currents & crossings program

C U R R E N T S & C R O S S I N G S

February 5-8 , 2015 • Power CenterDepartment of Dance • 2014-2015 Season

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Trisha Brown Dance CompanyDiane Madden and Carolyn Lucas, associate artistic directors Trisha Brown, founding artistic directorSaturday, February 21, 8 pmSunday, February 22, 2 pmPower Center

One of the iconic, post-modern downtown dancers who branched out from the experimental Judson Dance Theater in 1970 to form her own company, Trisha Brown has spent a lifetime exploring movement that �nds the extraordinary in the everyday and challenges existing perceptions of performance. She has pushed the limits of choreography and changed modern dance forever.

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The performers are students in the Department of Dance. The designers for this production are guests in the Departments of Theatre & Drama. Scenery, costumes, properties, sound, and lighting were realized by the students and staff of University Productions, the producing unit of the SMTD. Ticket sales assist in providing SMTD students with engaged learning experiences before live audiences. Thank you for supporting our educational mission.

Latecomers will be seated at a suitable break. As a courtesy to others, please turn off cellular phones and pagers and refrain from texting during the performance. Photography, audio recording, and videotaping of any kind are not permitted.

There will be one intermission.

The University of Michigan, School of Music, Theatre & Dance,Department of Dance presents

Artistic DirectorStage Manager

Judy RiceChristina M. Hagan

Into the WindChoreography by Jessica Fogel

Travesía del Papalote (Kite’s Crossing)Choreography by Sandra Torijano

Bottle Tree StoriesChoreography by Robin Wilson

Brisk SingingChoreography by Richard Alston, CBE

C U R R E N T S & C R O S S I N G S

Currents & Crossings is dedicated to memory of William B. McClellan Jr., MFA (2014)

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From the Chair

Welcome to Currents & Crossings. Tonight’s program introduces the work of London-based choreographer, Richard Alston, to the University of Michigan and to Ann Arbor. Developing transatlantic connections has been one of my curricular goals since joining the Department of Dance in 2007 and this has been supported by a $10,000 Center for Research on Learning and Teaching grant. The grant has enabled us to host several master classes and seminars through the 2014 Fall term and to expose our students to a wide range of British dance experiences. During a two-week residency in November, Alston’s 1997 work, Brisk Singing, was restaged by two former Richard Alston Dance Company members and, this past week, Richard has been working with both casts in the Dance building and here on the Power Center stage.

The restaging is both timely and poignant for me personally since this is my final year as Chair of Dance. Brisk Singing reconnects me with a favorite choreographer and with my former home city and dance scene. Most importantly, the restaging has reinforced to our students how an understanding of historical and cultural contexts – the interplay of currents and crossings - is critical to their embodiment of choreographic style. It’s been an incredible journey of discovery and transformation as they have embraced the rigor, clarity and musicality of Alston’s style and it’s been a joy to work with everyone involved in the restaging.

This year’s concert is dedicated to a former MFA Dance student, William B. McClellan, Jr.. William performed in our 2013 Power Center concert, Translation, and his powerful dancing on this stage lives on vividly. He passed last spring, just weeks after completing his Master’s program. In Memoriam William: both you and your family are in our thoughts and performances tonight.

Currents & Crossings celebrates the immense talents of our four choreographers, dancers and collaborators, in close partnership with SMTD’s University Productions team. It’s been an honor creating concerts with all of you these past eight years.

— Angela Kane, Chair, Department of Dance

Photos: Top - Richard Alston, photo by Hugo Glendinning, © 2012; Bottom - William B. McClellan, Jr. in a performance image from D-Man in the Waters (Part I) choreographed by Bill T. Jones, from Translation, U-M SMTD Department of Dance, February 2013. Photo by Kirk Donaldson.

Choreography by Jessica Fogel in collaboration with the dancersScenic & Costume Design by Jeff Bauer • Additional Costume Design by Patty Branam

Projections by Jessica Fogel • Projection Assistance by Colin FultonLobby banners by Kasia Mrozewska,

Lighting Design by Mary Cole • Composer David BiedenbenderAssistant to the Choreographer Patty Solórzano

Paintings:Après-Midi by Hughie Lee-Smith • Schwush by Sara Adlerstein

Text & Voiceovers:Interview with former Continental Motors workers Harold Brown, Lewis Collins,

John Jolman, and Robert Loomis, conducted on April 16, 2014Interview with Arn Boezaart conducted on April 16, 2014

Text for the “School of Wind” section developed with U-M Master of Engineering in Applied Climate candidate Samantha Basile.

Poem: Circle in the Wind by Keith Taylor Wind Data Sonification: Robert Alexander

Musicians:Flute Improvisation Ashley Stanley • Percussion/Electronics Improvisation Chris Sies

Dancers: Alayna Baron, Meri Bobber, Julia Dooley, Chloe Gonzales, R. Sumi Matsumoto,

Maggie O’Connor, Alexis Turner, Abby Worth

Sections: I. Four Winds II. Continental Motors III. School of Wind IV. Circlings

Funding for the August 2014 premier of Into the Wind generously provided in part by the U-M Third Century Initiative, U-M Office of Research, Arn Boezaart and

Grand Valley State University’s Office of the President, the Michigan Alternative and Renewable Energy Center, Muskegon Museum of Art, and West Michigan Jobs Group.

INTO THE WIND(2014)

Choreographer’s Note:Adapted for the Power Center, Into the Wind premiered in Muskegon, MI in August 2014 near the grounds of the Michigan Alternative and Renewable Energy Center (MAREC), a prominent site for offshore wind energy research in the Great Lakes. Poised between a soon-to-be-closed coal factory and a renewable energy center, with an industrial past still lingering in its soil, the lakeside site captured my imagination as a place in transition, inviting new winds. One section of the dance speaks to the site’s legacy as the former location of the Continental Motors factory, which made engines for cars and airplanes from 1906-1993 and was the manufacturing heart of Muskegon. After the factory was razed, the site was designated a SmartZone by the state of Michigan with an emphasis on developing renewable energy technology. Envisaged as a green living and working community, the site has been slow to develop, thwarted by the recession. Muskegon’s story has resonance for communities across the country, working to rebuild their economies and move toward cleaner energy sources.

Interviews with former Continental Motors workers form part of the musical score. Another part of the score is based upon wind data gathered by a buoy launched by MAREC to study the potential for offshore wind development in Lake Michigan; Robert Alexander transformed this data into sound. Collaborator Keith Taylor’s poem Circle in the Wind comprises the epilogue.

Hughie Lee-Smith’s painting Après-Midi, owned by the Muskegon Museum of Art, struck me as being remarkably similar to the Muskegon site and became a springboard for the dance. Aquatic ecologist and artist Sara Adlerstein, whose painting Schwush inspires some of the visual design, has been interested in the question of what influences our perceptions of beauty in a landscape, and it was her question that initially led me into the wind. Wind is one of the oldest sources of energy used by humans, and today there are rapidly evolving technologies for harnessing its power. The installations of wind farms in communities have been fraught with divisive arguments for and against these developments, with many protesting the visual aesthetic of the turbines. The choices are ours to make. Which way is the wind blowing?

— Jessica Fogel, choreographer

PAUSE

until the wind turnsfrom the west

spring and promiseof new petals

of a breeze rufflingthe hairs on my arm

*

yet gustsrip old leaves

through our bedof hyacinths

*

there can be a dancein the wind

at water’s edge

chaos of hair blowing—a choreography

gone in a whispera puff

of beauty blown offleaving a scent

an impressionthe feel of something held

*a hand chiselsletters into the wind

as it softensand slows

*

when the land is hotbeneath the south wind

the whirlwind speaks

dust devils danceacross the dry prairie

and lightning cracksan early evening sky

*

leaves and seedsfall and are blown

into newmore fertile countries

an unlucky windfrom the east

low pressure risingthe world spins

*winged old mandown from the north

white beard blowing in a devouring wind

*

we would harnessthese stallions of wind

beg their musclesto help us

heal the worldwe damaged

*

dry wind cuts cheek and forehead

snow slitherslike wispy snakes

from roofsacross roads

until the wind turnsfrom the west

Circle in the Windby Keith Taylor, ©2014

Choreography by Sandra TorijanoScenic & Costume Design by Jeff Bauer • Lighting Design by Mary Cole

Scenic Design inspired by a painting by Arianne GarnierAssistants to the Choreographer Lena Oren, Eryn Rosenthal

Music Compilation & Editing by Carolina HerediaMusic by Eddie Mora, Ingram Marshal, Rene’ Aubry, Terry Devine-King,

Paul Motram, Philip Glass, Angela Dubeau and La Pieta.Poem by Mario Benedetti

Dancers:CJ Burroughs, Luna Lemus-Bromley, Beynji Marsh, Selena Moeljadi,

Jimi Nguyen, Kasia Reilly, Meredith Ziegelmeyer

Sections:I. Elegy II. Exile III. Sacred Altar IV. Hope

Choreographer’s Note: Uruguayan writer Mario Benedetti asks: “Where is my country?” (from a poem

with the same title). He wanders in his imagination… with many questions about what constitutes his place of being and where his country or home might be. He speaks of exile and hope for finding that place of unity and wholeness: “Is it below the cloud? “Over the gods?” “From this side of the wind?” My choreography Travesía del Papalote (Kite’s Crossing) explores these ideas.

The “kite,” in flight yearns for freedom and gives us hope to rise above… the kite that unifies our human condition, the dreams and the solidarity as an act of faith. The ideas sail, cross, suspend, land, their sorrows purified. The kite fills the soul with liberty and its sensitive gestures as it waves to us below, nurtures our aspirations, and gives peace with an Elegy as a lament for a special friend. In remembrance of William.

INTERMISSION

TRAVESÍA DEL PAPALOTE (Kite’s Crossing, 2015)

Choreography by Robin WilsonScenic & Costume Design by Jeff Bauer • Lighting Design by Mary Cole

Sound Design & Editing by Eric SheffieldMusic from Carolina Chocolate Drops, Luminescent Orchestrii,

Regina Carter, DM Stith

Dancers: Spirits: Anthony Alterio, Hillary Kooistra,

Mackenzie Larrance, Catherine ‘Caty’ Raupp, Honora WoodVillagers: Claire Crause, Maeve McEwen, Paula Modafferi, Riley O’Donnell

SectionsI. At Midnight II. Sunrise III. Another Man Done Gone IV. Sentinels V. Sunset

Choreographer’s Note: Throughout the Carolinas and the Deep South, one can still find “bottle trees” in

the yards of African-American families. Often cobalt blue, the bottles dangle from tree branches – to confuse and capture “lost” spirits or “haints,” who might otherwise enter the homes of the living. Some people can sense their presence, as these disembodied spirits roam about, watching and waiting, inhabiting dreams or whispering and prodding us to go this way or that. Others feel almost nothing, save the occasional inkling as these lost souls reach out, cajole, and even encourage. The spirits captured by the bottle tree all have stories to tell. These are but a few.

PAUSE

BOTTLE TREE STORIES(2015)

BRISK SINGING(First performed by the Richard Alston Dance Company at the The Gardner Arts Centre, Brighton, England, on Oct. 22, 1997)

Choreography by Richard Alston, CBERestager Martin Lawrance • Co-Restager Francesa Romo

Lighting Design by Charles Balfour re-created by Mary ColeCostumes by Jeanne Spaziani re-created by Laura Brinker

Rehearsal Director Judy Rice • Co-Rehearsal Director Jillian Hopper

Music: Excerpts from Les Boréades (1769) by Jean-Philippe Rameau

Dancers: Thursday/Friday/Saturday:

CJ Burroughs, Michael Erickson, Emma Fath, Yoshiko Iwai, Wonza Johnson, Luna Lemus-Bromley, Maeve McEwen, Riley O’Donnell,

Michael Parmelee, Ambika Raina, Kasia Reilly

Sunday:Meri Bobber, Michael Erickson, Danielle Fattore, Chloe Gonzales,

Wonza Johnson, Hillary Kooistra, R. Sumi Matsumoto, Maeve McEwen, Michael Parmelee, Soultana Schiavi, Meredith Ziegelmeyer

Alternate: Maggie O’Connor • Swings: Alayna Baron, Gabriella Gutt

Brisk Singing is funded in part by an Internationalizing the Curriculum grant from the Center for Research on Learning and Teaching.

Choreographer’s Note: Brisk Singing is first and foremost a joyful response to the brilliance of Jean-Philippe Rameau. Known in his own time as ‘le dieu de la dance’, Rameau’s flow of lyricism, made edgy with wonderfully odd phrasing and urgent rhythm, speaks to dancers in a similar way to Stravinsky in our own century; both composers seemed able to breathe movement into all their music. Les Boréades is a long opera about a rather obscure mythical subject. Suffice it to say that Les Boréades were the Hyperboreams, inhabitants of an imaginary kingdom at the back of the North Wind. Their lifetime spanned a thousand years which were entirely devoted to song, dancing and pleasure. From this opera I have purposely chosen not just the music written for set dances (of which there is plenty) but also choruses, recitatives and arias, all coursing with dance rhythm. There is darker music too — brooding choruses, stately entr’actes — but Brisk Singing centers around a lyrical duet to the entrée from Act IV, described by John Eliot Gardiner as “perhaps the most melting and gravely sensual writing for orchestra to emerge from the entire baroque era.” — Richard Alston

This past summer, the University of Michigan continued ongoing initiatives to keep our beloved performance halls in prime condition. The goal was to maintain the original vision of these architecturally significant buildings while upgrading their infrastructure to meet contemporary life-safety considerations. Updates to these spaces included:

Rackham AuditoriumAfter a study determined the mysterious causes of paint flaking from the decorative ceiling, conservators researched original paint colors, creating new stencils, and restored the currently damaged areas.

Lydia Mendelssohn TheatreImprovements include new LED aisle lights, new handrails in the balcony, enlarged barrier-free seating, and backstage safety improvements.

Power CenterThe seats received new fabric, foam, springs, and arm rests. New LED aisle lights were added, as well as handrails to both sides of the aisles. Barrier-free seating areas in the theatre were enlarged, and the lobby level barrier-free restrooms were renovated. Additional work included repainting the main lobby, selected refurbishment in the lower level restrooms,

replacement of galvanized piping, and theatrical lighting safety improvements.

We thank the following individuals and groups for helping to maintain the rich cultural life of Ann Arbor by their exceptional assistance and expertise:

President Emerita Mary Sue ColemanOffice of the Associate Vice President for Facilities and Operations, Henry Baier,

including: Architects Doug Hanna, Mark Klein, Michelle Smay; Interior Designer Sandra Richter; Construction Managers Eric Mutrynowski, John Hetrick; Mechanical

Engineer Rosie Hood; Custodial Supervisor Craig Hartley and his crew; Smith Group JJR (Tricia Beck, Leland Curtis, Andrew Varilone); Commercial Contracting Corporation (David Gaggos, Tony Haag, Mike Helm and their

steelworkers Floyd DeVoe, Terrance Dortch, Brian Hewitt, Norm Luck); John Canning & Company; David Rosenburg; Theatre Projects Consultants;

American Seating Company; Barry LaRue, Shannon Rice, & Dianne Widzinski, SMTD; and many specialized construction workers.

Historical Integrity forFuture Innovation

about the Cast anthony alterio grad student, MFA Dance, Lakewood, COalayna baron sophomore, BFA Dance, Ann Arbor, MImeri bobber junior, BFA Dance w/Law, Justice & Social Change minor, Milwaukee, WICJ burroughs senior, BFA Dance, Raleigh, NCClaire Crause sophomore, BFA Dance/BS Movement Science, Ann Arbor, MIJulia Dooley first-year, BFA Dance, Saline, MImiChael eriCkson first-year, BFA Dance, Chelsea, MIemma Fath senior, BFA Dance/BS Cellular and Molecular Biology, Chapel Hill, NCDanielle Fattore first-year, BFA Dance, Naperville, ILChloe gonzales sophomore, BFA Dance w/Global Theatre & Ethnic Studies minor,

Springport, MIgabriella gutt junior, BA Psychology w/Performing Arts Mgmt and Law, Justice &

Social Change minors, Weston, FLyoshiko iwai first-year, BFA Dance, Kobe, Japanwonza Johnson junior, BFA Musical Theatre, Fairburn, GAhillary kooistra senior, BFA Dance w/Performing Arts Mgmt. minor, Teaneck, NJmaCkenzie larranCe first-year, BFA Dance, Cadillac, MIluna lemus-bromley junior, BFA Dance/BA International Studies, Wallingford, PAbeynJi marsh sophomore, BFA Dance, Chicago, ILr. sumi matsumoto senior, BFA Dance, Andover, MAmaeve mCewen junior, BFA Dance w/Movement Science minor, Pittsburgh, PAPaula moDaFFeri sophomore, BFA Dance w/Performing Arts Mgmt. minor, Dexter, MIselena moelJaDi sophomore, BFA Dance, Irvine, CAJimi nguyen junior, BFA Dance/BS Movement Science, Grand Rapids, MIriley o’Donnell junior, BFA Dance, Clarendon Hills, ILmaggie o’Connor first-year, BFA Dance, Dedham, MAmiChael Parmelee grad student, MFA Dance, ambika raina senior, BFA Dance/BS Biopsychology, Cognition & Neuroscience, Troy, MICatherine ‘Caty’ rauPP senior, BFA Dance, Saline, MIkasia reilly sophomore, BFA Dance, Milan, MIsoultana sChiavi sophomore, BFA Dance, Clarence Center, NYChris sies grad student, MM Chamber Music/MM Percussion Perf., Manchester, MDashley stanley grad student, MM Chamber Music, Brownstown, MIalexis turner senior, BFA Dance, Ann Arbor, MIhonora wooD senior, BFA Dance, Saline, MIabby worth first-year, BFA Dance, Dublin, OHmereDith ziegelmeyer first-year, BFA Dance, Hebron, KY

about the Creative team riCharD alston (Choreographer — Brisk Singing) choreographed his first work in 1968, as one of the twelve students of the newly formed London Contemporary Dance School. On leaving in 1972, he formed the UK’s first independent dance group Strider. In 1975 Alston went to New York to study at the Merce Cunningham Dance Studio. On his return two years later he worked throughout the UK and Europe as an independent choreographer and teacher. In 1980 Alston became Resident Choreographer with Ballet Rambert and later was appointed Artistic Director, a position he held from 1986 to 1992. In his time there he created 25 dances for that company, and also was commissioned to create work for the Royal Danish Ballet (Kingdom of Pagodas, 1982) and the Royal Ballet (Midsummer, 1983). In 1992 Alston was invited to create a full evening of his own work, including Boulez’s Le Marteau Sans Maitre, for the Ballet Atlantique in France. He made another full evening work for London Contemporary Dance Theatre at the 1994 Aldeburgh Festival going on to form his own company when he became Artistic Director of The Place in 1994. Richard Alston Dance Company started in the autumn of that year, and over the past 20 years Alston has made almost 40 dances for this company. Commissions from other companies include: Sheer Bravado (Ballet Theatre Munich, 2006), Walk Through a Storm (Ballet Black, 2008), Carmen (Scottish Ballet, 2009), A Rugged Flourish (New York Theatre Ballet, 2011), Even Song (Holland Dance Festival, 2012), All Alight, Light Flooding Into Darkened Rooms (Phoenix Dance Theatre, 2013). Light Flooding Into Darkened Rooms (New York Theatre Ballet, remounted 2013). Alston is currently restaging his Carmen on Miami City Ballet, which will receive its premiere in February 2015. Awards: Honorary Doctor of Philosophy (in Dance) at Surrey University, Honorary MA from University College Chichester, 1995 Chevalier dans l’Ordre des Arts et des Lettres in France, 2001 CBE in the New Year Honours list, 2008 De Valois Award for Outstanding Achievement from the Critics Circle National Dance Awards, In 2009, he was appointed Chair of Youth Dance England. Alston was presented with the Award for Excellence in International Dance by the International Theatre Institute in 2012. He is a Trustee of the Royal Ballet Benevolent Fund.

Charles balFour (Lighting Design — Brisk Singing) first worked with Richard Alston in 1996, with Okho, and has since designed over 30 pieces with him, most recently A Ceremony of Carols. Dance: Run For It (Martin Lawrance); Labyrinth of Love (Marguerite Donlon); Eden/Eden (Wayne McGregor); Magical Night, Cocteau Voices, The Red Balloon (Aletta Collins); Shaking World (Beijing Dance Academy); Women in Memory (Rosemary Butcher); Four Seasons (Oliver Hindle). Theatre: Harold Pinter Theatre, West Yorkshire Playhouse, Royal Court, Duke of York’s, Young Vic, Nottingham Playhouse, Bristol Old Vic, Sheffield Crucible, RSC. Opera/Music: Vlaams Opera, OperaShots 2010 & 2011, Royal Opera House 2), Opera North, Athens Acropolis, Barbican.

JeFF bauer (Scenic & Costume Designer — Into the Wind, Travesía del Papalote, Bottle Tree Stories) Recent: Woven Dreams (Joffrey Ballet, NY City Center – Scenery & Costumes). U-M: The Barber of Seville, Don Giovanni, Falstaff, The Elixir of Love. Regional: Pygmalion, Sleuth, Gross Indecency (Court Theatre); Winter, Trying (Victory Gardens, Off-Broadway, Ford’s) Madama Butterfly, The Turn of the Screw, Shining Brow (Chicago

Opera Theater, Anchorage Opera); Three Premiers (Hubbard Street Dance), Dracula, Cinderella, The Tempest, Peter Pan (Grand Rapids Ballet). Awards: Gesualdo (Emmy nomination PBS); Joseph Jefferson, Best Scenery (additional five nominations); Artistic Associate - RPM Productions; Design Faculty, Theatre School at DePaul University.

DaviD bieDenbenDer (Composer — Into the Wind) is Asst. Professor of Music Composition and Theory at Boise State Univ. Collaborations: Alarm Will Sound, PRISM Saxophone Quartet, Stenhammar String Quartet, Aspen Contemporary Ens., U.S. Navy Band, Philharmonie Baden-Baden, VocalEssence, Eastman Wind Ensemble, bass trombonist Randall Hawes (DSO), Juventas New Music Ensemble, Washington Kantorei, Atlantic Chamber Ensemble, Boston New Music Initiative. Awards: Two ASCAP Morton Gould Young Composer Awards (2011, 2012), the 2012 Suzanne and Lee Ettelson Composers Award, regional winner of the SCI Student Composer Competition, the Third Millennium Ensemble’s Composition Prize. Other: DMA & MM, U-M; BM, Central Michigan Univ.

mary Cole (Lighting Designer) is a lecturer in the Department of Dance as well as the lighting designer, stage manager, and technical director for the Department and Ann Arbor Dance Works. Additional U-M: Good Kids, Red Noses. Regional: Performance Network: Associate Artist; County Line, Other Desert Cities, Jewish Ensemble Theatre. Other: BS from EMU, master’s work at U-M.

JessiCa Fogel (Choreographer — Into the Wind) Professor of Dance. Awards: Grants from NEA, Rockefeller Foundation, Michigan Council for Arts and Cultural Affairs, UM Rackham Graduate School, OVPR, Arts of Citizenship, and numerous commissions for stage and site dance projects. National/International: Artistic Director, Jessica Fogel and Dancers, NYC, 1978-83; Artistic Director, Ann Arbor Dance Works; has performed, taught, and choreographed throughout the U.S. and in England, Mexico, Greece, Ireland, Canada, Costa Rica, and Japan. Other: BA, Barnard College; MA, Columbia Univ.

Christina M. Hagan (Stage Manager) graduated from the University of Michigan in 2007 with a BFA in Theatre Design and Production. UM: Big River, The Who´s Tommy, You Can´t Take It with You, The Laramie Project, Seussical, The Hot L Baltimore, A Chorus Line. NYU: Sweet Smell of Success, City of Angels, Fiorello, Street Scene, The Most Happy Fella. Regional Theatre: North Shore Music Theatre, Weston Playhouse Theatre Company, Theatre by the Sea, Heritage Repertory Theatre, Arkansas Shakespeare Theatre, Working Classroom. National Tours: Hello Dolly! starring Sally Struthers, Billy Elliot the Musical, Radio City Christmas Spectacular Arena Tour.

martin lawranCe (Restager — Brisk Singing) began dancing with Leicester Youth Dance Theatre, trained at Coventry Centre for the Performing Arts and then at the London Contemporary Dance School. He danced with Richard Alston Dance Company from 1995–2007, having over 25 works created on him, and becoming Rehearsal Director

about the Creative team

about the Creative team in 2007. Choreography: Thimble Rigging (Meltdown Festival); London Contemporary Dance School; Grey Allegro, Silken Steel (State School of Dance in Athens); Charge (The Place Prize); About Face, Brink, Stealing Poison, Body & Soul, To Dance and Skylark, Lie of the Land, Other Than I, Madcap, Burning (RADC); Pendulum, Captured, Limbo (Ballet Black); Run For It, Dark Full Ride (Scottish Ballet); Misfit or Maverick (Ballet Manilla).

JuDy riCe (Artistic Director/Rehearsal Director — Brisk Singing) is Assoc. Professor of Performing Arts, U-M Dept. of Dance, and is a graduate of Canada’s National Ballet School and has performed globally with The Joffrey Ballet and American Ballet Comedy. Teaching: 20 years experience teaching for national and regional ballet and modern companies as well as Company Dance, Steps, and Broadway Dance Center; Co-founder of Behind Barres; TV: Fame, All My Children, The Tonight Show Starring Johnny Carson. Private ballet coach for Amy Adams and Katie Holmes and also assisted Tyce Diorio on Season 9 of SYTYCD. Featured on the September 2013 cover of Dance Teacher Magazine for bridging the gap between the competition world and university dance.

FranCesa romo (Co-Restager — Brisk Singing) was born in London, England. Francesca trained at the Royal Ballet School and the London Contemporary Dance School. After a one-year apprenticeship with Richard Alston Dance Company she formally joined the Company from 2003–2006. In 2007, Francesca co-founded Gallim Dance, a New York based company. She has toured, created and set Gallim’s work both nationally and internationally. She is a certified in Gyrotonic® and Gyrokinesis®. She currently teaches at Jackson Hole Gyrotonic and at Dancers Workshop in Jackson Hole, Wyoming, and continues to dance and create with Contemporary Dance Wyoming.

sanDra toriJano (Choreographer — Travesía del Papalote) Assoc. Professor of Dance. Freelance dancer/teacher/choreographer throughout Europe, Latin America and USA. Dancer/Soloist: The National Dance Company of Costa Rica; Danza UNA; guest dancer, Gyory Ballet Company in Hungary; Institut del Teatre in Barcelona, Spain; Instituto Nacional de Bellas Artes in Mexico; participated in several international festivals around the world. Awards: Awarded for her works in Wisconsin, Maryland, Detroit, and Costa Rica. Invited by Nobel Winner Oscar Arias to stage choreography for his holiness the Dalai Lama of Tibet. Other: Summer faculty, Point Park University. Her work was performed in Bejing, China, in 2009.

robin wilson (Choreographer - Bottle Tree Stories) is an Assoc. Professor in the Dept. of Dance. Regional Dance: Member, Ann Arbor Dance Works; active as a guest performer, choreographer, teacher, and lecturer. Performance: Founding member of Urban Bush Women; toured extensively throughout US and Europe; Dianne McIntyre’s Sounds in Motion Dance Company/Workshop Ens. Awards: 1999 Maggie Allesee Choreography Award; Artist-in-Residence for the KY Arts Council; grants from Rackham School of Graduate Studies, IRWG, OVPR, LACS, OAAPMA, KY Arts Council. Other: MFA in Dance, Temple Univ.; Univ. Fellow; BA, Washington Univ.

aCknowleDgments In loving memory of Donald Axon (1921-2015), a dear and loyal Friend of Dance who will be greatly missed. With love and fond remembrance from the Department’s faculty & students.

All music used by permission. All rights reserved.

Into the Wind:Warmest thanks to all the collaborators: dancers, musicians, composers, designers, scholars, artists, and community partners, each of whom generously contributed key ideas and materials. Many thanks to Robin Wilson for her performance in the premiere and her coaching of the dancers. Thanks to Professor Annette Masson and her students for providing some of the voice-overs.

Après-Midi by Hughie Lee-Smith, Oil on canvas, 1987. Collection of the Muskegon Museum of Art (MMA), Purchased in honor of the 100th Anniv. of the MMA through the Hackley Picture Fund, the Art Acquisition Fund, a gift in honor of Margaret “Marge” Byington Potter from her friends Susy Heintz Avery, Marcie Brogan, Barbara Gattorn, Kimberly Johnson, Mary Kramer, Anne Mervenne, and Kathleen Wilbur, and a gift from Dr. Anita Herald.

Schwush by Sara Adlerstein, Mixed media on masonite, 2012

Travesía del Papalote:Special thanks to Lena Oren, Carolina Heredia, the dancers, Judy Rice, and the production team.

“Dove of Peace” by Paul Mottram. © Paul Mottram.“Libre Parcours” by Renè Aubry from the recording Renè Aubry. © 2006, Rue Stendhal.“Military Drums 1A” by Terry Devine-King from the recording History, Heroism and Conflict. ©

2007, Cavendish Music Library.“Savage Altars” by Ingram Marshall from the recording Ingram Marshall Savage Altars with The Tudor

Choir, Sara Cahill, Joseph Kubera, Benjamin Verdery. © 2006, New Albion Records.“String Quartet No 2 - Company (Movement 4)” by Phillip Glass from the recording Portrait by

Angèle Dubeau & La Pietà. © 2008 Analekta.

Bottle Tree Stories:“Another Man Done Gone” by Dominique Flemons, Rhiannon Laffan, and Thomas Robinson.

From the recording Heritage by the Carolina Chocolate Drops. © 2008 Sony Masterworks.“Chant” Traditional/arr. Ysaye Barnwell. From …25… by Sweet Honey in the Rock. © 1998 Rykodisc.“Death Have Mercy” and “Miners Child,” Traditional. From the recording Southern Comfort by

Regina Carter. © 2014 Sony Masterworks.“Escoutas (Diga, Diga, Diga) Traditional; Sarah Alden, Sxip Shirey, Luminescent Orchestrii. From the

recording The Carolina Chocolate Drops/Luminescent Orchestrii. © 2010 Nonesuch Records.“Untitled” by DM Stith. From the album BMB. © 2009 Asthmatic Kitty Records.

Brisk Singing:Wonza Johnson appears courtesy of the Dept. of Musical Theatre. Special thanks to Chair Brent Wagner for making this possible. Additional thanks to Amy West for her contribution to the new Dancing Cities course and our Transatlantic Connections project.

Excerpts from Les Boréades by Jean-Philippe Rameau (1764). From the recording by the English Baroque Soloists, conducted by John Eliot Gardiner. © 1990 Erato-disques.

www.umma.umich.edu525 South State Street | free admissionHours: Tues–Sat 11 am–5 pm, Sun 12–5 pm

university of michigan museum of art

on view through january 4, 2015

PARAMODEL

umma exhibitions

“...far and away the highest quality Indian food...in metro Detroit.

—Metro Times“

JUST SECONDS FROM NORTH CAMPUScross Plymouth Rd at Murfin; in the Courtyard Shops

CHRISTOPHER KENDALL, DEANPaul Boylan Collegiate Professor of Music

DEPARTMENT OF DANCEChair .....................................................................Angela KaneAdministrative Coordinator.............................Megan McClureFaculty ..................... Melissa Beck, Amy Chavasse, Mary Cole, Clare Croft, Bill De Young, Jessica Fogel, Beth Genné, Christian Matijas Mecca, Judy Rice, Biza Sompa, Peter Sparling, Sandra Torijano, Amy West, Khita Whyatt, Robin Wilson

UNIVERSITY PRODUCTIONSADMINISTRATIVE STAFFDirector ................................................................Jeffrey KurasDepartment Administrator ............................. Fatima AbdullahOffice Assistant III ...............................................Shelda SmithMarketing & Communications Dir. ........... Kerianne M. TupacGraphic Design ...............................................Don HammondPhotographer .................................... Peter Smith PhotographyInformation Systems Manager ......................... Henry ReynoldsFacilities Manager ................................................Shannon RiceHouse Manager of Performance Halls .......... Dianne WidzinskiPC House Managers ......................Jillian Carey, Michael MillerUsher Coordinator ................................................Brian RoddySenior Backstage Operations Mgr. .........................Barry LaRueBackstage Operations Mgrs. ........Mark Gordon, David Pickell, Dane Racicot, Donald C. WatkinsAdmin. Office Assts. ...................Cait Harrell, Jeannie Sandefer PRODUCTION STAFFProduction Manager .....................................Amanda MengdenProduction Stage Manager...................................Nancy UffnerProduction Office Assts. ...............................Aishawarya Singh, Rachel Waddell, Maeve ZolkowskiTechnical Dir. (Power) ................................... Douglas EdwardsTechnical Dir. (Walgreen) ......................Richard W. Lindsay, Jr.Master Carpenter .................................................. Paul HunterCarpenter ........................................................... Russ DunhamCharge Scenic Artist (Power) ..............................Toni Y. AulettiCharge Scenic Artist (Walgreen) .......................Beth SandmaierProperties Master ................................................Patrick DroneAssoc. Properties Master .......................................Sarah TannerProperties Artisan ................................................Dan Erickson

Master Electrician............................................Mark Allen BergSound Engineers .......................Roger Arnett, Henry ReynoldsCostume Shop Manager ......................................Laura BrinkerAssoc. Costume Shop Manager .......................... George BaconCutter/Drapers .... Corey Globke, Lea M. Morello, T J WilliamsonCrafts Artisan ...........................................Elizabeth GundersonCostume Stock Administrator .............................. Renae Skoog

PRODUCTION CREWAsst. to the Artistic Director ............................Soultana SchiaviAsst. Stage Manager.............................................. Alexis BreeseAsst. Master Electrician .....................................Steven WezelmanScene Shop (Power) .....................................Matthew Provenza, John-Alexander Sakelos, Evan VanBeelen, Kyle WeberPaint ....Angela Alvarez, Paulina Bromberg, Breanna Gomillion, Tanner Porter, Jillian Slade, students of Theatre 250 & 252Properties .....................................Chelsea Becker, Lucy Briggs, Rachel Kaplow, Elana Lantry, Josie Patalon, Anton Volosek, students of Theatre 250 & 252Professional Stitchers ...Patty Branam, Laurie Kantner, Rene PlanteCostumes .............. Lindsay Balaka, Anneliza Canning-Skinner, Danielle Cohn, Jean-Luc Deladurantaye, Rochelle Jackson, Kayleigh Laymon, Rowan Renstrom-Richards, Grace Santamaria, Michaela Tanksley, Michayla Vantreek, students of Theatre 250 & 252Sound.........................Andrew Hintzen, Brian Kelley, Joel Lim, Alexander Miller, Christopher Schaublin, Lena SutterElectrics ..........Martijn Appelo, Jennifer Barretto, Fisher Diede, Anna Edelman, Sten Eikrem, Sarah Frank, Nicole Gellman, Ross Green, Janak Jha, Abbey Kojima, Bryan Mathison, Megan Oosthoek, Clarissa Ortiz, Nicholas Shafer, Alexander Smith, Kaiqi Zhu, students of Theatre 250 & 252

RUNNING CREWScenery ...................................Amy Aaron, Irene VandenbergheProps ..........................................Anna Markowitz, Alexis TurnerLight Board Operator .......................................... Jessica BalakaLighting/Projections ............Ayana McPherson, Hannah SchonWardrobe ......................Jean-Luc Deladurantaye‡, Madi Berse, Kiri Chapman, Nebiat Mengsteab

‡ Crew Head

For your inFormation

lateComer PoliCy

Latecomers will be seated at a suitable break or scene change.

Pagers, Cellular Phones, watCh alarms

Please set pagers to silent mode. Cellular phones should be deactivated. Please deactivate your electronic watch alarm so it will not interrupt the performance. Please refrain from texting during the performance.

smoke Free CamPus

Smoking is not permitted in University buildings or on

University grounds. Smoking is permitted only in personal vehicles or on the sidewalks of major thoroughfares.

emergenCy ProCeDure

In the event of fire or severe storm, you will be instructed by an announcement from the stage indicating the best method of exit. Please notice the multiple red exit signs in the theatre. For your safety, please exit in a calm and orderly manner.

Cameras anD reCorDing DeviCes

The use of cameras — with or without a flash — recorders, or other electronic devices inside the theatre is strictly prohibited.

FooD anD Drink

No food or drink is allowed in the theatre.

ChilDren

As a courtesy to our audience and the performers, children under the age of three will not be admitted to performances. All children must have a ticket. If your child proves disruptive or excessively restless, you may be asked to leave by House Management.

large Print Programs

Large print programs are available free of charge from House Management.

aCCessibility

Accessible ramps, elevators, parking, restrooms, and wheelchair seating

are available for patrons with disabilities. Please note there is no elevator to the balcony level in Power Center and the Lydia Mendelssohn Theatre.

sounD enhanCement

The theatre is equipped with an infrared listening system for listening

enhancement. Lightweight, wireless headsets are available free of charge from House Management.

Parking

For your parking convenience, we recommend arriving early. Prepaid parking passes are also available at the League Ticket Office. Parking Customer Service: 764-8291 (M-F, 7:30a-4:30p) or 764-7474 (evenings & weekend)

tiCket sales anD inFormation

Hours: Monday – Friday: 9 am – 5 pm Saturday: 10 am - 1 pm Performances: 1 hour prior to curtainPhone: (734) 764-2538Online: tickets.music.umich.eduAddress: 911 N. Univ., Ann Arbor, MI 48109

tiCket exChanges

Subscribers may exchange their tickets by mail or in person at no charge. Non-subscribers may exchange their tickets by mail or in person for a small processing fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance and are made only for another performance of the same play.

grouP DisCounts

Discounts are available for groups of 15 or more.

Comments? write us at: University Productions, Attn.: Jeffrey Kuras911 N. University Ave., Ann Arbor, MI 48109

GIFTS OF $1,000 & ABOVEJack & Eileen Chisholm GIFTS OF $500-$999Henry & Harlene AppelmanMarlys Hamill GIFTS OF $250-$499William & Florence DavisGordon & Elaine Didier GIFTS OF $100-$249Steven BolliniClayton CarsonS.J. & Odes EldenGlenn & Carol GallerCarole & Larry KatzHerbert & Jane KauferSteven & Shira KleinWayne & Georgia LindstromMacy’s FoundationBeverly MankoBenjamin Marshall & Reola AvantHerman & Bernice MerteBonnie MetzgerJohn MillsFred & Margaret PattersonEdward SneidemanDavid & Karen Stutz

Louise TaylorBob ThorntonMary & Joseph ToboniEric & Sheridan WardenMelissa WasilewskiVivian WilsonDavid & Carol Yoder GIFTS UNDER $100Sally BarnettSusan BarreraTyler BarronSang ChenMerry ClarkNorman & Anne CoxTom CzarnikJames DelheyMarilyn DicksonKathleen DiggsJean DolegaKelly & Nick DyerHelen EmmonsDouglas & Angela FullenAnn & William FurtwanglerRebecca & D. Bruce GaffneyRichard GarnerMark HaddoxRobert & Karen HahnJanelle & David Hansen

Cassandra HelmerLorna Hurl & David TuckerStevo & Susan JuliusSusan & Anthony KonovalivGary & Barbara KrenzKathleen & Roger LeonardWilliam & Garland LewisJohn LucasRosemary LutzJudith & William LynnMelvin & Daisy Jean ManisBrigitte & Klaus MartenJohn & Glenda MathesAnastasia MoroMargie Morris & Melvin HochsterJoan O’LearMargaret & Nels OmanDouglas & Carole PeckJonathan PevarnekSheryl PomeranceSally & Bruce RichardsonCarol Rundle Sandra SamonsNancy & Stephen ScheweDean ShueySharyn SivyerAllan & Marcia StillwagonBrad Vincent

The University of Michigan, School of Music, Theatre & Dance gratefully acknowledges the following individuals for their support of productions at the School. Gifts to U-M SMTD productions help support all aspects of productions - sets, costumes, lighting, sound, guest artists, and more - for all the School of Music, Theatre & Dance’s mainstage shows. These funds assist in providing SMTD students with practical training experience and the opportunity to network with guest professionals. Thank you.

U-M SMTD Production Support Gifts from July 1, 2013 - September 24, 2014

University of Michigan Friends of Dance

Friends of Dance supports the SMTD Department of Dance by providing vital discretionary support for scholarship funding to attract the most talented prospective students to the University of Michigan. Additionally, Friends’ support brings visiting artists, guest choreographers, and other industry insiders to Ann Arbor to work with students and creates performance opportunities our students need to succeed in the competitive world of dance.

I want to support the Department of Dance with a gift to the Friends of Dance: In the amount of: ❏ $1,000 ❏ $500 ❏ $250 ❏ $100 ❏ Other __________

Friends of Dance Annual Gifts • July 1, 2013 to January 10, 2015

LID: ME: 1016 (301563)

❏ Enclosed is my employer (or my spouse’s) matching gift form.❏ My check is made payable to the University of Michigan.❏ Charge my gift to ❏ VISA ❏ Master Card ❏ Discover ❏ Amer. Exp.

Acct. #: ________________________________________ Exp. Date: ________________

Signature ________________________________________________________________

Name _________________________________________________________________

Address _________________________________________________________________

Home Phone: _______________________ E-mail: ____________________________

GIFTS OF $10,000 & ABOVEJoanna Chozen & Justin MetzCarolyn Dorfman & Gregory Gallick GIFTS OF $5,000 TO $9,999John David Ficeli & Christien Coors-FiceliJudith & Michael Woodruff GIFTS OF $1,000 TO $4,999Mark Adelson & Margaret CulhaneShirley & Donald AxonSuzanne ButchAnne & James DuderstadtMarcia & John FiceliJames & Sandra Wojczynski GIFTS OF $500 TO $999Jill & Allen ChozenPaul & Sharon ColemanLinda & Richard GreeneGretchen & John JacksonDiane KirkpatrickAlan & Jean KrischVic RomitaJohn & Jerry Weidenbach GIFTS OF $250 TO $499Trudy Cobb DennardJudith & Kenneth DeWoskinClifford Gregory

Nancy Baker Fate Heers Edward Henry & Susan MonkSteve & Maria O’DonnellSarah & Fred PesetskyJoseph PlacekJohn Romani & Barbara Anderson GIFTS OF $100 TO $249Ruth Bartman & Peter JacksonJoan BinkowBill Bolcom & Joan MorrisCraig ChamberlainConnie & Leslie DowJeannette Duane & Douglas ShapiroRaymond Dye & Kitty KnechtMichele Eickholt & Lee GreenJessica Fogel & Lawrence WeinerKaren FreedlandCathy & Rene LichtmanLeslie SeldenJanene & Jerry TiceMarie VogtDenise WadeElise WeisbachGladys Young GIFTS UNDER $100Anthony & Janice AguirreJulie BlumeDaniel ByrneGlenn CoreySuzy & Niels Engleberg

Jennifer & Craig FleminglossCharlotte FogelDaytona FreyIlana & Ari GafniJanice GeddesJ. Martin GillespieTara GillespieHansen Marketing Services Inc.Lourdes & Gunnar HansenWhitley HillI.A.T.S.E. Local 395Roderick JeffersonEllen & Michael KettlerJean & Arnold KlugeJudith & Richard KrzyminskiElizabeth Leopold & Brian MazzaferriJanet Lilly & James SteeleDiane MacaulayMichael & Regina McStrawGerald NaylorKatherine & Ronald O’NeillSusannah & James OwenAllegra RomitaCarole & Mitchell RycusNancy SeymourJanine ShahinianSamantha SheltonTheodore St. AntoineAndrea Verier & David TaylorJudy WenzelGary & Cathy Ziegelmeyer

For online giving, visit www.giving.umich.edu, e-mail Ellen Kettler at [email protected], or call 734.763.9769School of Music, Theatre & Dance • Development Office • 2005 Baits Drive • Ann Arbor, MI 48109-2075

We apologize for any omissions or errors made in these donor listings. Please direct questions or comments to the School of Music, Theatre & Dance Office of Development & External Relations at 734.763-9769

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