspiration in his work. Whether it’s multimedia ar t, print-mak-ing or per formance, Lepage is an incredible source of vitality and creation. He can capture vividly the hybrid, multicultural soul of Montreal or the everyday Québécois. But

about the andersen project laurenCe DesChamps-laporte

more universally, he centers his produc-tions on the exploration of individuals’ tor tured aspirations. He reveals people’s profound identity and debates through his characters, but also scrutinizes North American and European contemporary societies through his transient and ever-evolving multimedia direction.

The Andersen Project breaks our preconcep-tions on space, individuals and children’s stories. In this play, Lepage unveils the life of a man we thought of as a Danish storyteller who loved children. Andersen was in fact a solitary man with a narcissistic and destruc-tive sexuality, incredibly talented but also troubled. He admitted disliking children.

Always skeptical when the works of storytell-ers are told only through the superficiality of children’s stories, I cannot bear seeing Antoine de Saint-Exupéry’s The Little Prince

told as a cute children’s tale time after time. The Little Prince was intended as a cruel story about the lack of humanity in Saint-Exupéry’s World War II society, and I believe Andersen’s stories are not unlike those of Saint-Exupéry. Lepage puts an end to the simplistic exploita-tion of Andersen’s stories, and reclaims the original essence of Andersen’s life and his creations in all their complexity. He uses the premise of Andersen’s life to tell the story of multiple individuals. Through Andersen, he tells the story of many Québécoises – the story of me, and probably of you.

Laurence Deschamps-Laporte (’11), from Québec, is completing a degree in International Studies at UNC-Chapel Hill. In the fall, she will begin a master’s degree in Development Studies at Oxford University as a Rhodes Scholar.


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Photo credit: Joris-Jan Box Photography

nederlands Dans theaterTuesday & Wednesday, March 29 & 30 at 7:30pmThe March 29 performance of Nederlands Dans Theater is supported by Wyndham Robertson, Performance Benefactor.

Silent Screen

intermission

The Second Person

Program

“…inventive, bold and always fabulously danced.”

- The New York Times


DanCetues & WeD mar 29 & 30 | 7:30 Pm

Silent Screen

Choreography: Paul Lightfoot and Sol LeónMusic: Philip Glass, Glassworks (1982) Why does someone have to die? from The Hours (2002)Concept film: Lightfoot LeónRealization film: Metropolis Film and Dicky SchuttelDecor: Paul Lightfoot and Sol LeónCostumes: Paul Lightfoot and Sol León (Big thank you to Joke Visser and Hermien for realization and support)Lighting: Tom BevoortWorld premiere: April 28, 2005 – Lucent Danstheater Den Haag

The Tuesday, March 29 performance of Nederlands Dans Theater is supported by Wyndham Robertson, Performance Benefactor.

Program Notes

Never before have Paul Lightfoot and Sol León made a piece as long as this – 45 minutes – and the result has rarely been so compelling and well balanced. Silent Screen is set to the abstract and yet emotional music of Philip Glass. The piece begins with a fascinating duet against the background of a solitary man vanishing into the sea. When the dancers disengage themselves from the images, they display harmony and happi-ness. Then the sea transforms into a forest and the atmosphere changes. Despite its high degree of technicality, the ballet refers to great themes of life and has a profound emotional overtone.

This time the inspiration is the art of silent movies, the amazing way of acting emotions, the beauty of the body’s expression without words and the power of these actors, who project their drama in a symbolic way. It has been a beautiful and emotional experience that makes us improve our way of communi-cating through the art of dance.

– Sol León

“One never realizes an emotion at the time. It expands and thus we don’t have complete emotions about the present, only about the past.” (Virginia Woolf)

– Paul Lightfoot

The Second Person

Choreography: Crystal PiteAssistant to the choreographer: Maurice CauseyMusic: Owen Belton (new composition)Text: Crystal PiteVoice: Kate StrongLight: Kees TjebbesCostumes: Joke Visser, Crystal PiteDecor: Crystal PitePainting canvas: Vorm & Dekor, Roelf VisscherProduction of dolls: Rob’s Prop Shop, Willeke SmitWorld premiere: February 15, 2007 – Lucent Danstheater Den Haag

Nederlands Dans Theater

Nederlands Dans Theater originated in 1959 when 22 people broke free from the Nederlands Ballet. These rebels were impassioned by dance and the desire to give it a style all their own. Under the direc-tion of Carel Birnie and Benjamin Harkarvy, they steadily built a different repertoire of modern dance. Fifty years later, Nederlands Dans Theater has become one of the lead-ing dance companies in the world. A rich repertoire has been built up with works from master choreographers Jir í Kylián and Hans van Manen as well as from resident choreographers Sol León and Paul Lightfoot, associate choreographers Crystal Pite and Johan Inger and many other guest choreogra-phers including Ohad Naharin, Nacho Duato and William Forsythe. Under the direction of Artistic Director Jim Vincent, Nederlands Dans Theater attracts full houses worldwide. Through the years, but particularly in its hey-day under former artistic director Jir í Kylián, Nederlands Dans Theater has done pioneer-ing work in contemporary dance. Ballets originally made for Nederlands Dans Theater are still danced all over the world. Numerous dancers and choreographers that once started with the company have set up their own dance companies worldwide. While cher-ishing what has been built up, Nederlands Dans Theater looks to the future. Jim Vincent wants to strengthen the connection between dance and society, which he does

by programming in such a way that the per-formance becomes a complete experience for the public. It is important to Vincent to expose dance to influences from other art disciplines, to break new ground together.

Nederlands Dans Theater I

This company was founded in 1959 and consists of 30 dancers. They vary in age from 23 to 42 and each one of them excels in their solo qualities. These phenomenal dancers and the multifaceted repertoire they bring to the stage attract full houses all over the world.

Nederlands Dans Theater II

This company was founded in 1978 for young upcoming talent with astonishing technique and endless energy and currently consists of 16 dancers up to the age of 23. Nederlands Dans Theater II is a revolution-ary breeding ground of talent and dance repertoire by established and up-and-coming choreographers.

Paul Lightfoot and Sol León

Paul Lightfoot (Kingsley, England) trained at the Royal Ballet School in London. In 1985, he joined Nederlands Dans Theater II and two years later moved on to Nederlands Dans Theater I, where he was vital to the image of the company. He also took up choreography, his talent for which stood out in 1988 during the annual workshop of Nederlands Dans Theater. After this workshop he created The Bard of Avon for Nederlands Dans Theater II (1989), the first of many pieces for Nederlands Dans Theater I as well as Nederlands Dans Theater II, and also for Nederlands Dans Theater III at the time. His choreographies were made in close collaboration with Sol León – an alliance that continues to this day.

Sol León (Córdoba, Spain) finished her dance training at the National Ballet Academy of Madrid and came to The Hague in 1987 to dance with Nederlands Dans Theater II under Arlette van Boven. In 1989, she joined Nederlands Dans Theater I. She danced many works by masters of choreography


including Jir í Kylián, Hans van Manen, Mats Ek and Ohad Naharin until she stopped dancing in 2003. From 1989, Sol León and Paul Lightfoot have worked together produc-ing choreographies for Nederlands Dans Theater. In 2002, the couple were appointed resident choreographers of Nederlands Dans Theater. Together they have made 40 choreographies for this dance company. In 2007, they started a charity project for street children in Bangladesh.

Crystal Pite

Vancouver-based choreographer and performer Crystal Pite has created works for Netherlands Dance Theatre 1, Cullberg Ballet, Ballett Frankfurt, Les Ballets Jazz de Montréal (Resident Choreographer 2001–04), Cedar Lake Contemporary Ballet, Ballet British Columbia, Alberta Ballet, The National Ballet of Canada and several inde-pendent dance artists, the most recent of whom is Louise Lecavalier. Pite is a former company member of Ballet British Columbia and Ballett Frankfurt. In 2001, she formed her own company, Kidd Pivot, and continues to create and perform in her own work. Kidd

Pivot tours nationally and internationally with productions that include Dark Matters (2009), Fault (2008), Lost Action (2006), Uncollected Work (2002) and Double Story (2004), created with Richard Siegal. In 2010, Kidd Pivot became the resident company of Kunstlerhaus Mousonturm in Frankfurt, Germany and is now known as Kidd Pivot Frankfurt RM. Crystal Pite is an Associate Dance Artist of Canada’s National Arts Centre and Associate Choreographer of Netherlands Dance Theater. She is the recipient of the 2008 Governor General’s Mentorship Award.

Exclusive North American Representation: IMG Artists

Carnegie Hall Tower, 152 West 57th Street, 5th Floor, New York, NY 10019

Ph: 212-994-3500, Fx: 212-994-3550, www.imgartists.com


About twenty years ago, I choreographed two ballets for Nederlands Dans Theater II, when Jir í Kylián was the artistic director. At the time, the dancers and I were close to the same

age. Here I am again, creating a piece for Nederlands Dans Theater I. Jim Vincent, the current artistic director, was my schoolmate at University of North Carolina School of the Arts. This time, I am much older than the dancers, but my sensations of happiness are the same.

Being a dancer is a very difficult job. It requires so much precision, self-discipline, musicality, passion, and most importantly, a sense of humor about oneself and one’s community. We laugh a lot every day, and this keeps things very real and compassionate. I have always found this to be the case with Nederlands Dans Theater.

on neDerlanDs Dans theater amanDa K. miller

The work I am creating with the dancers is a challenging process because of the different improvisational tools I use to create the choreography. Each dancer reveals more and more of him/herself with this language, as if writing a poem with physical language and expression. These dancers approach the process with open minds and hearts. I can understand and appreciate their intellectual intelligence and curiosity and their ability to translate and transform this into their bodies. Dancers’ bones talk, and throughout our bodies is the democracy of a strange sort of freedom.

As an audience member, just sit back, relax and be engulfed in Nederlands Dans Theater’s generosity as performers, with all that they give as individual human beings to their art – dancing.

Born and raised in Chapel Hill, Amanda K. Miller is founder of the Pretty Ugly Dance Company. Recently, she led a workshop series at UNC-Chapel Hill as a part of Carolina Performing Arts’ Dance Master Class Series.

ackland art museum1/2 pg


Woyzeck on the Highveld – Handspring Puppet CompanyFriday & Saturday, April 1 & 2 at 8pm

A play for puppets and animated projections

Photo Credit: John Hodgkiss

“…consistently innovative…”

- Boston GlobeCredit: XXX

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VOICES OF DISSENT



WorlD tHeaterfri & sat aPr 1 & 2 | 8Pm

Based on the play by GEORGE BÜCHNER Directed by WILLIAM KENTRIDGE Restaged by LUC DE WIT Designed by ADRIAN KOHLER & WILLIAM KENTRIDGE Animation WILLIAM KENTRIDGE Lighting Design WESLEY FRANCE

The Company

Actor MNCEDISI SHABANGU Puppeteers NKOSINATHI GAAR, JASON POTGIETER, HAMILTON DHLAMINI, BUSI ZOKUFATechnical Director WESLEY FRANCE Sound Engineer SIMON MAHONEY Stage Manager BRUCE KOCH

Music produced by STEVE COOKS, EDWARD JORDAN Sound Design WILBERT SCHOUBEL Cello CLARA HOOYBERG Piano accordions ALFRED MAKGALEMELE, ISAAC VAN GRAAN

Puppet Maker ADRIAN KOHLER Assistant Puppet Makers FRANCOIS ......... VILJOEN, ERICA ELK Assistant Animator ERICA ELK Video Editor THABO NEL Original Lighting Design MANNIE MANIM Set Builder FRANCOIS VILJOEN Costumes HAZEL MAREE

Producer BASIL JONES Production Manager WESLEY FRANCE

Major Revival 2008. Original Production 1992: The Standard Bank National Arts Festival, the Johannesburg City Council, the Foundation for the Creative Arts, the German Embassy in South Africa, the Department of National Education and Art Bureau (Munich).

www.handspringpuppet.co.za

Handspring Puppet Company’s activities in the Americas and in Asia are produced by Deirdre Valente, Lisa Booth Management, Inc.

ROLES & PLAYERS

Woyzeck ...................HAMILTON DHLAMINI Maria ..................................BUSI ZOKUFA The Barker, The Miner, Margaret, Andries MNCEDISI SHABANGU The Captain ................. NKOSINATHI GAAR The Doctor ....................JASON POTGIETER

Director’s Note (2008 Revival)

In the strange, convoluted world of oppression and enlightenment that constituted Prussia in the 19th century, there was a law which stated that anyone condemned to death had first to be examined by a psychiatrist before he could be executed. The psychiatric report of one such person, a private in the army condemned to death for the murder of his common law wife, formed the basis of the play Woyzeck, written by Georg Büchner in 1875. The play was an unfinished series of fragments at the time of the author’s death at the age of 25, and it was not performed until some 40 years later. Since then, its mixture of fragmentation, rationality and irrationality have made it a central text in 20th century theater. Handspring Puppet Company and I were drawn to the text both for its substance but also for its abbreviated, fragmentary form. Both puppetry and animation are short forms, puppetry because of the conflict between the weight of a puppet and the strength of an arm, animation because of the hours of labor needed to draw even short sequences.

This production was my first collaboration with Handspring Puppet Company, and when we made it some 15 years ago, we had the blessing of absolutely not knowing what we were doing, making the form, and the grammar of the form, as we went along. In the subsequent productions of Faustus in Africa!, Ubu Tells the Truth, Il Ritorno d’Ulisse and Confessions of Zeno, we have always worked with the disadvantage of hindsight. In this presentation, there are some changes of puppetry controls, some changes of manipulation, but essentially we are making a restaging of the original produc-tion. We hope new audiences find pleasure both in Buchner’s remarkable text and our production of it. But in truth this restaging is a gift to ourselves, as we try to rediscover some of the things we did not know.

– William Kentridge

Director’s Note (1992 Original Production)

I first came across the play Woyzeck in Barney Simon’s remarkable production in the old Arena Theatre in Doornfontein in the 1970s. Characters and images from the play have floated on the edges of my consciousness since then. For many years, I have wanted to do some form of produc-tion of the work as it seemed to me that the anguish and desperation of Büchner’s text does not need to be locked into the context of Germany in the 19th century, and that the similar circumstances that exist in South Africa today make this play completely eloquent in a local setting.

The second source of this production is to be found in the desire to work with puppetry in general and the Handspring Puppet Company in particular – to work in an area in which perfor-mance and drawing come together, to try to see if one could find an emotional depth and weight without recourse to the obvious techniques of psychological transformation of an actor’s face.

The third source is the animated films that I have been making. The cumbersome and archaic technique of charcoal drawing and erasure that I use imposes severe limita-tions on the mobility and interaction of the drawn figures. Working with puppets and these animated films attempts to bring the possibilities of versatile three-dimensional movements into the work I have been doing.

This is my first experience of working with puppets and the discoveries have been enor-mous. Each day of rehearsal has brought revelations of the things that puppets can do better than their living counterparts (try training a rhinoceros to write or an infant to fly on cue). Also worth watching out for is that strange condition where the manipula-tion of the puppets is completely transpar-ent, where, in spite of seeing the palpable artificiality of the movement of the puppet, one cannot stop believing in the puppet’s own volition and autonomy.

– William Kentridge


Handspring Puppet Company

Exploring the boundaries of puppet theater within an African context since 1981, Handspring Puppet Company is directed by Adrian Kohler and Basil Jones. Based in Kalk Bay on the outskirts of Cape Town, South Africa, the company provides an artistic home and professional base for a core group of performers, designers, theater artists and technicians. Their work has been presented in more than 30 countries around the world.

Handspring has been regularly produced in the USA since 1994, when the company made its debut with Woyzeck on the Highveld, the first of six collaborations with William Kentridge. This team’s subsequent produc-tions – Faustus in Africa (1994), Ubu and the Truth Commission (1998), Zeno at 4AM (2001), Confessions of Zeno (2002, 2003) and Il Ritorno d’Ulisse (1998, rev 2004) – have also been presented here. Tall Horse, made in collaboration with Yaya Coulibaly’s Sogolon from Mali, toured the USA in 2005.

Handspring has also partnered with London’s National Theatre. War Horse, a long-running hit on London’s West End,

earned Handspring Olivier, Evening Standard and London Critic’s Circle awards in 2007 for their magnificent life-size puppets. Joey, the lead horse of the production, has also made several special appearances including a visit with Queen Elizabeth II at Windsor Castle and at the 2011 TED conference in Long Beach, CA. The Broadway production opens on April 14. In 2010, the National commis-sioned and produced Or You Could Kiss Me, which Handspring created in collaboration with playwright/director Neil Bartlett.

In conjunction with Cape Town’s Out the Box Festival, the company has established the Handspring Puppetry Awards, five cash prizes awarded annually to recognize and celebrate the work of those engaged in the art form. Handspring Puppet Company, a compre-hensive survey and catalog raisonné of the company’s work with essays, drawings and hundreds of detailed full-color photographs, was published by David Krut in 2010.

William Kentridge

William Kentridge is a South African artist whose work tracks a personal route across the legacy of apartheid and colonialism

through an innovative use of charcoal draw-ing, prints, collages, stop-animation, film, opera and theater. Kentridge see his work as rooted in Johannesburg – the city in which he was born and continues to work today. In 2010, he was awarded the Kyoto Prize and made his debut at the Metropolitan Opera, staging and designing Dmitri Shostakovich’s The Nose. Five Themes, a large-scale exhibi-tion that surveys nearly three decades of work and underscored the inter-relatedness of his mediums and disciplines, was presented in 2010 at NYC’s MOMA; Jeu de Paume, Paris; Albertina Museum, Vienna and in 2009 at the San Francisco Museum of Art; Modern Art Museum of Fort Worth, Texas; Norton Museum of Art, West Palm Beach, Florida. His recent work also includes I am not me, the horse is not mine, a solo lecture/per-formance piece and installation, and Black Box/Chambre Noire, a miniature piece with mechanized puppets and projection with original music by Philip Miller, commissioned by Deutsche Guggenheim in Berlin.


Puppets keep dancing in and out of my life, layering impressions of magical moments. Although some scholars argue that puppetry is as ancient as 30,000 years old, I am not. I do have a

fuzzy childhood memory of seeing a puppet show, but can’t remember where or when. It may have been during the year we spent in England when I was six years old. I dredge up a scene at someone’s birthday party, which included an outdoor Punch and Judy show.

The study of puppetry was part of my coursework for a BA in theater, but at the time, it was considered an art form for children only. Fortunately, puppetry artists and audiences have come a long way since then and a new appreciation for this ancient global art form has emerged.

In 1998, I began to work on the Memorial Hall renovation campaign. Chair Jim Heavner used his wide network to ensure our success. One of his pals was Debbie Ellis of Atlanta. Both Debbie’s parents were Carolina alumni and she honored them by generously naming two of the brand new dressing rooms. After the campaign, Debbie joined the board of the Center for Puppetry Arts in Atlanta, an amazing museum/school/performance troupe. Through Debbie, my interest in and knowledge of puppetry was rekindled.

A couple of years later, I began working for Britain’s Royal Shakespeare Company. There, I met the amazing Chief Associate Director Gregory Dorn, who had learned of the Bunraku puppet tradition while touring Macbeth in Japan a few years earlier. He creatively integrated the art form into a production of Venus and Adonis, one of the Bard’s two long poems. It used hand and shadow puppets, marionettes and Bunraku. I was lucky enough to see it in Stratford in 2004 and it stunned me. It was funny, outrageous, erotic, tragic and moving. For the first time since childhood, puppets made me weep.

In 2005, I was back at UNC-Chapel Hill working for Carolina Performing Arts. The Grand Opening Season included Handspring and Sogolon Puppet Companies’ production of Tall Horse, featuring life-sized puppets interacting with actors. I saw

on hanDspring puppet Company prisCilla bratCher

both performances and was, once again, enthralled. I wanted more and was rewarded in 2009 and 2010 with the National Theatre’s production of War Horse in London. Using Handspring’s life-sized puppets for the animals in the play, War Horse knocked me out with its powerful story-telling. This time I was not alone in my weeping. It was reported that even Her Majesty the Queen shed a tear when she saw it.

This spring brings another puppet experience, Handspring’s Woyzeck on the Highveld. Based on the Georg Büchner classic play, this performance promises to be powerful and moving as well as inventive under the direction of artist and filmmaker William Kentridge. I can’t wait.

And here’s what I’ve come to understand from my lifelong dance with puppets. This art form has power because it resonates with childhood memories. But performances that artfully use puppets transcend sentimentality. By asking the audience to suspend disbelief and invest cloth, wood and clay with breath and the ability to think, feel and react, puppet artists can take us on magical journeys of delight, pathos, joy and wonder. I hope you will travel with me on April 1 and 2.

Priscilla Bratcher, Anglophile and theater devotee with a weakness for Shakespeare, is Director of Development for Carolina Performing Arts at UNC-Chapel Hill.


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Credit: Colin Bell

st. Petersburg Philharmonic orchestra with Yuri temirkanov, music director & conductor, and alisa Weilerstein, celloTuesday, April 5 at 7:30 PM


ClassiCal ensemBles“…music in the purest form possible…”

- the Washington Post

ClassiCal ensemBles


russian easter overture, op. 36 rimsky-Korsakov (1844-1908)

Concerto for Cello no. 1 in e-flat major, op. 107 shostakovich Allegretto (1906-1975) Moderato Cadenza Allegro con moto

intermission

symphony no. 4 in e minor, op. 98 Brahms Allegro non troppo (1833-1897) Andante moderato Allegro giocoso Allegro energico e passionato

Program

ClassiCal ensemBlestues, aPr 5 | 7:30 Pm

The St. Petersburg Philharmonic Orchestra

Founded in 1882, The St. Petersburg Philharmonic Orchestra, Russia’s oldest symphonic ensemble, has undertaken the first Russian performances of Tchaikovsky’s Symphony No 6 (“Pathetique”), Richard Strauss’ symphonic poems Ein Heldenleben and Also Sprach Zarathustra, Mahler’s First Symphony, Bruckner’s Ninth Symphony, Prokofiev’s Classical Symphony, Skryabin’s Poem of Ecstasy and many Shostakovich symphonies. Conductors have included Tchaikovsky, Prokofiev, Richard Strauss, Arthur Nikisch, Alexander Glazunov, Serge Koussevitsky, Otto Klemperer, Bruno Walter, Felix Weingartner, Leopold Stokowski, Georg Solti and many others.

In 1917, the Orchestra became the State Orchestra. Soloists Vladimir Horowitz and Sergey Prokofiev appeared with the Orchestra, which began to play modern repertoire – Stravinsky, Schoenberg, Berg, Hindemith, Honegger, Poulenc – while con-tinuing to premiere the music of contempo-rary Russian composers. In 1938, conductor Evgeny Mravinsky joined the Orchestra and for the next 50 years transformed it into one of the best in the world. In 1988, Yuri Temirkanov became principal conductor, giv-ing numerous world premieres and opening Carnegie Hall’s 2005-2006 season.

Continuing the Orchestra’s 125th anniver-sary celebrations, this season features two subscription series (Yuri Temirkanov and his Orchestra and The First Russian Symphony Orchestra) and the winter festival “Arts Square,” opening with Evgeny Kissin. In the newly refurbished Philharmonic Hall, the Orchestra will perform with Krzysztof Penderecki the first St. Petersburg per-formance of his Polish Requiem and a concert with Rodion Shchedrin in which the composer will play his First Piano Concerto. It will also perform at the Marathon-Concert for International Music Day and celebrate Stravinsky’s 125th anniversary. The Orchestra also tours the US, including three Carnegie Hall per formances. The season closes in June with a traditional festival, The Music Collection, featuring Serge Baudo, Hans Graf, Freddy Kempf and Paata Burchuladze.

Yuri Temirkanov

One of the most sought-after conductors of his generation, Yuri Temirkanov became ar-tistic director and chief conductor of the St. Petersburg Philharmonic Orchestra in 1988. In 1967, Evgeny Mravinsky offered him the position of assistant conductor at the Philharmonic Hall. From 1968, Temirkanov was head of the Academic Symphony Orchestra of the Philharmonia, widening the

orchestra’s repertoire and touring interna-tionally. In 1976, he became artistic director and chief conductor of the Kirov (Mariinsky) Theatre, actively touring abroad and creat-ing classic productions of Prokofiev’s War and Peace, Tchaikovsky’s Eugene Onegin and Queen of Spades, Petrov’s Peter I and Shchedrin’s Dead Souls.

He also began collaborating with many world-famous orchestras, becoming chief conduc-tor of the Royal Philharmonic Orchestra (RPO) in 1992, principal guest conductor of the Dresden Philharmonic (1992-97), prin-cipal guest conductor of the Danish Radio Symphony Orchestra (since 1998), chief con-ductor of the Baltimore Symphony Orchestra (2000-06) and guest conductor of the Bolshoi Theatre (2007-08). He tours regularly with the St. Petersburg Philharmonic Orchestra and performs the traditional opening and closing concerts of the season. Under his direction, the Orchestra became the first Russian orchestra to perform at Carnegie Hall’s opening concerts of the season.

The People’s Artist of the USSR, he has received State Awards and Orders including the President of Russia award and the Abbiati award, Best Conductor of the Year. Last sea-son, he was elected Honorary Member of the Academy of Santa Cecilia and was honored by the St. Petersburg government.

Temirkanov has made the preservation and nurturing of St. Petersburg’s spiritual and cultural inheritance the subject of an International Foundation for Cultural Initiatives in his name. In 1998, he created the Temirkanov award for talented young musicians. In 1999, he founded the new Arts Square international winter festival, featuring the world’s greatest soloists with the Orchestra.

Alisa Weilerstein

Cellist Alisa Weilerstein has attracted wide-spread attention for her virtuosity, technical precision and impassioned musicianship. 2009-10 milestones included performing Elgar’s Cello Concerto with the Berliner Philharmoniker and Daniel Barenboim, participating in a White House classical music event, touring Venezuela with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra and making her LA Philharmonic


debut with Dudamel, performing Dvorák’s Cello Concerto.

Highlights of her 2010-11 season include touring with the St. Petersburg Philharmonic Orchestra led by Yuri Temirkanov, recitals with pianists Inon Barnatan and Gabriel Kahane, performing the Beethoven Triple Concerto with pianist Jeremy Denk, violinist Chee Yun and conductor Marek Janowski with the San Francisco Symphony, and de-buting with the National Orchestra of Spain, the Danish Radio Symphony Orchestra and the Royal Stockholm Philharmonic Orchestra performing Osvaldo Golijov’s Azul.

A dedicated chamber musician, she performs regularly in prestigious festivals and with her parents as the Weilerstein Trio, the New England Conservatory’s Trio-in-Residence. In 2008, she was awarded Lincoln Center’s Martin E. Segal prize for ex-ceptional achievement and in 2006 she won the Leonard Bernstein Award. She received a 2000 Avery Fisher Career Grant and in 2000-01 was selected for the prestigious ECHO (European Concert Hall Organization) “Rising Stars” recital series and the Chamber Music Society of Lincoln Center’s Chamber Music Society Two. In 2000, she recorded a CD for EMI Classics’ “Debut” series.

Born in 1982, she made her Cleveland Orchestra debut in 1995 and her Carnegie Hall debut with the New York Youth Symphony in 1997. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, she graduated from New York’s Columbia University in 2004 with a degree in Russian history.

Photo Credit: Lucio Lecce


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Photo credit: Zhang He Ping

BeijingDance/lDtX Tuesday & Wednesday, April 12 & 13 at 7:30pm

artistic Director: Willy TsaoDeputy artistic Director: Li Hanzhongtechnical Director and lighting Designer: Godzilla TanProduction manager: Chen Linstage manager: You HuCompany manager: Liu Siwen

Dancers: Ma Bo, Zuo Yan, Song Tingting, Zhao Kexin, Xu Yiming, Zi Wei, Liu Bin, Liang Yu, Liu Yifeng, Zheng Zhi, He Yao, Li Yue, Guo Wei, Qian Kun

“…the coming of age of new Chinese dance…” - Dance Europe


DanCetues & WeD aPr 12 & 13 | 7:30 Pm

April 12 Program

UnspeakableChoreographer: Sang JijiaCostume Designer: Sang Jijia & Gao JieSet Designer: Sang JijiaLighting Designer: Goh Boon AnnMusic Arrangement: Sang Jijia

All music is arranged by Sang Jijia, from the works of Pan Sonic, Thom Willems, Ryoji Ikeda and John Adam.

Dancers: Full Company

What is expected is not a person, not a story, not anything.

A world that can be explained even with bad reasons is a familiar world. But, on the other hand, in a universe suddenly divested of illu-sions and lights, man suddenly feels an alien, a stranger. His exile is without remedy since he is deprived of the memory of a lost home or the hope of a promised land. This divorce between man and his life, the actor and his setting, is properly the feeling of absurdity.- Albert Camus

April 13 Program

The Cold Dagger (excerpt)Choreographers: Li Hanzhong and Ma Bo Music: Henryk GoreckiDancers: Full Company

The Cold Dagger (excerpt) is an explosive staging of confrontation and humanity. This ten-minute version of an evening-length work plays with the Chinese idiom that likens life to a game of chess, wherein dancers act as life-sized pieces in an intricately choreo-graphed match of the traditional Chinese Weiqi (go) game. The work is a mesmerizing look at the “game of life,” in which piece and

choreographers. It reflects the development of contemporary dance in 20th-century China. All River Red is not a comfortable fusion of East and West, but rather, a direct and violent confrontation between those adhering to tradition and those inspired to innovate.

About the Company

The birth of BeijingDance/LDTX (Lei Dong Tian Xia, literally translated as Thunder Rumbles Under Heaven) in September of 2005 not only caught widespread international atten-tion, but also captured the imagination of many artists in China. BeijingDance/LDTX was born out of a controversial and exciting time of rapid cultural change in China, be-coming China’s first non-governmental and independent professional dance company.

Founded by veteran choreographers and a new generation of dancers in China, BeijingDance/LDTX is a platform for contem-porary creations. Under the artistic direction of Willy Tsao, China’s foremost figure in modern dance, and deputy artistic director Li Hanzhong, the company boasts an en-semble of 14 technically exquisite dancers and a diverse repertoire. Based in China’s capital, BeijingDance/LDTX serves as both a leader and a catalyst for the modern and contemporary dance and dance appreciation movement. By nurturing young talent and exclusively working with Chinese choreogra-phers, BeijingDance/LDTX pioneers China’s most cutting edge choreography.

Since it’s creation in 2005, BeijingDance/LDTX has traveled extensively throughout Mainland China, Hong Kong, Europe and North America. In addition, BeijingDance/LDTX hosts the annual Beijing Dance Festival, which brings the world’s most innovative work to the nation’s capital. Through performance seasons, educa-tional programs, commercial engagements, technique classes, and outreach activities, BeijingDance/LDTX attracts aspiring danc-ers and artists to contemporary dance and serves as an important voice in the evolu-tion of modern Chinese thought and society.

Willy tsao (Company Director/Artistic Director) has been a major figure in China’s modern dance community for over 25 years. Born and educated in Hong Kong, Tsao received his modern dance training in the US from 1973-1977. In 1979, he graduated from the

Program

player, strategy and sacrifice, and cause and effect are shown to be one and the same.

Sky Choreography: Liu Bin Music Producer: Mao LiangDancers: Zuo Yan, Song Tingting, Zhao Kexin, Liu Bin, Xu Yiming,Li Yue and Qian Kun

To embrace, to trust, to hope and to continue…

One Table N Chairs (excerpt)Choreographers: Willy Tsao, Li Hanzhong and Ma BoMusic: Traditional Chinese Opera recordings from Beijing and GuangdongDancers: Full Company

This excerpt is one of nine scenes that together compose the full evening version of One Table N Chairs. Inspired by the local operas in different parts of China, the nine scenes represent the different sentiments and situations of life. It is estimated that China has over one hundred kinds of local opera, each with its unique singing and act-ing style. The nine most distinctive types of operas and their highlights are adapted and deconstructed in One Table N Chairs to give a kaleidoscopic picture of contemporary and traditional China.

INTERMISSION

All River RedChoreography: Li Hanzhong and Ma BoMusic: Igor StravinksyDancers: The Full Company

Stravinsky’s Rite of Spring was premiered in 1913, signifying the dawn of a new era in music writing. This music has inspired many western masters of choreography to create innovative dances. All River Red is the version offered by contemporary Chinese

April 12 Program

unspeakable

April 13 Program

the Cold Dagger

sky

one table n Chairs (excerpt)

intermission

all river red


University of Hong Kong with an MBA and es-tablished the Hong Kong City Contemporary Dance Company.

Tsao has dedicated endless effort towards the development of modern dance in China. In 1986, he was invited to teach modern dance at the Beijing Dance Academy, and served later as the Artistic Advisor for their Youth Dance Company. In 1987, he became an advisor for the Guangdong Dance School and was instrumental in creating the Guangdong Modern Dance Company, the first professional modern dance company in China. He served as their Artistic Director from 1992-1998 and was invited back to serve as Company General Manager in 2004. Tsao has conducted intensive modern dance workshops in many cities throughout China. In 1999, he was invited to be the Artistic Director for Beijing Modern Dance Company. In 2005, he re-established the company under the name BeijingDance/LDTX. As a choreographer, his works have been pre-sented in the US, Canada, Korea, Japan, Israel, Germany, France and China. Tsao’s contribution to modern dance has been widely recognized. In 1999, he was awarded the “Bronze Bauhinia Star” by the Hong Kong Government for his significant contribution

to the development of local arts. Other awards and honors include the “Dancer of the Year Award” from the Hong Kong Artists’ Guild (1988), the “Ten Outstanding Young Persons” Award (1990), “The Badge of Honor” from HRH Queen Elizabeth II (1993) and the “Louis Cartier Award of Excellence – Outstanding Choreographer”(1998).

li Hanzhong (Deputy Artistic Director/ Choreographer) was born in the western province of Yunnan. He is hailed as part of China’s first gen-eration of modern dancers. Li Hanzhong graduated with a bachelor’s degree from the Beijing Dance Academy (Chinese Ethnic Dance) in 1991. Upon graduation, he joined the Guangdong Modern Dance Company as a dancer, artistic assistant and choreog-rapher. He toured with the company to the US, France, Germany, Switzerland, Austria, Korea, Singapore and the Philippines. In 1996, he received the Asian Cultural Council Scholarship to study at the American Dance Festival. Along with his prolific choreographic creations in mainland China, Li has been invited to stage works for the Center for the Performance Arts, Adelaide (1998 and 2000), Cloud Gate Dance Theatre, Taiwan (1999) and the American Dance Festival’s

International Choreographers Showcase (1999). Li joined the Beijing Modern Dance Company as the Deputy Artistic Director in 1999. In 2005, Li left the Beijing Modern Dance Company and, along with Willy Tsao, founded BeijingDance/LDTX.

His major choreographic works have toured internationally with Guangdong Modern Dance Company, Beijing Modern Dance Company and most recently, BeijingDance/LDTX. Some of his most acclaimed works include All River Red (2000), Undetermined Domain (1997), Rear Light (2002) and The Cold Dagger (2006).

www.BeijingLDTX.comExclusive North American Tour RepresentationRena Shagan Associates, Inc16A West 88 StreetNew York, NY 10024tel. 212.873.9700 fax. 212.873.1708www.shaganarts.com

International Tour Coordinator, Sandy Garcia


My parents took me to see a modern dance performance when I was in junior high. Putting aside the hints of irony embedded in this “adventure” for a moment, I was stunned and almost upset by

the inexplicable compositions and movements of dancers’ bodies. More than that, I was extremely puzzled because of the lack of a storyline: “What do I make out of this?” Well, my parents asked me the same question.

Today, even though I have become someone who can “comfortably” talk about modern dance and almost have the tendency to spit out such terms as “the body,” “expressionist,” and “challenge the established” to describe modern dance, I know I am still secretly looking for stories when watching a performance. Besides the narrative of the dance, I tend to search for anecdotes in the rehearsal room, some real-life fantasies evoked in a dance field trip, and

on beijingDanCe/lDtX jiayun zhuang

personal memories of the performers. Sitting in the audience, it has become my personal “ritual” to constantly try to figure out to which degree these stories are interwoven and told through dance.

In Nederlands Dans Theater III, a dance-theater company for experienced dancers older than 40 years, one of the members recalls, “When I was 45, and empty-handed, I wanted to become a ballet teacher and then I started [...] so here I am (as a ballet teacher).” Pina Bausch and Tanztheater Wuppertal’s production Ten Chi looks like, as someone perfectly described, “a series of postcards.” And yes, the story fragments captured in the cards are inspired by a visit to Japan, amusingly translated by the German dancer-tourists, into a celebration about the plenitude and the loss of meaning. When talking about his new work, Listening to the River, Lin Hwai-min, the founder of Taiwan’s Cloud Gate Dance Theatre, tells us that he is in hope of planting a tree somewhere along the Tamsui River and always wonders what type of tree it would be.

There are so many stories, and I expect that BeijingDance/LDTX will bring more stories to us. This drastically changing time has created a wonderful storytelling stage for Chinese artists. Isn’t now the best-ever time for us to get to know the dancing storytellers who mix reality with hope, euphoria with everyday struggle, tradition with future, and individual stories with those of a bigger society? This rising company has performed a dynamic collection of works and has been actively involved in a range of dance festivals and workshops, both in China and internationally. In addition to providing a variety of aesthetic experiences and sensory impressions, LDTX also brings into contemporary Chinese society modern dance as the most direct, diverse and thought-provoking vocabulary for telling the new stories. I hope to have the chance to have a cup of Longjing tea with them, and to discuss their physical movements and choreographic structures. Then, I will ask: “What is your story?”

Jiayun Zhuang is an Assistant Professor in the Department of Dramatic Art at UNC-Chapel Hill.


classical recitalsC

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Bach and Beyond – Jennifer Koh, violinThursday, April 14 at 7:30pm


ClassiCal reCitals

Photo credit: Janette Beckman

“An endearing presence, Koh has chops aplenty.”

- The Star-Ledger

Co-Commissioned by Carolina Performing Arts


classical recitalstHurs aPr 14 | 7:30 Pm

Partita no. 3 in e major, BWv 1006 J.s. Bach Preludio (1685-1750) Loure Gavotte en Rondeau Menuet I Menuet II Bourrée Giga

sonata no. 2 in a minor, op. 27 no. 2 Ysaÿe Obsession (1858-1931) Malinconia Danse des ombres Les furies

nocturne – In memory of W. Lutoslawski Kaija saariaho (b. 1952)

fantasy – Remembering Roger elliott Carter (b. 1908)

Lachen verlernt (with video by Tal Rosner) esa-Pekka salonen (b. 1958)

intermission

Partita no. 2 in D minor, BWv 1004 J.s. Bach Allemande (1685-1750) Corrente Sarabande Giga Ciaccona

Program Jennifer Koh

Beloved by audiences and critics for her consummate musicianship and daring pas-sion, Jennifer Koh is unique in her genera-tion, bringing a probing intellectual acuity to contemporary and traditional repertoire in equal measure. Committed to exploring connections between the pieces she plays, searching for similarities of voice among composers as well as within the works of a single composer, her programs often present rare and revealing juxtapositions, offering composers as divergent as Mozart and Ligeti, Schubert and Saariaho.

Her Rhapsodic Musings recording (2010) features 21st-century solo violin works and includes a film by Tal Rosner on Esa-Pekka Salonen’s Lachen Verlernt for solo violin. Other recordings include the Grammy-nominated String Poetic, an acclaimed CD of the complete Schumann violin sonatas, works by Bach, Schubert, Szymanowski, Martin, Schoenberg and jazz great Ornette Coleman, and Portraits, featuring the Szymanowski and Martinů violin concer-tos with the Grant Park Orchestra under Carlos Kalmar.

Since 1994-95, when she won the International Tchaikovsky Competition in Moscow, the Concert Artists Guild Competition and the Avery Fisher Career Grant, Ms. Koh has appeared with leading orchestras and conductors around the world. A prolific recitalist, she appears frequently at major music centers and festivals includ-ing Carnegie Hall, the Kennedy Center, the Kimmel Center in Philadelphia, Marlboro, Wolf Trap, Spoleto, and The Festival International de Lanaudiere in Canada.

Born in Chicago of Korean parents, Ms. Koh currently resides in New York City. She is a graduate of Oberlin College and an alumna of the Curtis Institute, where she worked extensively with Jaime Laredo and Felix Galimir. She is grateful to her private spon-sor for the generous loan of the 1727 Ex Grumiaux Ex General DuPont Stradivari she uses in performance.


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tony allen’s afrobeat orchestraTuesday, April 19 at 7:30pm

WorlD musiC

Photo credit: Bernard Benant

world music

VOICES OF DISSENT


world musictues aPr 19 | 7:30 Pm

Musicians

Drums and lead vocal: Tony Allen Bass: Cesar Anot rhythm guitar: Claude Dibongue tenor guitar: Kologbo Keyboards: Amp Fiddler trumpet: Albert Leusinktenor saxophone: Paul CarlonBaritone saxophones: Dimitri Moderbacher

Tony Allen

Born in Lagos, Nigeria in 1940 of mixed Nigerian and Ghanaian parentage, Tony Allen taught himself to play drums by listening to Art Blakey and Max Roach recordings. Long acknowledged as one of Africa’s most influential musicians, he created Afrobeat with Fela Kuti, performing with him in Afrika 70 for 15 years. Together they recorded

the classic stream of discs documenting the post-colonial iniquities of Nigerian society and the band’s increasingly bloody conflicts with the authorities: Alagbon Close, Everything Scatter, Expensive Shit, Yellow Fever, Zombie, Kalakuta Show, Before I Jump Like Monkey Give Me Banana, Sorrow Tears And Blood and Fear Not For Man. Massively popular, the band was subject to constant harassment and brutal physical attacks from the army and police.

Allen recorded his own albums Jealousy (1975), Progress (1976) and No Accommodation For Lagos (1978) with Afrika 70, produced by Kuti. By 1978 he was ready for a change and soon parted company with Kuti – their final studio collaboration was Centre Of The World (1981). In 1979, he formed Tony Allen and the Afro Messengers

and recorded No Discrimination. From 1981-83 he led the Mighty Irokos before moving to London and then Paris, where he remained. In 1984, he recorded N.E.P.A. – Never Expect Power Always – with his band Afrobeat 2000 and toured with juju superstar Sunny Ade. Throughout the 1990s, Allen was a sought-after session drummer, collaborat-ing with Randy Weston, Groove Armada, Air, Charlotte Gainsbourg, Manu Dibango and Grace Jones. Since Fela Kuti’s death, Allen is recognized as Afrobeat’s torch bearer with albums including Black Voices (1999), Home Cooking, Tony Allen Live, Lagos No Shaking and his latest, Secret Agent (2009).

Three decades after the classic Afrika 70 albums, Nigeria remains riven by the same injustices that the band had protested against so courageously.

Once in a great while, I hear a groove so powerful on WXYC that I have to pull over, as I did on Franklin Street the other day. “Wow, this drummer really manages to sound like Tony Allen!”

Of course, it turned out to be Allen himself – who else could even come close? It was “Elewon Po,” off his 2009 release Secret Agent, which I hadn’t heard before. Like many fans, I’m most familiar with Allen’s work with Fela Kuti in the ’70s. This felt different – looser and more jovial than the controlled, even ascetic grooves on Fela’s songs “Shuffering and Shmiling” or “Zombie.” Yet it was potent enough to force me off the road, and unmistakeably Allen – even after four decades’ worth of emulation by other drummers. There will only be one Elvin Jones, one Art Blakey, one Tony Allen. Tonight we are in the presence of one of the all-time masters of the drum set.

on tony allen DaviD pier

I encountered music inspired by Tony Allen long before I heard Allen himself. One of my favorite LPs growing up was Remain In Light, an album composed by the Talking Heads and Brian Eno in a state of intoxication with the music and theatrics of Fela and his band (Eno has called Allen “perhaps the greatest drummer who has ever lived”). What Allen’s grooves distinctly had, and the Talking Heads managed to borrow, was an atmospheric quality balanced with propulsive funk. The funk of James Brown is like being in a street fight; you know you’re getting hit. Tony Allen’s funk is something more subtle and enveloping, a dark fire all around you. You can think inside its spaces. No one understood this quality better than the late Fela. Over Allen’s churning beats, he led his disciples on meditative journeys, tracking flows of commodities and corrupt politicians in and out of Nigeria. The cinematic effect of Fela’s music required Allen’s steady, energetic, yet unobtrusive timekeeping.

What is the secret to Allen’s atmospheric groove? A thousand drummers would love to know. One thing for sure is that his touch is

crucial. Listening closely you may be surprised at how busy Allen’s playing is: he has the chatty snare drum style of a bebop drummer, his left hand keeping up a steady stream of jokes and asides. Yet his dynamic finesse is such that you might never notice all that activity. Nothing sticks out where it shouldn’t.

Allen, like Fela, sees music as a tool for raising consciousness, not just for entertainment. In “Elewon Po” he sings, “everywhere I look I find / too many prisoners.” Can we console ourselves that he is talking about Nigeria, not our own land-of-the-free? On a deeper level, Allen, like all performers of the highest caliber, has something to show us about the feeling of freedom – a freedom of motion and invention attainable only by a total commitment to precision and discipline. Tonight, we are lucky to witness him and his band at work, live. I’m certainly looking forward to it!

David Pier is an Assistant Professor in the Department of African and Afro-American Studies at UNC-Chapel Hill.


special events

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Branford marsalis, saxophone, with the north Carolina Jazz repertory orchestraThursday, April 21 at 7:30pm

Program to be announced from the stage.

sPeCial event

Photos Courtesy of Ted Kurland Associates

Branford Marsalis

Long known as a jazz luminary, Grammy Award-winning saxophonist Branford Marsalis is a man of numerous musical interests, from jazz, blues and funk to classical music projects. He has continued to expand his skills as an instrumentalist, composer and head of Marsalis Music, the label he founded in 2002. Born into one of New Orleans’ most distinguished musical families, he gained acclaim with Art Blakey’s Jazz Messengers and his brother Wynton’s quintet before forming his own ensemble. He has performed and recorded with jazz giants including Miles Davis, Dizzy Gillespie, Herbie Hancock and Sonny Rollins. Known for his innovative spirit, he has performed jazz with his Quartet, his own unique contemporary popular music with his band Buckshot LeFonque, and classical works with acclaimed orchestras. His nearly two dozen recordings include Music Redeems (2010), Metamorphosen (2009), Braggtown (2006), Eternal (2004) and the DVD Coltrane’s “A Love Supreme” Live in Amsterdam (2004).


special eventtHurs aPr 21 | 7:30 Pm

Dedicated to changing the future of jazz in the classroom, Marsalis has shared his knowl-edge at universities around the country, with his full quartet participating in an innovative extended residency at the NCCU campus. He also brings a new jazz education approach to colleges and high schools through Marsalis Jams, in which leading jazz ensembles pres-ent concert/jam sessions in mini-residencies.

Marsalis spent years touring and recording with Sting, served as musical director of The Tonight Show with Jay Leno, collaborated with the Grateful Dead and Bruce Hornsby, acted in films including Throw Mama from the Train and School Daze, provided music for Mo’ Better Blues and other films, hosted National Public Radio’s Jazz Set, and was nominated for a 2010 Tony Award and Drama Desk Award for his participation in the Broadway revival of August Wilson’s Fences.

North Carolina Jazz Repertory Orchestra (NCJRO)

Since 1993, the NCJRO has been North Carolina’s premier jazz orchestra. Embracing the entire history of jazz, the NCJRO has championed music ranging from King Oliver’s

Creole Jazz Band and Jelly Roll Morton’s Red Hot Peppers to the contemporary jazz of Pat Metheny, Maria Schneider and Kenny Werner. Of particular interest to the NCJRO is the music of Duke Ellington. The orchestra has mounted two large-scale Duke Ellington Sacred Concerts including one program documented for Public Television by UNC-TV.

The members of the NCJRO possess a wealth of jazz experience and many work actively as music educators across the state at such institutions as UNC-Chapel Hill, UNC-Greensboro, UNC-Wilmington, East Carolina University, North Carolina Central University, Duke University, UNC-Pembroke, and the North Carolina School of the Arts. The NCJRO has recorded three CDs includ-ing the holiday jazz CD Blizzard! and tribute CDs exploring the musical legacies of Benny Goodman and Duke Ellington. The NCJRO is operated by the not-for-profit organization The Jazz Foundation of North Carolina, Inc. The mission of the foundation is to promote and preserve jazz in all its forms across the state of North Carolina and to promote jazz education through programs like The Jazz Express, which brings NCJRO members

serving as clinicians to elementary, middle and high schools across the state.

North Carolina Jazz Repertory Orchestra

James Ketch, Music DirectorKathy Gelb, vocals

saxophonesJeff Bair, lead alto David Reid, alto and clarinet Gregg Gelb, tenor sax and clarinet Wally West, tenor sax William Fritz, baritone sax, bass clarinet

trombonesGeorge Broussard, Lucian Cobb, Caren Enloe, Mike Kris

trumpetsJerry Bowers, Jim Ketch, Leroy Barley Christian McIvor

rhythm sectionEd Paolantonio, piano Baron Tymas, guitar Jason Foureman, bass Thomas Taylor, drums

What is it about the saxophone in jazz? As a young professional in the early 1920s, Duke Ellington heard Sidney Bechet perform on so-prano saxophone and clarinet in his home-town of Washington

DC. Ellington was deeply touched by the soulfulness and expressiveness of Bechet’s horn playing that evening, so much so, that it would impact his hiring practices throughout his long career as a band leader. All things being equal, Ellington would seek musicians with very distinctive solo voices henceforth. Nearly two decades later (1939), Ellington would add tenor saxophonist Ben Webster to his orchestra. His band would now feature five saxophonists in the section. Ellington knew Basie had Lester Young and Jimmy Lunceford had Chu Berry. With Ben Webster on board, the Duke proudly proclaimed, “we are now a part of the swing era!” Nearly two decades later (1956), Duke’s tenor saxophonist Paul Gonsalves stirred up the

on branforD marsalis anD the north Carolina jazz repertory orChestra jim KetCh

Newport Jazz Festival crowd to near-riotous levels by stomping a 27-chorus blues solo as an impromptu interlude between sections in Ellington’s Diminuendo and Crescendo in Blue. The performance re-ignited Ellington’s career. From that moment forward, Ellington would introduce himself to audiences thusly: “Hello, I’m Duke Ellington and I was born in 1956 at the Newport Jazz Festival.”

Branford Marsalis joins Sidney Bechet, Ben Webster, Paul Gonsalves, and so many other brilliant jazz saxophonists as being a soulful and expressive musician able to transform sounds and musical gesture into flights of improvisational inspiration and deep meaning. His music and his playing embrace the Past, Present and Future of jazz in significant ways. His dedication to studying the saxophone family as both a classical and jazz artist and to listening extensively to an exceptionally broad palette of music from many centuries enables Branford to draw on deep musical reservoirs during his performances.

Tonight’s show featuring Branford Marsalis with the North Carolina Jazz Repertory

Orchestra offers Memorial Hall listeners several musical treats. The NCJRO, founded in 1993, has explored music from the 1920s to the present and features 18 gifted musicians from across our state. The band has recorded three CDs and produced two events for UNC-TV. Twice, the band has presented Ellington’s Sacred Music concert in Duke Chapel. Many of you will hear the NCJRO for the first time tonight. We hope you will become followers of the orchestra. The other treat is having the opportunity to showcase the amazing talents of Branford Marsalis against the rich and musically colorful backdrop of a 17-piece jazz orchestra. When I teach Ellington in jazz history classes I talk about Ellington as a painter. Ellington used the musicians in his band like a painter blending colors from his palette. With Branford Marsalis and the NCJRO we hope to share with you music that is soulful and expressive, music rich in color and contrast, and music that is both deeply moving and meaningful.

Jim Ketch is Music Director of the NCJRO and Director of Jazz Studies at UNC-Chapel Hill.


Memorial Hall Box Office Hours

• Monday-Friday: 10:00am - 6:00pm• Weekday events: 10:00am - intermission• Weekend events: 12 noon - intermission

Memorial Hall Box Office

The University of North Carolina at Chapel HillCB#3276, 114 East Cameron AvenueChapel Hill, NC 27599-3276P: (919) 843-3333; F: (919) 843-2012E-mail: [email protected]

House PoliCies

Late Arrivals

• Patrons arriving after the start of a performance will be seated at the discretion of the house staff, typically in between works.

Coat Check

• This service is available for patrons seasonally and is located on the left side of the main lobby. Memorial Hall is not responsible for lost, stolen or damaged items.

Lost and Found

• For lost items, please contact the Box Office. For found items, please notify an usher.

Services for Persons with Disabilities

• If a patron has special needs, the Box Office staff should be notified by the patron in advance and arrangements will be made for accommodations. Special needs include, but are not limited to, hearing or sight impairment, the use of a wheelchair, etc.

Concessions

• Concessions are available for purchase in the lobby prior to the performance and during intermission.

• No outside food or beverage is allowed to be brought into Memorial Hall.

• No food or beverage is allowed inside the auditorium.

No Smoking

• Smoking is prohibited inside Memorial Hall and on the UNC campus.

No Electronic Devices

• Use of cell phones, beepers and alarms of any kind is prohibited during performances. Please remember to turn these items off before the performance begins.

• Photography, videography and recording devices of any kind are prohibited during performances.

Ticket Policies

• Tickets may be purchased by phone, fax, mail, in person or online.

• Forms of payment accepted: Visa, MasterCard, UNC OneCard, cash, personal checks, and travelers’ checks.

All phone, fax and online orders must be charged by credit card as tickets will not be held without payment.

All sales are final. No refunds or exchanges are allowed. Tickets that go unused may be returned to the Box Office no later than one week prior to the performance and will be considered a tax-deductible donation. A receipt for the donation will be issued. If a performance is cancelled, patrons will be refunded the face value of the ticket.

All tickets, other than those purchased in person, will be mailed.

Please allow 7-10 days for delivery. All tickets purchased less than seven days prior to the performance will be held at Will Call. Patrons must present photo identification to pick up tickets at Will Call.

All persons, regardless of age, must have a ticket for admission to performances.

A current mailing address, e-mail address and phone number are required when purchasing tickets.

All programs, dates, times and prices are subject to change.

suBsCriPtions

The Best Ticket Prices

Purchase a subscription to receive a 15% discount off single ticket prices.

The Best Possible Seats

Renewing subscribers keep the same seats for future seasons as long as they continue to subscribe. If they decide to make a seat change, their request is given the highest priority and is handled before new subscribers.

The Best Benefits

• Special events & single ticket pre-sale • Ticket donation • Ticket exchange • Insurance for lost or forgotten tickets • Annual subscriber open house reception • E-mail alerts to special offers and sales

For more details, visit the subscription section at carolinaperformingarts.org/tickets or call the Memorial Hall Box Office.

grouP tiCKetsGroups of 10 or more receive 10% off the general public ticket price.

faCultY anD staff tiCKetsUNC-Chapel Hill faculty and staff may purchase tickets to all Carolina Performing Arts performances at a discount of 15% off the regular ticket price. Faculty and staff may also purchase subscription packages at a discount of 20% off the regular ticket price.

A valid UNC OneCard must be presented to receive the faculty and staff discount.

stuDent tiCKetsStudents can attend regular season Carolina Performing Arts events for only $10. each patron with a student ticket must display their valid unC oneCard upon entry. limit two (2) tickets per oneCard, limit two (2) oneCards per order.

important information


NATIONAL ADVISORY BOARDThe Carolina Performing Arts National Advisory Board of alumni and friends guides and champi-ons a shared vision of Carolina as the nation’s leading university in the arts. It is with profound gratitude that we thank these outstanding and generous volunteers.

Tom Kearns, Darien, CT, ChairJane Ellison, Greensboro, Vice ChairHodding Carter, Chapel HillMunroe Cobey, Chapel HillPeter D. Cummings, Palm Beach Gardens, FLPaula Flood, Chapel HillJim Heavner, Chapel HillCheray Z. Hodges, Chapel HillJoan C. Huntley, Chapel HillSally Johnson, RaleighEmil Kang, ex-officioAnne C. Liptzin, Chapel HillScott Maitland, Chapel HillSara McCoy, Chapel HillJames Moeser, Chapel HillPatty Morton, CharlotteJosie Patton, Chapel HillPhil Phillips, Chapel HillWyndham Robertson, Chapel HillBarbra Rothschild, New York, NYDee Schwab, CharlotteChancellor Holden Thorp, ex-officioStacey Yusko, Chapel HillDoug Zinn, Chapel HillPriscilla Bratcher, Staff Liaison

CAROLINA PERFORMING ARTS ENDOWMENTThrough a generous $5 million challenge grant from the William R. Kenan, Jr. Charitable Trust made in 2005 and the inspirational leadership of the Carolina Performing Arts Society National Advisory Board, generous donors enabled us to meet that challenge by the challenge deadline in 2007. Due to the economic turndown, our en-dowment, although safe, will not provide fund-ing for our annual needs for the second year in a row. However, many of our most generous endowment donors have given the equivalent of the interest we would have earned from our invested funds. We anticipate that the fund will begin providing annual support in fiscal year 2012.

Carolina Performing Arts has pressing needs to fund the difference between our ticket income and the actual cost of presenting our expanding series. Right now, tickets provide only about 55% of the total cost of presenting artists on our stages. The best way to do this is to build a permanent source of future funding through our endowment. Whether it’s through naming a seat ($5,000 gift), creating a named fund ($100,000 minimum) or making a deferred estate commitment, your endowment gift will guarantee the excellence, variety and breadth of programming, the student outreach, and the investment in new creations that have become the hallmark of Carolina Performing Arts.

CAROLINA PERFORMING ARTS SOCIETYThe Carolina Performing Arts Society supports the University’s commitment to invite outstanding professional artists to perform and to teach; to foster a deep appreciation of a wide variety of the performing arts in the University, in the local community, and throughout the region; and to establish Carolina as a national leader in the performing arts.

Ticket sales cover only a portion of the total costs in presenting such a series. Support from members is critical to maintain the artistic excellence of Carolina Performing Arts, its outreach programs, and student ticket subsidies.

Members enjoy a variety of special privileges as listed below. An annual membership begins at $125. We want to make your Carolina experience richer, more convenient, and more fun! Benefits and privileges are listed within the various membership levels following:

Undergraduate and Graduate Member: $35 • All benefits and privileges afforded to Sponsoring Members

Sponsoring Member: $125-$999 • Advance notice of season and individual tickets • Priority subscription processing • An invitation to an annual Society event • Member recognition in our program book for all Carolina Performing Arts events

Silver Tier: $1,000-$2,499All benefits listed for Sponsoring Members, plus: • Opportunity to purchase single tickets in advance of the general public • Complimentary parking passes for nearby lot • An invitation to the season preview reception • Priority seating for subscriptions to Carolina Performing Arts

Gold Tier: $2,500-$4,999All benefits listed for Silver Tier, plus: • Complimentary reserved parking • Receptions in the Pamela Heavner Gallery during intermission at each Carolina Performing Arts series performance • Private tours • Exclusive travel opportunities

Platinum Tier: $5,000-$9,999All benefits listed for Gold Tier, plus: • Use of the Pamela Heavner Gallery for your own private reception • Opportunity to name a seat in Memorial Hall

The David Lowry Swain Society: $10,000-$14,999The David Lowry Swain Society is the Performing Arts Society’s most exclusive membership program, offering members first class benefits throughout the year. Membership in the Swain Society is granted to those donors who generously contribute $10,000 or more to the Carolina Performing Arts Society annually.

All benefits listed for Platinum Tier, plus: • Complimentary VIP valet parking pass with exclusive drop-off and pick-up area reserved for Swain Society members only • Access to exclusive VIP/Stage Door entrance • Personal coat check at the VIP/Stage Door entrance • Opportunity to name two seats in Memorial Hall • Exclusive access to the Swain Society Concierge Desk at (919) 843-1869 for assistance with difficult-to-acquire tickets for all Carolina Performing Arts performances • Assistance with requests for special tours and rental of Memorial Hall for special functions

Performance Benefactor: $15,000 and aboveThe Carolina Performing Arts Society has introduced a new program, Performance Benefactor, for individuals making gifts of $15,000 and above. A Performance Benefactor is an individual, couple or family who has the opportunity to select a particular performance, then dedicated to you. Carolina Performing Arts will thank you for your generous gift by providing:

• All Carolina Performing Arts Society benefits including valet parking and invitations to special events throughout the season, as described above in The David Lowry Swain Society • Recognition in the season ticket brochure distributed throughout the year • Eight complimentary tickets to your selected performance, with valet parking and reception privileges for your guests during the selected performance • Acknowledgment in the donor list for the season and an insert in the performance program that evening • Opportunity to meet the artist following the performance (when the artist is available)

Gifts made at these specified levels automatically entitle you to all respective benefits and privileges afforded to University donors in all Annual Giving Leadership programs.


Donor sPotligHtJames and Susan Moeser

How did a music-obsessed boy from Lubbock, Texas and a girl with a knack for math from Larned, Kansas end up championing the arts at one of the nation’s great universities? The answer says a lot about the power of music, a force that has certainly changed the course of these two lives.

Susan grew up in a very small town and was 14 years old when it first occurred to her that she might play the organ. “Someone’s grandson was visiting from out of town and he was 14,” she says. “He played the organ postlude at church and it struck me that I could do that!” She began taking organ les-sons despite telling her high school guidance counselor she wanted to be a pharmacist, the best job she could imagine for someone who was good at math.

James, on the other hand, was a child prodigy, falling in love with the organ at about age five. His childhood home was filled with music; his mother was a trained singer and music teacher. On Saturdays, he accompanied her to rehearsals at church and fell in love with the fantastic and powerful sound of the organ. He started piano lessons before he started school, but his goal was always to play the organ.

The two met at the University of Kansas, and with six bachelors’, masters’ and doctoral de-grees in music performance between the two of them, they knew music would play a major role in their professional lives. Early in her career, Susan took a full time organist-choirmaster position at a Richmond, Va. church. As James’ career in higher education administration de-veloped, he moved from Kansas to Penn State, where they were married. Later moves took them to the Universities of South Carolina and Nebraska. At each university they observed and evaluated the institution’s performing arts presenting program, learning lessons James would apply at Carolina when he arrived in 2000 as the University’s 9th chancellor.

It may be hard for us to remember a time when the arts weren’t as valued and vibrant at the University as they are today, but that was the case when the Moesers arrived in Chapel Hill. At the beginning of his tenure, James faced many urgent challenges. He took a very vis-ible role in the campaign for public support for the higher education bond referendum, and early on made some critical investments in Carolina’s science programs. The bond bill contained the base funding for Memorial Hall, with significant additional private funds to be raised. He knew that if the bond passed, the hall would be the very first building to be completed. So while he was working on many important and urgent university issues, he was thinking about what to do about the arts.

Susan and James candidly admit that they were shocked to see how limited the perform-ing arts presenting program was when they arrived. They could not believe that an institu-tion of Carolina’s national and international stature had such a small and underfunded program. While the Student Union had done a good job of managing a program with limited resources, Carolina had never invested in the arts to a significant degree. If there is one thing James Moeser understood, it was that the arts do not pay their own way through ticket sales alone, and that significant uni-versity investment, as well as robust private giving, is critical.

But would the lessons learned in places like Lawrence, State College, Columbia and Lincoln apply to Chapel Hill? After all, those college towns are not part of a larger metro-politan area enlivened by lots of performing arts competition. James’ way of answering that question was to hire consultant and uni-versity performing arts presenter Ken Foster to conduct a study. The resulting advice was that this area could financially support an am-bitious, major performing arts program that would bring artists of the highest caliber to

the region. “In the back of my mind,” he says now, “I knew that the renovation of Memorial Hall presented us with a tremendous oppor-tunity to fill a vacuum at UNC, in the Triangle and in the state.”

The next step was to commit University resources, engage the leadership of major donors and find the right person to lead the new program. With the hall’s renovation under way, Emil Kang was hired as the University’s first Executive Director for the Arts. The William R. Kenan, Jr. Charitable Trust provided significant funding in the form of a challenge grant to establish a permanent endowment. Five and a half years after the first notes were played at the reopening of Memorial Hall, the series continues to grow and achieve new successes. It is something both Moesers are very proud of.

Early on, they established a pattern of giving personally. They named two seats during the Memorial Hall renovation campaign, urging other former UNC chancellors to join them. Next time you have a moment, see if you can find Chancellors’ Row, which honors all living former chancellors who made gifts to the campaign. The Moesers continue to buy their tickets and make annual donations, never missing a chance to support Carolina Performing Arts in any way they can.

In addition to personal financial support, James now co-teaches a first-year seminar with Emil Kang based on the series. He also serves on the CPA National Advisory Board, and this year launched a small series of pre-performance lectures for members of the Carolina Performing Arts Society.

In the spirit of not saying “no” when Carolina Performing Arts turns to the Moesers for help, on April 16, they will perform on a custom-built organ in a private home at Governors Club at a dessert reception fundraiser for Carolina Performing Arts. (Space is extremely

SPOTLIGHT

SPOTLIGHT


eNDoWmeNt gIFtS

leadership gifts and Pledges($500,000 and above)

William R. Kenan, Jr. Charitable TrustEllison Family FoundationMr. and Mrs. James Heavner*Luther and Cheray Hodges*Tom KearnsWilliam and Sara McCoyAnonymous

major gifts and Pledges($25,000 and above)

Blanche HamletAnonymousJohn W. Hughes IIIFlorence and James Peacock William D. and Dr. Sally C. JohnsonWyndham RobertsonDr. Joan C. HuntleyProfessors Emeriti Charles M. and Shirley F. Weiss*Shirley J. BergerBobby and Kathryn LongPaul and Sidna RizzoGarry and Sharon SnookTop of the Hill Restaurant and BreweryElizabeth Willis CrockettMr. and Mrs. Robert F. MurchisonDr. Charles B. Cairns & The FamilyMrs. Georgia Carroll KyserKimberly KyserAmanda KyserDrs. Michael and Christine LeeAnne and Mike LiptzinDeborah and Ed RoachLee and Myrah ScottCrandall and Erskine Bowles

*Irrevocable deferred gift

named endowed funds ($100,000 and above)

The Hamlet Family Performing Arts Student Enrichment Fund supporting student engagement with artists.

donors10/11season donors

The William D. and Dr. Sally C. Johnson Music Enrichment Fund supporting collaborations with the Department of Music, and also supporting The 10x10 Commissioning Series.

The James Moeser Fund for Excellence in the Arts supporting artists’ fees for the world’s most recognized and outstanding performers.

The Mark and Stacey Yusko Performing Arts Fund supporting Carolina student arts experiences.

CarolINa PerFormINg artS SoCIetY aNNUal gIFtSContributions received December 1, 2009 to December 31, 2010 as of date of printing.

Performance Benefactor($15,000 and above)

Anonymous honoring the memory of Fred FearingAnonymous Wyndham Robertson

David lowry swain society ($10,000 - $14,999)

The Abram FamilyRebecca and Munroe CobeyEllison Family FoundationLuther and Cheray HodgesMr. Thomas S. Kenan IIIWilliam R. Kenan, Jr. Charitable TrustMrs. Georgia Carroll KyserKimberly Kyser Amanda KyserWilliam and Sara McCoyCarol and Rick McNeelMrs. Sidney SiegelCharles Weinraub and Emily KassMark W. and Stacey M. Yusko

limited for this very unusual event; if you would like an opportunity to attend, please contact Melchee Johnson at 919-843-1869.)

So why are they so generous with their time, ideas, leadership and giving? They appreci-ate the level of the performances brought to the community, taking pride in the fact that over 30% of the audience is comprised of Carolina students. They also like seeing the wide variety of people who attend various performances. “They don’t all look like us,” they say with pride.

But for the Moesers, it comes down to the performance experience and their love of music. They clearly enjoy the classical

programming, music they have studied and taught throughout their lives. But they have grown a great deal, too, expanding their interests to performances they had not previously sought out. “Our taste has clearly changed since the series began,” Susan says. “If you looked in our CD player at home to see what we play while making dinner, you would see jazz and world music in addition to classical.” Chancellor Emeritus James Moeser adds with a smile, “Carolina Performing Arts has gotten us out of our comfort zone, and that’s a good thing.”

“Carolina Performing Arts has gotten us out of our comfort zone, and that’s a good thing.”


Platinum tier($5,000 - $9,999)

Eleanor and James FergusonEugene and Paula FloodLowell and Ruth Hoffman Jaroslav F. Hulka and Barbara S. HulkaTom KearnsMrs. Frank H. KenanOtis LittlefieldJohn A. McLendonChristy and Joel ShafferProfessors Emeriti Charles M. and Shirley F. WeissDoug and Jacqueline Zinn

gold tier($2,500 - $4,999)

Mary BickersBetsy and Fred BowmanCliff and Linda ButlerLeonard CassCastillo-Alvarez Fund of Triangle Community FoundationMichael and June ClendeninMark and Marjorie CrowellPeter D. CummingsShirley Drechsel and Wayne VaughnFrank H. DworskyDr. Glen Elder, Jr. and Ms. Sandy TurbevilleJane EllisonMrs. Frederick A. FearingDr. Harry Gooder and Ms. Sally VilasSusan Gravely and Bill RossMr. and Mrs. William H. Grumbles, Jr.Nancy JoynerLisa and Emil KangDr. Marcia Anne KoomenDiana and Bob LaffertyDayna and Peter LucasKeith Mankin and Julia FieldingD.G. and Harriet MartinDavid Kent MedlockCharles and Valerie MerrittJames and Susan MoeserPaul D. and Linda A. NaylorJosie Ward PattonFrancine and Benson PilloffPaula Rogenes and John StewartColeman and Carol RossErnie and Mary Schoenfeld

AnonymousMr. Ted B. SeagrovesJane McKee SlaterLynn Smiley and Peter GilliganMichael and Amy TiemannDenise and Steve VanderwoudeBrad and Carole Wilson silver tier($1,000 - $2,499)

James and Delight AllenMichael Barefoot and Tim ManaleNeal and Jeanette BenchRobert BensonDolores BilangiKerry Bloom and Elaine YehM. Robert BlumWilliam BolenPriscilla BratcherTimothy Bukowski and Naomi KagetsuRose G. BynumLeigh Fleming CallahanMichael and Diana CaplowArt Chansky and Jan BolickG. Curtis and Sarah ClarkKathryn ConwayAnonymousFrederic & Jane DalldorfJo Anne & Shelley EarpPat and Jack EvansMaryann FeldmanFidelity InvestmentsArthur and Deborah Finn in memory of Pauline RadovskyMimi and James FountainDiane FrazierRay and Marcia FreemanDavid G. FreyBurton and Kathleen GoldsteinDr. Rebecca GozFrances C. Gravely and Haig KhachatoorianWilliam and Elizabeth GreenleeRobert and Dana GreenwoodDr. and Mrs. Joseph GullaLeesie and Bill GuthridgeJim and Ann GuthrieRichard HendelWilliam Edwin Hollan, Jr.Charles HouseMarguerite Hutchins

Deborah Hylton and Leland WebbLisa and Theodore Kerner, Jr., M.D.Mack Koonce and Hope Thornton KoonceMelissa LeVineAlice and Sid LevinsonJudith Lilley in memory of Al LilleyHarriet and Frank LivingstonDonald E. LuseStephen J. and Karen S. LyonsStanley R. MandelBetty ManningAnne and Bill McLendonEsteban and Dana McMahanDr. and Mrs. Travis A. MeredithAdele F. MichalAnonymousMary and Ted MooreLawrence MorayWilliam MortonBarry NakellPaula Davis NoellKarl NordlingDr. Etta D. Pisano and Jan KylstraEdwin and Harriet PostonWilliam and Cathy PrimackJolanta and Olgierd PucilowskiRobin and Harold QuinnElizabeth RaftPeter Croll ReichleRussell and Ann RobinsonDavid and Susan Rosenberg Family Foundation of the Triangle Community FoundationAndrew and Barbra RothschildPatricia ShawRobert and Helen SilerMr. and Mrs. Alan C. StephensonDr. Kenneth and Mary H. SugiokaKay and Richard TarrDiane Vannais and Charles WaldrenKay and Van WeatherspoonAlan Harry WeinhouseWilliam Whisenant and Kelly RossJesse L. White, Jr.John and Ashley Wilson

sponsoring member($125 - $999)

Brigitte Abrams and Francis LethemAnonymousElizabeth Anderson

10/11season donors


Cutler and Cristin AndrewsPete and Hannah AndrewsNina ArshavskyDenise AshworthIngram and Christie AustinSteven B. and Elizabeth AyersKatherine BaerPeter BaerLarry and Vicky BandLinda J. BarnardJudith and Allen BartonJames and Mary BeckJohn W. Becton and Nancy B. TannenbaumDonna Bennick and Joel HasenDonna BergholzSusan BernsteinSue BielawskiLewis Niles BlackSara Bleick in memory of Margaret Bleick DillardBlythe Family FundJack and Jennifer BogerBollen FamilyBarry L. BonenoNatalie and Gary BoormanP. Scott and Victoria BouldinThomas and Betty BouldinTerrell BoyleRebecca Brick BramlettJoan BrannonCraig and Catherine BrinerLois BronsteinKen and Margie BrounRaymond BrownHoward and Patricia Brubaker Jamie and Anne Bryan Jean BuckwalterBetsy BullenThomas W. and Gail W. BunnBob Cantwell and Lydia WegmanByron CappsLawrence and Helen CardmanPhilip and Linda CarlCarolina Home MortgageCatharine CarterHodding Carter and Patricia DerianMichael Case and Lewis DancySteve and Louise CogginsThomas ColeWalter and Renate ColeshillDonald and Eunice Collins

donorsDonna Cook and Matthew MaciejewskiSally and Alan Cone in honor of Anne and Mike LiptzinBrian ConlonCarolyn M. Conners, Ph.D.Joanne and Michael CotterAdrienne CoxAndrew Cracker in memory of Deborah Ann CrackerAnne-Marie CuellarWilliam and Barbara DahlJohn and Janina DeMasiChristianna Williams and Henrik DohlmanMr. and Mrs. Michael J. DonoghueMary C. DoweSteven Dubois and Kathleen BarkerSam and Angela EbertsJohn R. Edwards and Elizabeth Anania EdwardsGeorge and Blair EvansJerry and Adelia EvansRabbi Frank and Patricia FischerDr. and Mrs. E.S. FishburneJaroslav Thayer Folda III Milton and Emerita FoustLinda Frankel and Lewis MargolisDonald and Elizabeth FrazerDouglas and Judy FreyJames and Marcia FriedmanEd and Bonnie FuchsMr. and Mrs. J. Rex FuquaMaeda GalinskyGreg GangiThe Joseph and Anna Gartner FoundationAnn and David GerberLeonard and Ann GettesRose Marie Pittman GillikinBonnie B. GilliomLallie M. and David R. GodschalkDr. James E. Godwin and Dr. E.A. CampbellDick and Barbara GordonMr. and Mrs. Walter GordonCharles and Karen GossS. Elizabeth Grabowski and James R. SymonPage GravelySteve GravelyAlexis GronerAlbert and Mary GuckesCarol and Nortin HadlerLee Hansley

Barbara and Paul HardinRobert S. and Leonne HarrisMartha Liptzin Hauptman in honor of Mike & Annie LiptzinClark and Karen HavighurstCharles S. HeadDavid and Lina HeartingerGerardo and Jo HeissHill Family Fund 2 of Triangle Community FoundationCharles Hochman and Phyllis PomerantzCarol HogueJoan and David Holbrook in honor of Marvin SaltzmanSusan Hollobaugh and Richard BalamuckiPaul HolmesWilliam and Mary HolmesBeth Holmgren and Mark SidellElizabeth M. Holsten W. Jefferson Holt and Kate BottomleyAndrew and Charlotte HoltonJohn HsuDavid and Sally HubbyGeorge William Huntley IIIMarija IvanovicChristopher and Betsy JamesKathryn E. JohnsonDr. Norris Brock Johnson in honor of Ms. Beatrice BrockCarrilea McCauley JoyKevin and Michele JudgeHarry KaplowitzHugon KarwowskiHoward KastelThomas and Janet Kean Donna B. Kelly in memory of Georgia Carroll KyserMoyra and Brian Kileff in honor of Caroline BorhamR. David and Mary Ann Kimball AnonymousJ. Larry Klein Lynn Knauff Gary KochBarncy and Betsi KoszalkaAnonymousG. Leroy LailTed and Debbie LaMayLeslie and Barbara LangAnnette LangefeldClara LeeKen and Frankie Lee


R. Michael and Michelle Leonard in honor of Kelly Stowe BoggsAmy and Alan LevineRichard and Jane Levy in honor of Annie LiptzinRobert M. Lewis, Jr.Joan Lipsitz and Paul StillerRobert Long and Anne Mandeville-LongRobert and Kathleen LowmanRichard Luby and Susan KlebanowMary R. LynnEdwin H. MammenRichard MannAnonymousRandall MartinMr. and Mrs. Uzal H. Martz, Jr.Karol MasonWilliam MatternJohn and Janine McGeeA. Gramling McGillTim and Roisin McKeithanDaniel D. McLambDr. and Mrs. Robert McLellandPhilip and Sue MeyerThe Lawrence and Sylvia Mills Family FundCharles and Barbara MiloneJohn Morrison and Barbara ArcherBenny and Ann MorseBob Esther and Emily MoseleyCharles Mosher and Pamela St. JohnChristopher and Helga NeedesSteve and Susan NelsonJohn and Dorothy NeterElisabeth and Walter NiedermannPatrick and Mary Norris OglesbyNewland and Jo OldhamJohn V. OrthVickie OwensRobert and Mercy PastorPamela and Gene PeaseLarry E. PetersonDick and Jean PhillipsRaymond Phillips, Jr.Kaola and Frank PhoenixCarlyn and Ivan PollackDavid and Peggy PoulosDr. and Mrs. Thomas E. Powell IIIDavid PrinceLilian and James PruettSteve Prystowsky M.D.

Susan RaoIvan RemnitzJan Rivero and Jeffrey PughGerry Riveros for Gay BradleyDr. Michael and Sandra RobertsStephen and Patricia RobertsStephen and Esther RobinsonAndrea RohrbacherMargaret Rook Richard RosenbergBrian and Linda SandersRobert SchreinerJohn and Anna SchwabMs. Marjorie Moses SchwabCarol and David ScloveJennifer and Bill SelvidgeRobert and Pearl SeymourRobert ShipleyMr. and Mrs. Keith SilvaMark and Donna SimonCharles SimpsonRosemary SimpsonKathy and Paul SingerAnne H. SkellyDana L. SmithCharles and Judith SmithMartha SmithWiley SmithClaude and Sarah SnowKenneth SooDaniela SotresJane SteinGary and Anne Leslie StevensRon Strauss and Susan SlatkoffLeslie and Paul StrohmFrank and Geraldine StutzJames and Sandra SwenbergHelen SzulukEllyn and Jimmy TannerSumner and Charlotte TansonSally & Nick TaylorColin G. Thomas, Jr.Charles and Patricia Thompson in memory of Ruth A. RichardRollie TillmanM.E. Van BourgondienTodd VisionG. Burkhard Mackensen and Jutta Von StieglitzSejal Prabodh Vora

Susan WallKatherine WangSue Anne Wells PhDWellspring Fund of Triangle Community FoundationR.H. and Barbara WendellMarlene and Roger WernerKatherine WhiteBuck and Anne WilliamsJohn W. Williams, Jr. and Margaret Gulley Louise B. Williams and Richard SilvaGlenn and Helen O. WilsonRon and Beverly WilsonDr. Derek and Louise Winstanly Bill and Amy Wofford Eliza M. WolffAnonymousJohn and Joan WredeAnna Wu and George TruskeyVirginia Lee WuDavid and Heather Yeowell in honor of Tom KearnsDavid and Dee YoderBetty YorkAnn B. YoungLisa Zannoni

undergraduate and graduate student members($35)

Fernando D. ChagueKeith GlassbrookAdrian GreeneLaura HamrickAmy Soyeon KimMichael KrouseJoseph Harrison LeeCharles McLaurinJohn D. MillettChristopher NickellTemple NorthupLily RobertsJamie SerkinLauren SchultesEvan ShapiroEmily SimonDavid SpanosAlexandra VargasNatalie WatanasirirochBrendan and Tamara Watson

10/11season donors


Yoo Jeong Yang

otHer ContriButions(Less than $125)

Martha AlexanderMeg AlexanderJames V. and Maria Del Mastro AllenJames and Susan AnthonyTony ArmerMr. BairdO. Gordon BanksArnold Barefoot, Jr.Michael BarnesEddie and Joan BassZane BeckwithBarbara E. BergquistPat and Thad Beyle Aditi BhattacharjeeMr. and Mrs. D.A.BirnbaumJerri BlandKelly Stowe BoggsMichelle M. BordnerDonald BoultonM. Blair BowersRenae BraddyMichael Brady Class of 2010Hope BreezeRobert BrinkleyEllen Smith BroadTeresa BroomeDavid BrownVirginia BrownAimee Peden BurkeJennifer ButlerDana CainSteven CannChristy CappellettiJennifer CarbreyMargaret CarmodyDulce CastilloDr. Gillian T. CellJooyeon ChonJames and Brenning CheathamBilly Chow and Penny OslundSandra CiancioloDianne ClintonJames Abernethy Cobb, Jr.George ColliasLinda ConvissorSandra Cook

donorsLinda CooperKerry-Ann da CostaJennifer CoxRichard CraddockLaura CraneMichael CrosaRichard CrumeCarlos CruzEvan and Elisabeth DellonJohn and Jill DeSalvaDawne DeutermanHannah Bell DiedrickCaroline Hume DilwegJanice DoddsLinda and Mike DoreDoris DowningJohn Duckett in memory of Ralph B. GarrisonNoel and Shelby DunivantRamona DunlapRyan EbrightH. Jack and Betsy EdwardsRalph and Audrey EdwardsSusan EgnotoAnonymousBaynor ElstonMatthew EwendKatherine FitchElizabeth FlakeElisabeth FoxMatthew FrankeAnna FreemanSusan GallinariO. GanleyDebra GarciaBob GarnerButch GarrisJohn and Kathy GibsonDurral GilbertNatasha GillyardDylan GilroyMary Kirk GoeldnerDavid GoodmanLynne GrahamCarl and Anne GranathRussell and Mary GravesKelsey GreenawaltA. Glenn and Carolyn GriffinDouglas GriffinEphraim GurJerry and Kathryn Gurganious

Richard HardyWade HarrisonOlivia Lawton HendersonSusan HenleyJoyce Williams HensleyBrian Edward HillGary P. HillJonathan HillAlison Sue Rose HiltonTyler HokeRosemary HollandHoward HolsenbeckJames and Elizabeth HootenKathleen HopkinsMitchell and Deborah Horwitz Julia Howland-MyersMarc HowlettRife Hughey IIIMichael Iwanski and Deborah MaloneyMohamed JallohDrs. Everette James and Nancy FarmerJonathan JamesCharles JeffersMelchee JohnsonMike JohnsonChip JohnstonRebecca JonesCharles KahnJames KalagherPhyllis KammerJonathan KarpinosJohn and Joy KassonNathan KatzinLaura A. KeenanJohn KennedyJeanette Kimmel in honor of Mrs. Anne C. LiptzinDeborah C. KleinAndrea KnowltonMargot Dodge KohlerLeslie KreizmanGregory and Laura LaneJohn LangstaffRobert and Geraldine Laport Joel LaskeyJeffrey LawsonCameron LeeJoycelyn Powell LeighSharon LeonardNate Lerner

www.carolinaperformingarts.org (919)843-3333www.carolinaperformingarts.org (919)843-3333

10/11season donors

Margot LesterMadeline G. LevineGene LiauAlison LinasRay and Mary Ann LinvillePeizhu LiuMonique LockettGeorge LoganElizabeth LokeyKenneth LorenzRichard Lupton in memory of Mildred C. Lupton, M.A. 1969Young Kyung LyooJheanne MalitDr. Patrick T. and Elaine L. MaloneRaleigh MannEmily Turner Marsland Class of 2010Timothy MasonClare MattiKevin and Karen MattinglyLawrence McCabePaul McCarthyEmily McCloyDeborah McDermottHarriet McGrawJohn McKeeverSean McKeithanElizabeth McKennaRobert McLeodMeghan McNamaraLaurie E. McNeilAnn MeadowsThomas and Sandra MeyerAndrew MiklosJulie MikusTaylor MilesCharles MillerRobert MillikanSolon Minton IIIChristian MoeCoolie and Thad MonroeMargaret MoorePaul MorganGrant MorinePaul and Barbara NettesheimLaura NewmanMichael NuttLarisa OktyabrskyRyan and Hannah OngJerry OsterIris L. Padgett

Monica PallettRobert and Martha PatersonJames PaulJeremy PetermanMarilyn PfefferkornPhyllis PostMallorie PriceVeshana RamiahCatalina Ramirez and D.J. DorePatricia Ramos Class of 2010David RathelEmily and William RayJacob ReardonRobert ReedMary ReganAnthony and Terry RegerSuzanne Reiss in memory of Charles ColverHallie RingleMaureen J. RobinettM. Burdette RobinsonJohn RosenfeldBarbara RowanEric McKinley SainMargie SatinskySara SatinskyEmily ScarboroughLeah Schinasi and Ghassan HamraEric SchlotterbeckMarisa SearsDavid and Linda SeilerDebra SenchakJayana ShahSarah ShapardTatjana ShapkinaFoy J. Shaw, Jr.Robert ShepardMarjorie ShoemakerDavid and Jacqueline SicesWilliam SiddallFrances SimmsNikolai SkibaPage SmithDr. Patrick Carlsten SmithSimone SmithHarriet SolomonGina SongJacob SpencerMark SteffenLauren StevensStephen Stimpson

Josephine StipeCheryl StoneStuart Lee StroudXiaowu SunThor SvendsenSally SwansonAnnie TalbertBarry and Margaret TeasleyJennifer TenlenRod ThompsonClaire J. ThomsonGregory TimmonsCaroline W. TreadwellJohn TrexlerChris Trull in honor of Erika Barrera’s 25th BirthdayCarol TyndallRachel Van PattenBarbara VanceJay and Leslie WaldenDaryl Farrington WalkerDavid WalkerWheaton FamilyRebecca WheelerMarguerita WhitneyJoan F. WidmerRobert WirthBrent WissickPeter and Joan WittMerrill WolfJennifer Cantwell WoodLindsay WrennSarah Younger Class of 2010

Carolina Performing arts staff ContributionsKelly Stowe BoggsMichelle M. BordnerPriscilla BratcherJennifer CoxButch GarrisMelchee JohnsonMike JohnsonEmil KangHarry KaplowitzSean McKeithanDaniel D. McLambMeghan McNamaraMark SteffenTammy S. Womack

carolina performing arts 10/11 47carolina performing arts 10/11 47

donorsSPeCIal tHaNKS to oUr SPoNSorSTom Kearns and Joseph and Beatrice RiccardoElite CoachMary Duke Biddle FoundationSponsor of the 2011 Carolina Performing Arts Student MatineeUniversity Florist

StUDeNt tICKet aNgel FUND CoNtrIbUtIoNSReceived as of December 31, 2010.

angel($25,000 and above)

Robert and Mary Ann Eubanks Joseph and Beatrice RiccardoMark W. and Stacey M. Yusko

Patron($5,000 - $9,999)

Tom KearnsMr. Thomas S. Kenan III

Booster($2,000 - $4,999)

Terrell Boyle Patti and Eric FastPaula FloodDorothy Shuford Lanier

Donor(Less than $2,000)

Hannah Kennedy AlbertsonK. Dean AmburnElizabeth A. AyersJudith and Allen BartonSusan BickfordDolores BilangiLewis Niles BlackRobin Lenee BroadnaxRoy Burgess BrockMaria BrowneMeredith Bryson in honor of Sandra Hardy BrysonLeslie Anne BunceHodding Carter and Patricia DerianJohn and Barbara Chapman

General and Mrs. Arthur W. ClarkRichard CraddockDr. James W. CrowRobert Marion DanielElizabeth Chewning DeaconM’Liss and Anson DorranceWoody and Jean DurhamElizabeth H. T. EfirdJane EllisonSharon M. EmfingerMrs. Frederick A. FearingEleanor and James FergusonSusan FergusonSandra Strawn Fisher in memory of William Beecher StrawnMimi and James FountainJohn W. FoxRose Marie Pittman GillikinJoan Heckler GillingsJonathan and Deborah GoldbergCarolyn Bertie GoldfinchR. McDonald Gray IIIWade and Sandra Hargrove Tim HefnerGeorge R. Hodges and Katherine W. HodgesJohn and Martha HsuDr. Joan C. HuntleyMrs. Frank H. KenanSharon May KesslerJeanette C. KimmelKimball and Harriet KingDr. Marcia Anne KoomenDawn Andrea LewisW. Cooper and Lorie LewisAnne and Mike LiptzinWalker LongRichard B. LuptonKnox Massey FamilyO. Kenton and Carol McCartneyWilliam and Sara McCoyG.W. McDiarmidAdele F. MichalMelanie Ann ModlinMichele NataleStephen Andrew OljeskiJosie Ward PattonFlorence and James PeacockJohn Atlas PendergrassKenneth Lawing PenegarEarl N. Phillips, Jr.

S. Davis and Katherine PhillipsWilliam and Cathy PrimackTeresa PrullageJohn Allen QuintusAnonymousMargaret Ferguson RaynorDeborah and Ed RoachWyndham RobertsonRebecca and Rick RosenbergAndrew and Barbra RothschildBev SaylorErnie and Mary SchoenfeldMs. Marjorie Moses SchwabFoy J. Shaw, Jr.Mark SidellMrs. Sidney SiegelNancy Howard SittersonJane McKee SlaterAlan Clements StephensonWarren and Sara SturmJohn and Joe Carol ThorpPatti and Holden ThorpJohn and Marree TownsendDavid VenableKay and Van WeatherspoonAlan WelfareBarbara Smith WhiteRonald WhiteTom and Lyn WhiteEliza M. WolffRuth Ann WoodleyDoug and Jacqueline Zinn*Scott Garcia and Debbie McDermott

*deferred gift


Within a university such as Carolina, indi-vidual experiences are in part contingent on a student’s ability to create her or his own path by fully employing the resources given to her. Inventive creativity drives the student experience. Carolina Performing Arts is a venue that facilitates the intersection of cultures and inspires this inventive creativity.

Each performance questions the status quo and challenges students to view things from a new perspective. The performing arts possess a unique capability to confront an audience with the thought-provoking, and sometimes uncomfortable, challenge to re-assess convention.

During my time at UNC, the performing arts have constantly challenged me to look honestly at my own perceptions, forced me to broaden my views of the world beyond Chapel Hill, and exposed me to various expressions of beauty. Being a part of the audience and therefore implicitly engaged in the performance, even if at various degrees,

STUDENT VIEWstuDent vieWAmanda Ziesemer

leads the mind to an emphasis on initiative that extends beyond the final curtain fall.

The combination of extreme sport and dance by STREB presented an engaging form of boundary-pushing that was artfully con-structed, yet not reckless. The implications of this responsible “boundary-pushing” moved me beyond the physicality of it, and challenged me to apply this attitude in social, cultural and educational spheres. Sutra combined the tradition of kung fu with modern musical composition, and wrapped my mind in a beautiful interaction between old and new. Beyond the aesthetics of the performance, I was particularly struck by the understated yet constant role of the young boy. As I related to him, I saw the stage as a microcosm of where I stand in time. I am a student on the cusp of my fu-ture and I was reminded, and in some ways cautioned, that the ancient plays an integral role in the contemporary.

Throughout my career as a student, I have come to realize the importance of two pursuits: prioritizing genuineness and being uncomfortable. Both come from a construc-tive point of vulnerability and have the power to be the most defining and influential forces behind my education. Genuineness provides a solid foundation and being uncomfortable initiates change, progress and learning.

Carolina Performing Arts has played an active role in challenging me to apply these pursuits to my education via the lens of art. I did not come to UNC describing myself as an artist, but through Carolina Performing Arts I have been shown that the way I carry my experience as an audience member beyond the doors of Memorial Hall becomes a continuation of artistic expression. Allowing a performance the chance to be enriching to you is a responsible employment of resources, and the extent to which you are open to inspiration is an exciting springboard for inventive creativity.

Amanda Ziesemer (’13) is studying Public Policy, Arabic and Chemistry at UNC-Chapel Hill.

“...I have come to realize the importance of two pursuits: prioritizing genuineness and being uncomfortable.”


LAST WORDtHe last WorDBuck Goldstein

Having spent most of my professional life involved in innovation, I welcome the opportunity to discuss how the most innovative perform-ing artists of our time changed the way we look at the world. Just as entrepreneurs and scientists convert science fiction into reality with pioneering work in fields such as nano-technology and information science, performing artists transform our culture in ways that, in retrospect, seem unimaginable. I can’t think of better examples than Bob Dylan, The Beatles and The Rolling Stones.

Bob Dylan taught us that a songwriter could actually be a poet, not just a lyricist. His writing will be enshrined alongside Walt Whitman, Ralph Waldo Emerson and Emily Dickinson as work that combines artistic brilliance with social commentary, providing a mirror on the

tumult of the last half-century. In the ’60s he gave us “The Times They Are A-Changin’” as a first indication of a generational shift that would manifest itself in the civil rights movement and the anti-war movement which he chronicled with “Blowing in the Wind” and “Masters of War.” Later he plugged in his guitar, to the great consternation of most of his fans, and suggested that pop music did not have to be relegated to three-minute songs as he turned out long lyrical works such as “Visions of Johanna.” He still hasn’t stopped performing and exploring and if there is one thing we can always expect from Dylan it is the unexpected.

The Beatles cracked wide open the conventional post-World War II culture of the “organization man” and the results were there for all

to see on network television. Who can forget John, Paul, George and Ringo, as they stood next to Ed Sullivan, a bastion of the establish-ment, preparing to sing “I Want to Hold Your Hand” or “All My Loving”? Nothing in those early, innocuous songs suggests a body of work that would include well over 200 songs, most of them hits, and a pres-ence that would dominate popular culture for decades. A peek at the iTunes store as this is being written reveals almost total domination of the home page by The Beatles as a result of the recent release in electronic format of their entire catalogue.

The Rolling Stones did something that only true innovators can ac-complish. They taught Americans about themselves and introduced an American art form to the entire world. Determined to become a British-styled Chicago blues band, they labored for years to learn the techniques pioneered by Muddy Waters, Robert Johnson, Jimmy Reed and Howlin’ Wolf – legends to Mick Jagger and Keith Richards but virtually unknown in the United States where they lived and attempted to make a living. When The Stones crashed upon the scene in a cloud of sexuality tinged with illicit drugs, their vehicle was songs written by black American blues singers who, until then, performed on the side at night while doing manual labor during the day to earn a living. Even today, in their late ’60s, The Rolling Stones embody anti-establishment fervor and their work continues to be rooted in a uniquely American foundation that was essentially unknown until they discovered it and revealed it to the world.

Each time Kay and I trek across campus to Memorial Hall we do so with the expectation that we will be transported somewhere we haven’t been before and we will think new thoughts, feel new emotions or be re-introduced to some old ones. It’s a safe bet we won’t be seeing The Beatles at our favorite performance venue but knowing Emil Kang, Bob Dylan and The Stones aren’t outside the realm of possibility.

Buck Goldstein is The University Entrepreneur in Residence and a Senior Lecturer in the Department of Economics at UNC-Chapel Hill.

“...performing artists transform our culture in ways that, in retrospect, seem unimaginable.

carolina performing arts 2010-11 season - program book 4

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