the barclay's 2012-13 international dance series

IRVINE BARCLAYP R E S E N T S The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

“Dance first. Think later.”

- Samuel Beckett

IRVINEBARCLAYPRESENTS

2012-13 INTERNATIONALCONTEMPORARY DANCE SERIESEpic. Lyrical. Sensual. Bold.

IRVINE

BARCLAY THEATRE

www.thebarclay.orgfacebook.com/irvinebarclay

Paul

Whi

te in

Mer

yl T

anka

rd’s

“The

Ora

cle.

” Ph

oto

by R

egis

Lan

sac.

http://www.thebarclay.org


IRVINEBARCLAYP R E S E N T S

1. From the President ......................................................................................3

The 2012-13 Contemporary Dance Series

3. Akram Khan Company ................................................................................4 October 10, 2012 (London, England)

4. Stephen Petronio Company ........................................................................8 November 14, 2012 (New York, New York)

5. Spellbound Dance Company ....................................................................11 April 2, 2013 (Rome, Italy)

6. Ballet BC .....................................................................................................14 May 11, 2013 (Vancouver, British Columbia)

A special performance! In honor of the 100th anniversary of The Rite of Spring

7. Meryl Tankard’s The Oracle ......................................................................17 February 26, 2013 (Australia)

2. Introducing Movementum .........................................................................20 In support of dance

8. How to Subscribe.......................................................................................22

9. Dance at the Barclay .................................................................................24

10. A Thank You to our Dance Supporters ....................................................26

Sofia

Bar

bier

o of

Spe

llbou

nd D

ance

Com

pany

ph

oto

by M

arco

Bra

vi

Series support provided by theCheng Family Foundation


“Dance first...

... Think later.”

Samuel Beckett was a Nobel Prize author, not a dancer. Yet he understood that

dance has the innate ability to connect all people and cultures whether in ceremony,

celebration, social setting or the theater.

This season, get connected by dance.


Akram Khan CompanyAkram Khan, artistic directorLondon, Englandwww.akramkhancompany.net

October 10, 2012 Wed at 8pm

Akra

m K

han’

s Ve

rtica

l Roa

d ph

oto

by L

aure

nt Z

iegl

er

sponsored byKari and Michael Kerr

Epic dance theatre.

http://www.akramkhancompany.net


“More and more, I am pulled reluctantly towards a strong horizontal current, which is a place where time is moving at such high velocity, that even our breath is forced to accelerate just in order for us humans to survive. And I have always believed, that it is in our slow exhalation, where the sense of this deep spiritual energy resides. In a world moving so fast, with the growth of technology and information, I am somehow inclined to move against this current, in search of what it might mean to be connected not just spiritually, but also vertically.” - Akram Khan

Akram Khan is one of the most acclaimed choreographers of his generation working in Britain today. Born in London into a family of Bangladeshi origin, he began dancing at seven and studied with the renowned kathak dancer and teacher Sri Pratap Pawar.

Khan began presenting solo performances of his work in the late 1990s, maintaining his commitment to classical kathak as well as developing modern work. He was Choreographer-in-Residence and later Associate Artist at the Southbank Centre London. Khan is currently an Associate Artist of MC2: Grenoble and Sadler’s Wells, London.

DESH (2011), Khan’s first full-length contemporary solo, is a part-autobiographical work which is at once intimate yet epic. Khan’s latest contemporary ensemble work Vertical Road (2010) and recent creation Gnosis

(2009), where he combined his classical Indian and contemporary dance roots, received critical acclaim and continue to tour worldwide.

Khan’s notable company works are bahok (2008), originally produced in collaboration with National Ballet of China; Variations (2006), a production with London Sinfonietta in celebration of Steve Reich’s 70th birthday; ma (2004), with text by Hanif Kureishi; Kaash (2002), a collaboration with artist Anish Kapoor and composer Nitin Sawhney.

Besides his company work, Khan also created duets: In-I (2008) with Oscar-winning actress Juliette Binoche, Sacred Monsters (2006) with internationally acclaimed dancer Sylvie Guillem, and award-winning zero degrees (2005) with Sidi Larbi Cherkaoui in collaboration with Antony Gormley and Nitin Sawhney.

Akram Khan

phot

o by

Lau

rent

Zie

gler


Vertical Road is Akram Khan’s most recent ensemble work. Khan has assembled a cast of performers from across Asia, Europe and the Middle East. A specially commissioned score by long-term collaborator, composer Nitin Sawhney, Vertical Road draws inspiration from Sufi tradition and from Persian poet and philosopher Rumi. Exploring man’s nature, his rituals and the consequences of his actions, Vertical Road becomes a meditation on man’s journey to grace.

‘I died from minerality and became vegetable; And from vegetativeness I died and became animal. I died from animality and became man. Then why fear disappearance through death? Next time I shall die Bringing forth wings and feathers like angels; After that, soaring higher than angels - What you cannot imagine, I shall be that.’ (Rumi)

Vertical RoadArtistic Director/Choreographer Akram KhanComposer Nitin SawhneyLighting Designer Jesper KongshaugCostume Designer Kimie NakanoProducer Farooq ChaudhryTechnical Director Fabiana PiccioliSet conceived by Akram Khan, Kimie Nakano, Jesper Kongshaug

Material devised and performed byEulalia Ayguade Farro, Konstandina Efthymiadou, Salah El Brogy, Ahmed Khemis, Yen-Ching Lin, Andrej Petrovic, Elias Lazaridis, Sung Hoon Kim

Sponsored by COLAS

Vertical Road3 minute trailer

Co-produced by ADACH (Abu Dhabi Authority for Culture and Heritage), Curve Leicester, Sadler’s Wells London, Theatre de la Ville Paris, National Arts Centre Ottawa, Mercat de les Flors Barcelona

http://youtu.be/WXQY0jjDV_0


There are nights when I wonder why I spent so much of my life watch-ing dance – and other nights so visceral and original that I have no doubts.

Akram Khan’s new work Vertical Road definitely falls in the latter camp. Created for a wonderful company of eight, it is a meditation on spirituality, on the difficulty of pursuing the “vertical road” towards truth and enlightenment when engrossed and in thrall to the “horizontal path” of contemporary life.

If that sounds dull and difficult, any doubts are dispelled by an opening in which, to the sound of running water, the huge figure of Salah El Brogy butts his head against a membrane-like skin of silk that hides the back wall. As he moves his arm, ripples spread through the fabric, like waves. In front of him crouch the other seven dancers, bent double and still. In the next scene, they stand with heads bowed.

When El Brogy appears among them, they finally move, pounding clouds of white dust from their draper-ies, like statutes from some lost world coming to life. To the relentless beat of Nitin Sawhney’s powerful score, they twitch and whirl in ritualised movement, their legs heavy, arms fierce and fast. They look other-worldly and mystical, interacting with El Brogy, who seems to take the role of a searcher for truth, both teacher and taught. The dance is relentless, thrilling and compelling.

It is sometimes hard to follow and slightly loses momentum about two-thirds of the way through. But its qual-ity lies in the way Khan and his com-mitted performers have embodied in dance the thought he is pursuing. And the end, where El Brogy is again in a spotlight, convulsively reaching up to heaven as his body roots him to the floor, is incredibly moving.

Vertical RoadSadler’s Wells, review

A visceral evening of choreography that will rejuvenate even the most weary viewer’s love of dance. Rating: * * * *

By Sarah Crompton

5:41PM BST 07 Oct 2010


Stephen Petronio CompanyStephen Petronio, artistic directorNew York, New Yorkstephenpetronio.com

November 14, 2012 Wed at 8pm

The

Step

hen

Petro

nio

Com

pany

phot

o by

Sar

ah S

ilver

Fashion, music and art collide.


Stephen Petronio (Artistic Director/Choreographer) was born in Newark, New Jersey, and received a BA from Hampshire College in Amherst, MA, where he be-gan dancing in 1974. Initially inspired by the dancing of Rudolf Nureyev and Steve Paxton, Petronio was the first male dancer of the Trisha Brown Company (1979 to 1986). He has gone on to build a unique and powerful language of movement in a career that spans over 25 years. He has received numerous accolades, including a John Simon Guggenheim Fellowship, as well as awards from the Foundation for Contemporary Performance Arts, New York Foundation for the Arts, an American Choreographer Award, and a New York Dance and Performance “Bessie” Award.

He has created over 35 works for his company, and has been commissioned by some of the world’s most prestigious modern and ballet companies, including William Forsythe’s Frankfurt Ballet (1987), Deutsche Oper Berlin (1992), Lyon Opera Ballet (1994), Maggio Danza Florence (1996), Sydney Dance Company (2003, full evening), Norrdans (2006), the Washington Ballet (2007), and The Scottish Ballet (2007).

His company repertory works have been set on The Scottish Ballet, Norrdans in Sweden, Dance Works Rotterdam, National Dance Company of Wales, X Factor Dance Company in Edinburgh, Ballet National de Marseille, Ballet de Lorraine, and London Contemporary Dance Theater.

In Spring 2009 Stephen completed an evening-length work, Tragic Love for 30 dancers in collaboration with composer Ryan Lott (aka SON LUX) for Ballet-de-Lorraine. The dance premiered in Montpellier, France June 27, 2009. He completed another new work with Ryan Lott titled By Singing Light, for the National Dance Company of Wales that premiered in Cardiff in October 2010. New projects include The Social Band, a commission for Other Shore Dance Company in New York that premiered on February 10, 2011 at the Historic Asolo Theatre in Sarasota, Florida and Prometheus Bound, a musical for the American Repertory Theater, in collabora-tion with director Diane Paulus (HAIR), writer and lyricist Steven Sater (Tony award, Spring Awakening) and composer Serj Tankian (Grammy award, lead vocalist “Sys-tem of a Down”), which had its premiere on March 4, 2011. Stephen is currently working on a memoir with a working title, “Notes from A Life in Motion.”

“There’s a visceral thrill to Stephen Petronio’s choreography that is unlike anything offered by other contemporary choreographers…a superb craftsman who knows how to build and layer a dance, pace the whiplash speed and ….create intrigu-ing configurations through spatial patterns…the movement, with its improbable juxtapositions, seems to pour across the stage…” - The New York Times

Stephen Petronio


UNDERLAND New York premiere 2011Awarded a 2010 NEA American Masterpieces grant

Concept and Choreography: Stephen PetronioMusic: Nick Cave Courtesy of EMI Music, Film & TV and Mute Song LtdMusic Producer: Tony CohenSoundscape: Paul HealyCostumes: Tara SubkoffVisual Design: Ken Tabachnick

The West Coast Premiere of

THE ARCHITECTURE OF LOSS Premiered in New York at The Joyce Theater, March 2012A co-production between Stephen Petronio Company and The Nordic House (The Faroe Islands)

Concept and Choreography: Stephen PetronioMusic: Valgeir Sigurðsson with contributions from Nico MuhlyCostumes: Guðrun & GuðrunVisual Design: Rannvá KunoyLighting Design: Ken Tabachnick

Architecture of Loss 3 min trailer

Stephen Petronio is widely regarded as one of the leading dance makers of his generation. New music, visual art and fashion collide in his dances producing powerfully modern landscapes to be experienced by all the senses. He has built a body of work with some of the most talented and provocative artists in the world including a variety of leading composers, visual artists and fashion designers. Founded in 1984, Stephen Petronio Company has performed in 26 countries throughout the world, and over 35 New York City engagements including 15 seasons at The Joyce Theater.

http://youtu.be/2Dir8Zeht8A


U.S. debut tour

Spellbound Dance CompanyMauro Astolfi, artistic directorRome, Italywww.spellboundance.com

April 2, 2013 Tues at 8pm

Spel

lbou

nd D

ance

Com

pany

pho

to b

y C

rista

ldo

Cris

tiani

Lush and lyrical.

http://www.spellboundance.com/


Mauro Astolfi is the Artistic Director and Founder of Spellbound Dance Company. Before founding the company in 1994, Astolfi trained and danced for many years in the United States, Italy, and London.

Spellbound Dance Company has been presented by dance festivals across the globe, including: Tanzmesse in Dusseldorf, Germany, the Les Temps d’Aimer La Dance- Biarritz, France, the Vitebsk Festival of Modern Choreography, Belarus, Aachen Schrittmacher Festival, Germany, Madrid en Danza, and many others.

The company has been supported by the Italian Ministry of Culture since 2000. In 2006, Astolfi received a major commission by the International Festival of Maiori (Italy) to create new choreography for Carmina Burana. To date, the work has toured over one hundred times, including performances at prestigious performing arts centers in Italy including Teatro Goldoni (Venice), Teatro Fraschini ( Pavia), Teatro Verdi (Pisa), Teatro Marucelli (Orvieto), Teatro Tito Marrone (Trapani), Teatro Comunale (Carpi-Modena) and Teatro delle Palme (Naples) among others. Additional commissions include the creation of Don Giovanni (2008) for the Venice Biennale, and For Her for the Picasso Foundation of Malaga. During the 11/12 season, Astolfi was invited to create a new work for River North Dance Chicago.

In addition to his work for Spellbound Dance Company, Astolfi has choreographed original works for companies such as the Italian aerial dance Kitonb Theatre Company, Amsterdam Theaterschool (The Netherlands), Szegedi Kotrars Ballet (Hungary), Leipziger Ballet (Germany) and Balleto di Roma (Italy). When not creating new works, Astolfi also teaches extensively in Italy as well as internationally in dance centers in Tokyo, Paris, New York, Zürich, Stockholm, Amsterdam, and Los Angeles.

Mauro Astolfi“Once in a while we can talk about dance meant as art, an art which is able to restore the holy meaning of beauty.”

- Raffaella Sole, “Tutto danza”


Founded in 1994 and lead by artistic director, Mauro Astolfi, Spellbound Dance Company, in Rome, is Italy’s premier contemporary dance troupe. The company’s unique movement vocabulary is described as poetic, emotive, and dynamic. Bodies create shifting geometries through space with equal amounts of athleticism and elegance. Spellbound has charmed audiences throughout the world with performances at dance festivals in Italy, Spain, Croatia, Serbia, Germany, Austria, Belarus, France and Thailand.

LOST FOR WORDSA mixture of graceful fluidity and stunning virtuosity, Astolfi’s Lost for Words is an abstract reflection on the role of language in human rela-tions, echoing the dissonance embedded in a culture of communication dominated by empty words.

Direction and Choreography: Mauro AstolfiLight designer: Marco PolicastroDancers: Sofia Barbiero, Alessandra Chirulli, Maria Cossu, Marioenrico D’Angelo, Marianna Ombrosi, Giacomo TodeschiMusic: Loscil (“The Making of the Grief Point”) H.I.F Biber (“The Guardian Angel”)

DOWNSHIFTING Downshifting (2009) occupies a space of great simplicity and sparse-ness. Directly commenting on personal choice and will, “Downshifters” are those who opt for another trajectory and imagine an alternative fu-ture in order to realize life more fully. It is a dance of pure, lush movement free from restraint and rich in passion and emotion.

Direction and Choreography: Mauro AstolfiDancers: Maria Cossu, Marianna Ombrosi, Alessandra Chirulli, Giuliana Mele, Gaia Mattioli, Sofia Barbiero, Marioenrico D’Angelo, Giacomo Todeschi, Michelangelo Puglisi

Spellbound Dance CompanyDownshifting

3 min trailer

The presentation of Spellbound Dance Company is made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundtion and additional funding from The Andrew W. Mellon Foundation.

http://youtu.be/QyskTEVG28w


Balle

t BC

in L

es C

herc

heur

s de

Die

u

U.S. debut tour

Ballet BC Emily Molnar, artistic director

Vancouver, Canadawww.balletbc.com

May 11, 2013 Sat at 8pm sponsored by

Sonnet Technologies

Bold and innovative repertoire

http://www.bejart.ch/


Named as one of Canada’s “new generation of ballet sensations” (MacLean’s Magazine), Molnar is a graduate of the National Ballet School and a former member of the National Ballet of Canada; a soloist with the Frankfurt Ballet, where she created and performed an extensive repertoire under director William Forsythe; and most recently a principal dancer with Ballet BC. Molnar worked closely with former Ballet BC Artistic Director John Alleyne in the creation of Puck in The Fairie Queen and Persephone in Orpheus, receiving national acclaim in both productions. “Molnar’s movements in these final moments have as much to say about the foolish heart as any of Shakespeare’s Midsummer’s Night does.” (Michael Scott, Vancouver Sun) In 2003 her role as Puck was adapted to film by the CBC and continues to be aired on national television.

Molnar is an internationally respected and critically acclaimed artist who has worked and toured extensively throughout Europe, Asia, Mexico, Canada and the US. She has created and performed several works as a choreographer and solo artist, including commissions for Ballet BC, Alberta Ballet, Ballet Mannheim, Ballet Augsburg, Cedar Lake Dance, Pro Arte Danza and Morphoses/The Wheeldon Company, among others. Her most recent works include Dedica, a new work for Ballet BC’s celebration gala Ignite and Songs of a Wayfarer for Alberta Ballet. This season Molnar will create a new work for Ballet BC inspired by Icelandic cellist and composer Hildur Gundnadottir that will premiere in March 2012.

In 2005, Molnar was invited to participate in The New York City Choreographic Institute where she worked with dancers from The New York City Ballet. Molnar has worked closely with mentor Margie Gillis through her own solo work, in performing Gillis’ Speak and M.Body.7, and in collaborating on Breathing in Bird Bones.

phot

o by

Val

erie

Lac

aze

“…a highly original dance language, fluid and complex…exhilarating to watch”

–Dance Europe

Emily Molnar


Petite CéremoniePremiere : February 17, 2011 BalletBC Choreography : Medhi WalerskiMusic: Mozart, Puccini, Rogers & Hart, VivaldiCostumes: Linda ChowLighting: Bonnie Beecher

Originally created for Ballet BC, this ballet is a powerful and poetic full-company piece by rising European dance star Medhi Walerski. Inspired by the idea of ‘life in a box,’ it explores a range of dimensions, culminating in a surprising and delightful mix of dance and theatre, full of imagery and adventure, a dazzling landscape of movement and ideas. Dance Europe calls Walerski an “original voice” who makes dances that are “out of this world...a dreamlike experience. A dream you never want to wake from.” Walerski is a dancer with The Netherlands Dance Theatre and a former member of the Paris Opera Ballet, Nice Opera Ballet and the Ballet du Rhin in Mulhouse.

A.U.R.A. (Anarachist Unit Related to Art)Choreography, Lights, Costumes: Jacopo GodaniMusic: 48Nord Italian choreographer Jacopo Godani has created works for many inter-national companies, among them Netherlands Dance Theatre, The Royal Danish Ballet, Les Ballets de Monte Carlo and The Royal Ballet of Flan-ders, making him one of the most sought after choreographers on the planet. He makes his Canadian debut with A.U.R.A., originally commis-sioned by Ballet Mainz and set to a dynamic score by German electro-acoustic duo 48nord. The work showcases his explosive style, captivating in its raw and unbound energy. By taking full advantage of the articulation of the highly trained physical body while at the same time staying true to innovation, Godani successfully gets “...dancers to take their bodies and brains farther.”

Founded in 1986, Ballet BC is heading in a bold new direction under the leadership of Emily Molnar, former dancer with the National Ballet of Canada and William Forsythe’s Ballet Frankfurt. The company’s 16 dancers boast exceptional classical and contemporary training and practically leap off the stage with striking individuality and passionate commitment. Ballet BC will make its soCal debut with a program encompassing two of Europe’s most gifted choreographers including France’s Mehdi Walerski and Italy’s Jacopo Godani.

http://youtu.be/5IMXdTXuJP4


Concept/direction Meryl TankardChoreography Meryl Tankard, Paul WhiteSet/video design Régis LansacMusic Igor Stravinsky

Joao Rodriguez EstevesProduced/toured by Performing Lines

www.meryltankard.com

Please note that this performance contains nudity and adult themes.

The Oracle was originally commissioned by the Sydney Opera House and the Malthouse Theatre in Melbourne. It has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body; and by the Keir Foundation. Original development assistance through Critical Path’s Responsive Program in partnership with UNSW.

A special subscriber add-on!

Meryl Tankard’sThe Oracle

from Australia

February 26, 2013 Tuesday at 8pm

Performed by

Paul White

In honor of the 100th Anniversary of The Rite of Spring

Paul

Whi

te in

Mer

yl T

anka

rd’s

The

Ora

cle

phot

o by

Rég

is L

ansa

c

Intimate and sensual


This sensual and intense dance work by celebrated choreographer Meryl Tankard, featuring virtuoso dancer Paul White, explores the conflicting forces of nature and man, masculinity and femininity, violence and nurturing, strength and vulnerability. Inspired by the sometimes disturbing human forms in Scandinavian artist Odd Nerdrum’s work, The Oracle is set to Stravinsky’s seminal composition for the infamous 1913 ballet The Rite of Spring, which caused riots at its Paris premiere. The intensity of the subject, the power of the complex, rhythmic musical score and the stark and brooding aesthetic deliver an atmosphere of coiled-spring emotions and conflict in this haunting and critically acclaimed work.

Meryl Tankard – Director, Choreographer

Meryl Tankard began her career as a dancer with the Australian Ballet. After three years she left the company to join Pina Bausch’s Wuppertaler Tanztheater and danced with the company as a principal soloist for a period of ten years, creating roles in Cafe Muller, Kontakthof, Arien, and 1980, among others. Meryl returned to Australia and in 1989 established her own dance company in Canberra. From 1993 to 1999 she was Artistic Director of the Australian Dance Theatre in Adelaide, creating a rich and diverse body of full-length works including Furioso, Possessed, Aurora, Songs with Mara, Two Feet, Rasa and Inuk; as well as touring extensively to Europe, USA, UK and Asia. Under Meryl’s directorship, ADT was the first Australian company to be invited to the prestigious Brooklyn Academy of Music (BAM) in New York. Since 2000 Meryl has worked freelance, creating the opening segment of the Olympic Games Ceremony in Sydney, Bolero for the Lyon Ballet , Merryland and Petrushka for Netherlands Dance Theatre 3 and 1, Wild Swans for The Australian Ballet and most recently Cinderella for Leipzig Ballet. She has also choreographed for London’s West End and for Disney on Broadway. She is currently developing a music theatre work MAD and developing a script for a feature film.

http://youtu.be/ZQzqgNlzrPA


19 September 2009

An exceptional role that absorbs and consumes by Jill Sykes

There has to be talent and skill and creative inspiration. But sometimes you have to believe the stars were aligned to bring artistic elements together at a particular moment to make something extraordinary. The Oracle is such a piece.

It is danced by Paul White, who also shares the choreographic credit with Meryl Tankard, director and driver of the original idea. Regis Lansac has done the set and video design - and almost 100 years ago Igor Stravinsky composed the music, The Rite of Spring.

White is an exceptional dancer. Chunky and muscular, he is also a sports aerobics champion. These two qualities of movement come together in a performer of great sensitivity and considerable daring in responding to possibilities suggested by dance directors and choreographers. In this work, he is so absorbed by the role that at times he appears consumed by it. The thrill of sensing something “other” is an echo of one of The Oracle’s inspirations, Vaslav Nijinsky, who choreographed the original Rite in 1913 and whose personal suffering is also depicted here.

White’s athleticism shapes much of the movement, emphasising the theme of ancient rites, and the classical male beauty of his musculature is etched into fine detail by the lighting of Damien Cooper and Matt Cox. Yet he can create a character of feminine delicacy, as he does in a lyrical sequence with a long velvet cape.

The Oracle begins with a video to an 18th-century Magnificat by Joao Rodrigues Esteves, giving Lansac a solo opportunity to establish a curiously surreal vision in which moving images of White are mirrored, divided and multiplied to nightmarish effect. Religious iconography is given a heathen thrust.

White glides on to the stage on his back in darkness, ready to muster all his forces when the sound of Rite begins to uncurl - in a thrillingly restrained performance by the London Philharmonic Orchestra.

Restraint is the key to the success of The Oracle. It is packed with references to past and present in style and content - from Martha Graham’s whirling skirt to a best-selling novel dealing with the darker side of religion - yet the perfect pace of their unraveling makes the slow build-up to a dramatic climax totally engrossing.

Paul

Whi

te in

Mer

yl T

anka

rd’s

The

Ora

cle

phot

o by

Rég

is L

ansa

c


Introducing

Movementum

IRVINEBARCLAYPRESENTS has enjoyed recent growth in both its dance program and audience. In conjunction with this forward momentum, we are pleased to announce Movementum, a program of support specifically for contemporary dance. By supporting Irvine Barclay Theatre through Movementum, you will be demonstrating your desire to encourage the availability of dance on our stage, to the community, and in the classroom. Supporters will receive benefits geared just for dance lovers!

Members of Movementum will receive dance-specific benefits as well as the regular benefits of Barclay membership at the appropriate level of contribution.

Join your fellow dance fans and make a gift to Movementum!

We hope to see you next season. It’s a great one!


Friends (up to $99)Recognition as a Movementum supporter.Essays for Movementum members. Commissioned

by the Barclay and written by an expert in the field of dance, these essays will give insight into, and insider information about, the programs appearing as part of the Barclay’s dance season.

Supporters ($100 - $249)The benefits listed above, plus...Recognition at the appropriate level in the Barclay’s

program magazine for one year

Enthusiasts ($250 - $999)All of the benefits listed above, plus...2 one-time Gold Bar passes, each pass good for

up to two people for one performance of your choice. The mezzanine-level Gold Bar provides complimentary wine, champagne and snacks and is open one hour prior to performances and during intermission(s) of select IRVINEBARCLAYPRESENTS concerts and attractions.

Bravo Barclay Patron ($1,000 - $4,999)All of the benefits listed above, plus...Invitations to special “meet the artist” and

sponsorship receptions in the theatre’s Jade Room, when offered.

2 Gold Bar passes for a year. Each pass allows holder and guests access to the Gold Bar for an entire year to any performance offering a Gold Bar. The mezzanine-level Gold Bar provides complimentary wine, champagne and snacks and is open one hour prior to performances and during intermission(s) of select IRVINEBARCLAYPRESENTS concerts and attractions.

Program Partners ($5,000 - $9,999)All of the benefits listed above, plus...6 complimentary tickets to your choice of

performance(s) in the current season (some exclusions apply).

Presenting Partners/Sponsors ($10,000)All of the benefits listed above, plus...Recognition as sponsor of a Barclay presentation,

including print recognition, on-site signage, and a sponsorship reception.

Receive 10 complimentary tickets to your underwritten performance, or in combination with other performances.

We hope you will become a part of Movementum when you subscribe. Just let the box office agent know that you would like to make a donation to Movementum. Your participation at any level helps sustain dance.

If you have any questions, or would like to join separately from your ticket purchase, please contact: Julia Foster, Chief Development Officer(949) 854-4186 or [email protected]

Subscribe & Join

Movementum

Movementum

Ben

efit

s


1. Akram Khan CompanyWed., October 10, 2012 at 8pmSingle Tickets: $32-$43, + vip gold seats

2. Stephen Petronio CompanyWed., November 14, 2012 at 8pmSingle Tickets: $29-$39, + vip gold seats

3. Spellbound Dance CompanyTues., April 2, 2013 at 8pmSingle Tickets: $29-$39, + vip gold seats

4. Ballet BCSat., May 11, 2013 at 8pmSingle Tickets: $32-$43, + vip gold seats

Plus, a special dance option!In honor of the 100th anniversary ofThe Rite of Spring

5. Meryl Tankard’s The OracleTues., February 26, 2013 at 8pmSingle Tickets: $22-$32

Four-Show Subscription - Save $20Package C: Shows 1-4 $102 (reg $122)

Package B: Shows 1-4 $124 (reg $144)

Package A: Shows 1-4 $144 (reg $164)

Gold Package: Shows 1-4 $380 (reg $400)

Five-Show Subscription - Save $25Includes The Oracle

Package C: Shows 1-5 $119 (reg $144)

Package B: Shows 1-5 $146 (reg $171)

Package A: Shows 1-5 $171 (reg $196)

Gold Package: Shows 1-5 $407 (reg $432)

Gold Package includes:• VIP center orchestra seating rows C-F• Admission to the private Gold Bar• Complimentary drinks• Invitations to special events

A reduced $2 per ticket charge is applied to all subscription orders.

Subscribe now!

Rachel Prince of Ballet BCphoto by Michael Slobodian


How to Subscribe:

Online

• Go to our website at www.thebarclay.org Choose the Contemporary Dance Series from the list of events. Click on the Subscribe Now button and choose your seats.

Phone • Call the box office at: (949) 854-4646 x1

Hours: Mon-Fri 10am to 6pm; Sat & Sun noon to 4pm

In Person • Visit the box office at:

4242 Campus Drive, Irvine CA 92612 Hours: Mon-Fri 10am to 6pm; Sat & Sun noon to 4pm

Single tickets will go onsale in mid-September.

Join Movementum Support the best in contemporary dance and education by adding a donation to your ticket order. A gift in any amount is greatly appreciated.


20+ Years of Dance at the Barclay

Dance is an art form whose unique essence is capable of inspiring deep emotional response among viewers and participants alike. Its power resides in the body regardless of nationality, status, language or culture. In its diverse and eclectic forms, it appeals as mass entertainment or as high art, and everywhere in between.

The theatre has presented over 80 different American and international contemporary, traditional and folkloric companies, including many debuts and premieres.

As a producer, the Barclay has created numerous editions of the New World International Flamenco Festival, curated a week-long Hawai’ian festival involving nearly

a hundred Hawi’ian and mainland artists, and provided administrative and marketing support for the National Choreographers Initiative since its inception in 2004.

As a facility, the Barclay is host to a diverse group of local dance companies including Festival Ballet Theatre, Backhausdance, Arpana Dance Company, Maple Ballet and the former Ballet Pacifica. Because of its ideal size, scale and sight-lines for dance, the theatre is also a desired venue by educational programs and local studios. UCI has created impressive work here. The Wooden Floor has presented a fully-produced recital performance every year since the theatre’s opening in 1990. Each June, local studios including Focus Dance Center, Pacific Dance

Center, and Classical Dance Center present thousands of children in year-end recitals.

Outreach programs have included residencies, master classes and workshops, daytime performances for school audiences, lectures and demonstrations. Examples range from the extraordinary performance/residency of Eliot Feld’s Ballet Tech in co-operation with St. Joseph Ballet’s (now The Wooden Floor), to the Contemporary Dance Immersion program for high school and UCI dance students organized by UCI faculty and supported by IRVINEBARCLAYPRESENTS.

Alberta Ballet in The Fiddle and the Drumphoto by Charles Hope


1990-1991Hubbard Street Dance ChicagoMaria Benítiz Spanish Dance Co.

1991-1992José Greco Flamenco

1992-1993Bebe Miller CompanyHubbard Street Dance ChicagoDayton Contemporary Dance Co.Joe Goode Performance GroupMaria Benítiz Spanish Dance Co.

1993-1994Parsons Dance CompanyLar Lubovitch Dance CompanyLINES BalletDonald Byrd/The Group

1994-1995Mark Morris Dance GroupParsons Dance CompanySusan Marshall Dance CompanyPilobolus Dance TheatreLe Ballet National du Senegal

1995-1996Compagnie Maguy MarinHubbard Street Dance ChicagoPaul Taylor Dance CompanyStephen Petronio Dance CompanyBallet Folklorico de ChileDancers & Musicians of Bali

1996-1997Bill T. Jones/Arnie Zane Dance Co.Parsons Dance CompanyJoe Good Performance GroupLes Ballets Jazz de Montreal

1997-1998RosasStreb/RingsideBatsheva Dance CompanyMark Morris Dance GroupLa Tania Flamenco Ensemble

1998-1999Ballet PreljocajHubbard Street Dance ChicagoMark Morris Dance GroupMomix

1999-2000Eliot Feld: Ballet TechLa La La Human StepsParsons Dance CompanyDoug Varone and Dancers

2000-2001Streb/RingsidePilobolus Dance TheatreSasha WaltzGarth Fagan Dance

2001-2002Joe Goode Performance GroupMark Morris Dance / Yo-Yo MaHubbard Street Dance ChicagoDayton Contemporary BalletAmerican Indian Dance TheatreNew World Flamenco Festival

Companía Domingo OrtegaYaelisa & Caminos FlamencosCompanía Bélen Maya

2002-2003Sean Curran Dance CompanyBallet PreljocajMomixPhiladancoTrinity Irish Dance CompanyMusic & Dance of ManipurNew World Flamenco Festival

Companía Juana AmayaYaelisa & Caminos FlamencosCompanía Andrés Marin

2003-2004Hubbard Street Dance ChicagoPandit Birju MaharajKrasnoyarsk National Dance

Company of SiberiaNew World Flamenco Festival

Jerez PuroIsrael Galvan & CompanyAntonio Canales

2004-2005Hawaii Festival

Ulukou: Waikiki RevisitedEddie Kamae & Sons of HawaiiKe Aka: ReflectionsHapa Maui

National Choreographers Initiative

2005-2006Savion Glover: Classical SavionJulio Bocca: BoccatangoSeoul Performing Arts CompanyNational Choreographers InitiativeNew World Flamenco Festival

Los FarrucosY Una Batita de ColaCompanía Antonio el Pipa

2006-2007Richard Alston Dance CompanyJoe Goode Performance GroupLes Grands Ballets CanadiensCompania Nacional de Danza IIBallet Folklórico de MexicoHungarian State Folk EnsembleLes Ballets AfricainsNational Choreographers InitiativeNew World Flamenco Festival

Companía Juana AmayaSin Fronteras / Savion GloverCompanía Rafaela Carrasco

2007-2008Jazz Tap Ensemble Whirling Dervishes of TurkeyTango FireCois Ceim Dance CompanyShen Wei Dance ArtsMark Morris’ Dido & AeneasRubberbandance GroupNational Choreographers InitiativeNew World Flamenco Festival

Companía Maria José FrancoAndrés Peña & Pilar OgallaCompanía Juan Ogalla

2008-2009Joe Goode Performance GroupAspen Santa Fe BalletNational Choreographers InitiativeNew World Flamenco Festival

Somos FlamencosCompanía Antonio el Pipa

2009-2010Bill T Jones/Arnie Zane Dance Co.Grupo de RuaAkram Khan Dance CompanyAlberta BalletVirsky Ukranian Natl Dance Co.DulsoriNational Choreographers Initiative

2010-2011Ballet PreljocajMomixHubbard Street Dance ChicagoAszure Barton & ArtistsTango InfernoNational Choreographers Initiative

2011-2012Semana FlamenkaEastman: BabelColin Dunne: Out of TimeLa La La Human Steps: New WorkDiavolo Dance TheaterPilobolusNational Choreographers Initiative

2012-2013Akram Khan: Vertical RoadStephen Petronio CompanyMeryl Tankard’s The OracleDanceBrazilNoche FlamencaSpellbound Dance CompanyBallet BC

Mudra by Elizabeth McQueensculpture on display in the Barclay lobby


Movementum SupportersIrvine Barclay Theatre thanks the following major dance supporters

Cheng Family FoundationAn Anonymous Fund of the Orange County Community Foundation

Drs. Francisco and Hana AyalaBobbi Cox

Kari and Michael KerrSimon Foundation for Education and Housing

Sonnet Technologies, Inc.Lynda Thomas

Irvine Barclay Theatre also thanks all of the following contributors to the Dance Initiative during the last year:

AnonymousJordan AquinoPaul BelfiglioScott BerryAlnoush BidrousianJeanne BillhartzDarci BodinNira BrandRandall and Andrea BrownCecily Burke and David TaussigPatricia CahillLino CamachoTom ClevelandRobert CoffeeDariana CruzMayur DeshpandeJacqueline Dew

D. Michael DugganChristine Fluor and Walter ScacchiPaul FrankMark FranzenAnthony GarciaLloyd GoldwaterJuan and Maribel GonzalezJeremy HahnJeng HaliliValerie and Michael HarrisShannon HumphriesAmelie HunterKaren IsenbergJodi JohnsonPatrick JohnsonIrina KrapfSergey and Tatyana Kupriyanova

Dr. Nathaniel and Sally KurnickLynette LarocheTracy LaulhereCatherine LeungRebecca Lewis, Ph.D.Hsin-Chieh LiStephen LudwigJohn MakinsonSarah MarkmanJ.D. MarsMr. and Mrs. Duane MauzeyAlthea McMurrianNanette and Gary PriceBarbara ProudStephanie ReichLinda and Herbert SchwarzJames Sellers

Roman SlizynskiMichael SmithKim SouthcottLaura StearnsJames E. StewartLiz StillwellDaniel and Jeannette StokolsTina StricklandHank TaylorCharles TiernanMichael TuckerSteven VoznickLaura WanVirginia WeddleAkiko Yamaguchi

Mar

ia C

ossu

of S

pellb

ound

Dan

ce C

ompa

ny

the barclay's 2012-13 international dance series

Documents

dance supporters

contemporary dance series3

irvinebarclayp r e s

michael kerrepic dance

akram khan companyakram

meryl tankards

stephen petronio company

support of dance8