Winter Program 2015

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Congratulations to Sara Miller McCune and SAGE on 50 years of publishing true scholarship, original ideas and research in service of the academic community,

education and public policy.

Dear Arts & Lectures’ Friends and Supporters,Happy New Year! It’s a pleasure to present to you the Winter 2015 lineup of performances and lectures.

If you’ve spent the holidays traveling to New York or Chicago or San Francisco, you may have seen announcements for some of the artists and speakers featured in UCSB Arts & Lectures’ 2014-2015 season. (Yes, we collaborate with colleagues nationwide and work with talent agents when bands go on tour, etc.).

But I’d like to flag two speakers who are unique to Arts & Lectures this winter. They are not embarking on multi-city tours, although their opinions are sought after and widely respected:

Robert Gates, former U.S. secretary of defense under both Republican and Democratic administrations, will address “The Challenges Facing the United States” at The Granada Theatre on March 19.

Best-selling author, theoretical physicist and futurist Michio Kaku will discuss “The Future of the Mind: The Scientific Quest to Understand, Enhance and Empower the Mind” at The Granada Theatre on January 28.

And when it comes to collaborations with major performing arts institutions, we’re especially proud to be a presenter of The Joffrey Ballet, coming to The Granada Theatre on March 10. Of course this is a national tour: who wouldn’t want to experience the company that seizes “the amazing power of the human body and the crazy reach of the artistic imagination” (Chicago Sun-Times).

Lastly, many thanks to our Corporate Season Sponsor lynda.com, our various Event Sponsors, Producers Circle members, UCSB students, and friends for their support. Arts & Lectures is a robust ecosystem fueled by contributions from a wide variety of sources – and yes, gifts of all sizes matter! – so we are grateful to each and every participant. It is this broad range of support that will make possible raising the final $4 million towards our goal for the Campaign for Arts & Lectures’ “now and forever” fund. We hope you’ll join us! See pages 36 & 37 for more information.

With deepest appreciation,

Celesta M. Billeci Miller McCune Executive Director

UCSB_arts&Lectures_031214_3.pdf 1 3/12/14 4:31 PM

WINTER 2014 THE IMPORTANCE OF BEING EARNEST by OSCAR WILDE directed by SIMON WILLIAMS FEB 13 - 21 UCSB PERFORMING ARTS THEATER

IN THE RED AND BROWN WATER by TARELL ALVIN MCCRANEY directed by SHIRLEY JO FINNEY FEB 27 - MAR 7 UCSB HATLEN THEATER

TICKETS:805.893.2064WWW.THEATERDANCE.UCSB.EDU

PHOTO CREDIT: PHIL CHANNING

Thank You!Arts & Lectures is especially grateful to UCSB students for their support through registration and activity fees. These funds directly support lower student ticket prices and educational outreach by A&L artists and writers who visit classes.

Anacapa School • 7–12

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Crane Country Day School • K–8

El Montecito School • Preschool–6

Garden Street Academy • K–12

Howard School • Preschool–8

The Knox School of Santa Barbara • K–8

Laguna Blanca School • EK–12

Marymount of Santa Barbara • JK–8

Montessori Center School • Toddler–6

Providence, A Santa Barbara Christian School • PK–12

Santa Barbara Middle School • 6–9

Santa Barbara Montessori School • Toddler–8

The Waldorf School of Santa Barbara • Preschool–8

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Liquid Spirit marks Gregory Porter’s Blue Note Records debut, which arrives on the heels of two critically acclaimed indie label albums that quickly propelled Porter to the upper echelon of contemporary male jazz singers and earned him two Grammy nominations. “I firmly consider myself a jazz singer but I enjoy blues, black Southern soul, and gospel,” Porter says. “Those elements make their way inside my mu-sic. And I’ve always heard them in jazz.”

Porter has an amazing gift for writing poignant songs based upon personal experiences with a relatable and emotional immediacy, and his hooky melodies penetrate instant-ly. Porter sees Liquid Spirit as a logical progression in his burgeoning discography, as it touches on some of the same themes he previously covered, particularly the highs and lows of romance, his childhood and sociopolitical observations.

Raised in California, Porter’s mother was a minister, and he cites Bakersfield Southern gospel, as well as his mother’s Nat King Cole record collection, as fundamental influences on his sound. Porter began singing in small jazz clubs in San Diego while attending San Diego State University on a football scholarship, where he played outside linebacker. Eventually Porter chose to pursue music full time at the encouragement of local musicians, including his mentor Kamau Kenyatta.

Kenyatta invited Porter to visit him in the studio where he was producing the album Hubert Laws Remembers the Unforgettable Nat “King” Cole. When Laws, a flutist, over-heard Porter singing along while he was tracking the Charlie Chaplin song “Smile,” he was so impressed with the young singer that he decided to include Porter on the album.

Another fortunate twist of fate was the presence that day of Laws’ sister Eloise, a singer who was soon to join the cast of a new musical theater production, It Ain’t Nothin’ But the Blues. Porter had minimal theatrical experience but was cast in one of the show’s lead roles when the play opened in Denver. He eventually performed with the cast on Broadway. In its rave review, The New York Times took note of Porter among the show’s “powerhouse lineup of singers.” It Ain’t Nothin’ But the Blues went on to earn both Tony and Drama Desk award nominations that year.

Porter eventually put down roots in Brooklyn and in 2010 released his debut album Water (Motéma Music), which earned a Grammy nomination for Best Jazz Vocal Album. His sophomore album Be Good (Motéma Music) followed in 2012 and won his second Grammy nomination for Best Traditional R&B Performance.

Despite having now recorded or shared the stage with the likes of Van Morrison, Wynton Marsalis, Herbie Hancock, Dianne Reeves, Nicola Conte and David Murray, Porter re-mains grounded and humbled by all the accolades that have come his way.

The fact that music icons like Marsalis and Hancock have given him “so much open-arm love” is something he couldn’t have fathomed just a few years ago, says Porter.

Special thanks to

Event Sponsors: Luci & Rich Janssen

Gregory PorterTHU, JAN 15 / 8 PM / CAMPBELL HALL

Chip Crawford, piano Emanuel Harrold, drums Aaron James, bass Yosuke Satoh, saxophone

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When The Ukulele Orchestra of Great Britain began in 1985, the public opinion was that an orchestra consisting entirely of ukuleles in different sizes was a strange concept. But that was exactly what attracted the founders. At the time, orches-tra members had experience in many kinds of music but had become tired of the conventions of the music business. Their idea was to make something fresh and entertaining, both modern and old-fashioned, in a style that deviated from the performance fashion then current. People liked the result.

Today, after many years, the orchestra finds that wherever they go, people are playing ukuleles, often in groups. Many of these enthusiasts tell the orchestra that they were inspired to play the instrument after seeing and hearing it. And now there are many ukulele orchestras. Some acknowledge the pioneering work of the UOGB; others claim ignorance of its rich history, but none of them existed before this – the original Ukulele Orchestra.

In 2015, The Ukulele Orchestra of Great Britain will cele-brate 16 million minutes of “ukuleleation,” having been on the road for 30 years and counting.

The orchestra has been invited many times by the British Broadcasting Corporation to play live on air for BBC Radio 3 (classical music channel), as well as BBC Radio 1 (rock, electronic dance and youth music channel) and live on other BBC channels. Their appearance in the prestigious BBC Promenade Concerts at the Royal Albert Hall in London in 2009 made it the fastest-selling, late-night prom in history. Around 2,000 ukulele players in the audience accompanied the orchestra in passages from Beethoven’s Ninth Symphony.

The orchestra has recorded and released albums and DVDs on its own independent label, as well as with CBS, Sony, Discethnique, Longman, Volume, Tachyon and The Ministry of Sound. Its recordings include the DVDs Live at Sydney Opera House and Live at the Royal Albert Hall and CDs Uke-Werk, Live in Germany and Bang Bang featuring remixes of the orchestra by a group of Ibiza DJs.

Original compositions and songs by the orchestra have been used in films, TV, plays and commercials. The group has collaborated with Madness, Robbie Williams, Ant & Dec, Yusuf Islam (Cat Stevens), Stefan Raab, Rainer Hersch and a full symphony orchestra performing at the Royal Festival Hall in London. It has provided music for silent films for the British Film Institute. The group also has been commissioned to create commemorative concerts, including When This Lousy War Is Over, a World War I centennial program for Birmingham Town Hall that premiered in November 2014.

Celebrity fans include Sir Paul McCartney, David Bowie, Monty Python’s Michael Palin, Brian Eno, Amanda Palmer, Neil Gaiman, George Benson, Bette Midler and the late George Harrison (who sat in with the orchestra on occasion).

Supported in part by Patricia Gregory, for the Baker Foundation

The Ukulele Orchestra of Great BritainTUE, JAN 20 / 8 PM / CAMPBELL HALL

George HinchliffeKitty LuxJonty BankesPeter Brooke Turner

Will Grove-WhiteLeisa ReaDavid Suich Richie Williams

www.ukuleleOrchestra.com Twitter: @theUkes Facebook: UkuleleOrchestraofGB YouTube: UkuleleOrchestra

U.S. Tour Management: ARTS MANAGEMENT GROUP, INC. 130 West 57th St. New York, NY 10019

Special thanks to

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UCSB Arts & Lectures is a co-commissioner of The Brooklyn Rider Almanac series’ work by Glenn Kotche (Wilco), “Ping Pong Fumble Thaw,” inspired by German electronic music producer Jens Massel.

About the Program Inspiration has been the very lifeblood of our tradition since the days of Mozart’s six “Haydn” quartets, lovingly dedicated to the progenitor of our medium. Across the mu-sical ages, it has just as often been the case that composers look outside of the sphere of music for creative inspiration. Over a century ago, the cross-disciplinary relationship between the German composer Arnold Schoenberg and Russian-born artist Wassily Kandinsky greatly affected each of their creative psyches. The string quartet played a sup-porting role in their first encounter, and we look to their symbiotic friendship as a springboard for The Brooklyn Rider Almanac.

Schoenberg’s Second String Quartet, the composer’s first full dip into the opaque waters of atonality, was a musical lightning rod that sharply divided audiences and critics alike. Following the riotous premiere in Vienna in 1908, the work received its Munich debut some three years later. In the audience for that performance sat Kandinsky. Transformed by Schoenberg’s music, Kandinsky’s style took a further step toward abstraction with his landmark painting, Impression III, a visual synthesis of that very concert. A friendship ensued between these visionaries and Schoenberg soon became associated with a group of artists surrounding Kandinsky known as Der Blaue Reiter (our

very namesake). This group published Der Blaue Reiter Almanach in 1912, a highly eclectic collection of artwork, essays and music, which served as an artistic testament to their era while also offering a vision for the future.

The unquenchable drive for artistic exploration and open embrace of the collective spirit displayed by Der Blaue Reiter are similarly hallmarks of today’s artistic zeitgeist, and The Brooklyn Rider Almanac attempts to honor the present. Using music as our project’s touchstone, we asked a select group of composers to create short works for us inspired by a creative muse from relatively recent memory. Not only did the composers readily accept the challenge, but the varied sources of inspiration – from David Byrne to Keith Haring to William Faulkner – were consistently a surprise and a delight to us.

Additionally, this project afforded us the opportunity to seek fresh perspectives on string quartet writing. On the surface, these composers come mostly from the other side of the classical fence: the worlds of jazz, rock and folk. But more significantly, they represent some of our favorite musical thinkers and we were deeply confident they would have much to offer our medium. Our newly assembled cadre is inclusive of old friends and certain ”musical crush-es” – those we have long wished to approach but lacked proper courage or circumstance. Recalling the eclecticism of Der Blaue Reiter Almanach, we have embraced the varied results and feel that our boundaries have been expanded in the process.

Brooklyn RiderThe Brooklyn Rider AlmanacTHU, JAN 22 / 7 PM / HAHN HALL

Johnny Gandelsman, violinColin Jacobsen, violinNicholas Cords, violaEric Jacobsen, cello

Up Close & Musical series in Hahn Hall at the Music Academy of the West sponsored by Dr. Bob Weinman

Program will be announced from the stage (includes one intermission)

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re-assembled as a motif: G – A – E – C – D. The second is a mantra-like theme, meant to convey the sort of repetitious action that one feels ambivalent about; it is re-harmonized throughout the piece and later intertwined with the initial motif. – Dana Lyn

“Simpson’s Gap” (from Gaps and Gorges, 2012) by Padma Newsome (b. 1961), inspired by Albert NamatjiraMost Australians are strongly influenced by the land we live in. In particular, those who have experienced the extraor-dinary beauty and intensity of the inland deserts, the great distances, the heat, the micro beauty, the sudden glimpse of richness in blossom, life, and in the Central Desert, the glorious, reddish rock structures of the MacDonnell Ranges Sheet, worn and eroded, emerging from the desert floor some 30 kilometers west of Alice Springs in the southern part of the Northern Territory.

Slowly over millennia, gaps have been carved through these ranges, often permanent water sources, surprising oases in a harsh land. For me the “Gaps” in the title also refers to the gap between belonging to a place and one’s ability and rights to inhabit it. When Albert Namatjira, Arrente born, painted watercolors of the region, his work was often described as being in a Western European tradition, but it was with native eyes that he captured the essence of these lands and stirred the imagination of a young Federation. The great irony was that his work became iconic to the white colonial intrusion that devastated the many rich and diverse cultures which make up indigenous Australia, his own people included.

Further to this is the strange and odd story of my mother, isolated and often alone with young children, who found herself in a hot, hot land not really of her own volition, and who came to love it. She painted landscapes in oils. These paintings inhabited our houses throughout the years, and in my heart I always knew that Namatjira was of great inspira-tion to her, as he was to me. – Padma Newsome

“The Haring Escape” (2012) by Daniel Cords (b. 1975), inspired by Keith HaringLife, happiness, energy, movement, edgy, colorful, engag-ing, beautiful, New York... When I think of Keith Haring, it makes me remember my early high school days – late ’80s and early ’90s: a time for rebellion, confusion, excitement, and new beginnings. This was also a time I was discovering music and art on a more meaningful level and I really con-nected with Haring’s work. I liked the intensely bright and over-the-top colors; his street art seemed both dangerous and brimming with life.

We are reminded at every turn of this project that music is a deeply immersive art form, something that cannot be understood divorced from its broader cultural context. By magnifying the creative force of inspiration, we hope that you will endeavor (as we do) to hear the music as only the tip of an iceberg. – Brooklyn Rider

“Necessary Henry!” (2012) by Rubin Kodheli (b. 1977), inspired by Henry ThreadgillMy idea was to write a piece inspired by the great com-poser and saxophonist Henry Threadgill because I worked with him for years. I felt like I got a doctorate working with Henry and I wanted to give him tribute because he transformed my musical life. In particular, his unique approach to improvisations – twisting intervallic shapes, long meter, retrograde motion, and spontaneous chaos. My understanding of Henry’s music came together even more through the process of writing, which became a presenta-tion of my knowledge of the Threadgillian universe, from funk to metal to 21st century – we all identify sonorities differently. The name of the work comes from his tune “Necessary Illusion.” I’m very thankful to Brooklyn Rider for initiating the sparks of this piece. – Rubin Kodheli

“Maintenance Music” (2012) by Dana Lyn (b. 1974), inspired by Mierle Laderman UkelesI first read about New York-based artist-activist Mierle Laderman Ukeles in Dialogues in Public Art, a compilation of interviews edited by Tom Finkelpearl. Over 40 years ago, as an effort to synthesize her roles as a mother and a creative artist in an art world that would not accept her as both, Ukeles coded her philosophy in the Maintenance Art Manifesto 1969! (proposal for an exhibition, CARE). The proposal sought to bring attention to the importance and cultural value of all acts of domestic, public and environmental maintenance. What also greatly impressed me about Ukeles was her commitment to the city of New York and to the welfare of its public and domestic mainte-nance workers. For the past 40 years, she has been artist in residence at the Department of Sanitation (an unsalaried position) and has staged countless actions and performanc-es dedicated to the maintenance of the city itself and to the workers that carry out that task.

“Maintenance Music” is inspired by Ukeles’ belief in the power of naming day-to-day acts of maintenance as art. The piece is based on two themes; the first is simply the open strings of a string quartet (E, A, D, G, C), played to sound as if tuning (which is the string player’s first task in maintenance each day). It is played with, pulled apart, and

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very grateful to Brooklyn Rider for offering me this op-portunity, and for truly rising to the challenge themselves. – Vijay Iyer

“Quartet, Parts One & Two” (2012) by Greg Saunier (b. 1969), inspired by Christian Wolff Comedies and non-marketed movies never win the Oscars but if I were giving out gold statues to the composers whose music sounds the most like the anarchic and non-sensical poetry that nonetheless make some kind of sense in some kind of previously unspoken but now clearly spo-ken and entirely charming language, after which my music is modeled, then Christian Wolff had better rent a tux and get his acceptance speech ready. Thanks to Brooklyn Rider for always being game and sneaking classical music out of museum jail. – Greg Saunier

“Five-Legged Cat” (2014) by Gonzalo Grau (b. 1972), inspired by Chick CoreaWhen asked to write a piece for Brooklyn Rider, I imme-diately thought about doing a Venezuelan merengue. I was born and raised in Caracas, Venezuela, and this is one of the styles of music I love the most. The Venezuelan meren-gue has a 5/8 meter, perhaps one of the only odd-metered rhythms in the Americas. Very contagious and beautiful, but hard to feel naturally. This rhythm comes from the capital, Caracas, and it has an urban evolution. Influenced by contradances and polkas, it was played originally in open squares. Venezuelan merengue has evolved in many direc-tions, sometimes a little more cool and jazzy, sometimes very traditional with a touch of early 1900s.

Brooklyn Rider is definitely the ensemble to open Venezuelan merengue to the world’s ears. I began my music studies at age 3, studying cello, so I love to explore different kinds of effects, borrowing techniques “á la Piazzola” or even asking Brooklyn Rider to expand and create their own. I also grew up playing many different types of percussion, so I push the players to use their instruments and their whole body to complement the rhythms of merengue, and to give life to this piece.

This piece is overall inspired by Chick Corea – its colors, textures, and accents come from his enduring example. And what about the title, “Five-Legged Cat?” Venezuela is famous for its idioms, lessons and street sayings. When someone is about to get in trouble, people say: “no le busques la quinta pata al gato (don’t look for the cat’s fifth leg).” This piece was born with a fifth leg, so I think we don’t even have to look for the cat any longer... the Rider has it. – Gonzalo Grau

The story and inspiration behind “The Haring Escape” began with imagining the artist in his heyday. The paint-ings take on a life of their own and interact, dance, love, and have joyous interactions with each other – hence the many different sections and conversational intertwining of the first half of the piece. Near the middle, there is a forlorn section marked by a dark and weeping viola solo. This is more representative of the present, where many of his works are separated from the raw context of the street, leading lonely existences in mansions and art galleries around the world. In the last part, the paintings all manage to “escape” from their tedious circumstance to meet up and dance the night away. – Daniel Cords

“Show Me” (2014) by Aoife O’Donovan (b.1982), inspired by William Faulkner The first part of this tune started dancing around in my head during a train ride in Germany – I was in the middle of The Sound and The Fury, reading the classic for the first time, and something about the lonesomeness of Quentin in Cambridge spilled out in the melody. As the tune progresses and the strings swell, I imagine Quentin Compson’s adven-ture on the Charles River, and his nostalgia for the American South, resulting in the fiddle tune. Faulkner has such an intricate way with words – he’s able to create such depth of feeling with sometimes coarse and simple language, and I find that inspiring across all art. – Aoife O’Donovan

“Dig the Say” (2012) by Vijay Iyer (b. 1971), inspired by James BrownWhen I was asked by Brooklyn Rider to choose an art-ist who had inspired me, James Brown instantly came to mind. His groove-based music features complex polyph-ony, expressive virtuosity, and a ritual-like intensity. His vocals were electrifying; his lyrics, pointedly political; his dance moves, revolutionary; his sense of style, larger than life, his cultural impact immeasurably huge. Like many, I have studied his music; of course, it’s best to enjoy it with your body and soul, but there is also much to learn from analyzing his music’s interlocking bass, drums, guitar, horn, and vocal parts. Each song has its own vivid and dis-tinct identity, beginning with the intricacies in the rhythm section. The groove underlying “Super Bad” is different from the beat for “Payback,” neither of which is the same as the rhythms of “Give It Up or Turn It Loose.”

So I humbly offer this small tribute to this musical giant. The title “Dig the Say” and section subtitles come from the lyrics to his song, “I Don’t Want Nobody to Give Me Nothin’ (Just Open Up the Door, I’ll Get It Myself).” I am

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a piece of music to be performed at the festival. Thanks to the Monterey Festival and the Big Sur Land Trust, I was given the amazing opportunity to stay in Big Sur, Calif., at the beautiful Glen Deven Ranch. It was there that I had the luxury of being alone in an extraordinary place with noth-ing to do but write music and be with my own thoughts. There was time and space enough to follow through with musical ideas. The music I wrote there was first performed at the jazz festival and soon after recorded on an album entitled Big Sur for OKeh Records. But that wasn’t the end of it. There was much more music. Pages and pages. So, I was very happy when Brooklyn Rider approached me. The timing was perfect. Steinbeck has long been an inspiration. Glen Deven Ranch is not far from Monterey, Salinas, and the settings for many of Steinbeck’s stories. I had recently read East of Eden. Naturally, he was on my mind and the environment was stirring my imagination. It seemed fitting to dedicate the piece to John Steinbeck. – Bill Frisell

About Brooklyn RiderHailed as “the future of chamber music” (Strings), the game-changing string quartet Brooklyn Rider presents an eclectic repertoire in gripping performances that continue to draw rave reviews from classical, world and rock critics alike. Equally at home in clubs and concert halls, the quar-tet has played venues as varied as Carnegie’s Zankel Hall, the San Francisco Jazz Festival, Le Poisson Rouge, Japan’s Todai-ji, Lincoln Center, Brooklyn’s Littlefield, the Library of Congress, the Telluride Bluegrass Festival and South by Southwest (SXSW). Through visionary programming and global collaborations, Brooklyn Rider’s “down-to-earth demeanor… demystifies contemporary classical music and invites everyone into the tent” (Time Out New York).

Celebrating its 10th anniversary with its most ambitious venture to date, Brooklyn Rider launched the 2014-2015 season with the release of The Brooklyn Rider Almanac (September 2014, Mercury Classics), accompanied by a U.S. tour.

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“Tralala” (2012) by Christina Courtin (b. 1984), inspired by Igor Stravinsky Impulsively, I blurted out Stravinsky as my influence for “Tralala” before I even had a concept. I was listening to Firebird a lot at the time, wondering so many different things about how it came to be musically. Listening to “Tralala” reminds me a little of the wonderful Igor, but I was hoping to perhaps capture some of the simpler melodic ideas that Stravinsky crafts so well (without all the harmon-ic what-have-you). A simpler Stravinsky... for children? “Tralala” is no masterpiece, but perhaps it offers a light, humorous destination for the listener’s ear and mind. – Christina Courtin

“Ping Pong Fumble Thaw” (2014) by Glenn Kotche (b. 1970), inspired by Jens Massel Several years ago, I heard a refreshing track of minimal electronic music from Cologne. The artist was Kandis, one of the monikers used by German artist Jens Massel. I then found other releases of his under the monikers Senking and Fumble. I began to listen to this music obsessively. It’s highly rhythmic, yet sparse with minimal grooves ebbing and flow-ing over evocative sound environments. Being a drummer, I am of course drawn to the grooves but also love the sounds Massel uses and combines to create these ambient electronic percussion songs. This is electronic music that somehow feels very human and organic.

I decided to write a solo drum kit piece inspired by some of these more high-energy recordings and then used that as the blueprint for this string quartet for Brooklyn Rider. The title is comprised of words taken from Massel’s record titles that also work as descriptors for the four distinct sections of the piece.

The opening section, “Ping,” is exclusively pizzicato and full of rhythmic interplay. “Thaw” is comprised of long arco swells that directly contrast the preceding material. “Pong” features woody battuto rhythms, with the quartet acting more as drummers than string players. “Fumble” is the tran-sition back into the hands of the main pizzicato theme and ultimate resolution of the piece. – Glenn Kotche

“John Steinbeck - August 12” (2012) by Bill Frisell (b.1951), inspired by John SteinbeckI first met Brooklyn Rider when we played together on Jenny Scheinman’s album Crossing the Field (Koch 2008). I became a fan. I was thrilled when they asked me to be a part of this project. Back in 2012, I had the good fortune to be commissioned by the Monterey Jazz Festival to write

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Patti Smith, born in Chicago and raised in South Jersey, migrated to New York in 1967.

Patti Smith’s first recording, Horses (1975), was inducted into the National Recording Registry in 2010 at the Library of Congress by the National Recording Preservation Board. Her subsequent albums include Radio Ethiopia, Easter, Wave, Dream of Life, Gone Again, Peace and Noise, Gung Ho, Trampin’, Land, Twelve and most recently, Banga.

Author of the acclaimed memoir Just Kids, which chroni-cled her friendship and journey in art with photographer Robert Mapplethorpe, Patti Smith was awarded the 2010 National Book Award. Her other books include Witt, Babel, Coral Sea, Woolgathering and Auguries of Innocence.

Patti Smith’s art has been exhibited at galleries and muse-ums worldwide. Represented by the Robert Miller Gallery in New York since 1978, her exhibitions include Strange Messenger, Land 250 and Camera Solo. Steven Sebring’s 2008 documentary, Dream of Life, was acknowledged inter-nationally and received an Emmy nomination.

In addition to being a Rock and Roll Hall of Fame induct-ee, Patti Smith holds the honor of Commandeur des Arts et des Lettres from the French Ministry of Culture and has been awarded honorary doctorates from Rowan State University, Pratt Institute of Art and the School of Art Institute of Chicago. Patti Smith was honored by ASCAP with the Founders Award, representing lifetime achieve-ment, and received Sweden’s Polar Award, an international acknowledgement for significant achievements in music.

In 2013, Smith was awarded Bryn Mawr College’s Katharine Hepburn Medal, which recognizes women whose lives, work and contributions embody the same drive and accomplishments as the four-time Academy Award-winning actress. On May 18, 2014, the Barnard College Board of Trustees presented Patti Smith with its Medal of Distinction, which honors individuals who have demonstrated a commitment to excellence in their com-munities and their careers.

Patti Smith continues to write, perform readings, work on artistic projects and lend support for human rights issues. She and her band are continually touring worldwide and preparing for future recording projects. Current tour dates and other information is posted on pattismith.net

Special thanks to

Patti Smith and Her BandTUE, JAN 27 / 8 PM / GRANADA THEATRE

Patti Smith, vocals/guitarLenny Kaye, guitar/vocalsJay Dee Daugherty, drumsTony Shanahan, bass and piano/vocalsJack Petruzzelli, guitars

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Dr. Michio Kaku is one of the most widely recognized figures in science in the world today. Kaku is a theoretical physicist, best-selling author and popularizer of science. As the co-founder of string field theory (a branch of string theory), he continues Einstein’s search to unite the four fundamental forces of nature into one unified theory that will summarize all the physical laws of the universe. In addition, he predicts trends affecting business, commerce and finance based on the latest research in science.

The author of numerous international best-sellers, Dr. Kaku’s newest book is The Future of the Mind. It hit No. 1 on the New York Times, Amazon and Barnes & Noble best-seller lists, making it the best-selling hardcover, non-fiction book in the country. The Future of the Mind illustrates the stunning breakthroughs being made in neuroscience, which are finally beginning to unravel the mysteries of the most complex object in the known universe: the human brain. His 2011 book Physics of the Future is based on interviews with over 300 of the world’s top scientists and presents revolutionary developments in medicine, computers, quantum physics and space travel that could forever change our way of life and alter the course of civilization itself.

A regular commentator on TechTV, he was featured in the Emmy-nominated documentary Me & Isaac Newton. Starting in 2008, he became a regular host on the Science Channel/Discovery Channel, hosting their Sunday lineup of shows. He also hosts his own nationally syndicated weekly radio program, Science

Fantastic, which airs in 130 cities in the U.S. In 2009, Dr. Kaku hosted a 12-part series on the Science Channel based on his New York Times best-seller Physics of the Impossible.

Dr. Kaku has written for Time magazine, The Wall Street Journal, Discover magazine, New Scientist magazine, Astronomy magazine, Wired and the Sunday London Times. He has also written several op-ed pieces for The Wall Street Journal and The Boston Globe.

Dr. Kaku holds the Henry Semat Chair in Theoretical Physics at the City University of New York. He graduated from Harvard University, received his Ph.D. in physics from UC Berkeley and has been a professor at CUNY for almost 30 years.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Pre-signed books will be available for purchase in the lobby

Special thanks to

Michio KakuThe Future of the Mind: The Scientific Quest to Understand, Enhance, and Empower the MindWED, JAN 28 / 8 PM / GRANADA THEATRE

Event Sponsors: Dorothy Largay & Wayne Rosing

Community Partner:

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The DanceOdissi For centuries, a temple has looked out at a turbulent sea, its walls dancing a prayer to the rising sun. Magnificent ruins like these, in Odisha in Eastern India, confirm that Odissi was performed as far back as 200 B.C.E. Originally a sacred ritual dedicated to the gods, Odissi is one of the oldest dance traditions in the world. Its sinuous forms, languor-ous limbs and rapt expressions frozen in stone tell of a past rich in dance, music, myth and legend. Odissi speaks of love and union between human and divine, transporting viewers to enchanted worlds of magic and spirituality. Its sensuousness and lyricism reflect both the motifs of Odisha temple sculpture as well as the poetry from the deep well-springs of Oriya music.

Nrityagram Dance & MusicŚriya THU, JAN 29 / 8 PM / CAMPBELL HALL

Surupa Sen, Artistic Director and ChoreographerPandit Raghunath Panigrahi, Music ComposerDhaneswar Swain and Surupa Sen, Rhythm Composers

DancersSurupa SenBijayini SatpathyPavithra Reddy

MusiciansJateen Sahu, lead vocal and harmoniumSibasankar Satapathy, voice and mardala (percussion)Sanjib Kunda, violinSoumyaranjan Joshi, bamboo flute

The CompanySurupa Sen (Artistic Director/choreographer/soloist) was the first student at Nrityagram, where she began her Odissi training with the architect of Odissi, Guru Kelucharan Mahapatra. She also studied Odissi with Protima Gauri, founder of Nrityagram, and abhinaya (expressional dance) with Kalanidhi Narayanan. As a child she studied bharatanatyam (another classical Indian dance form), to which she attributes her preoccupation with form and line. Attracted to choreography from her first exposure to Western makers of dances, she participated in the International Choreographer’s Residency at the American Dance Festival in 2000 and over the years has worked with dancers and choreographers from across the globe. Sen has choreographed five full-length shows for Nrityagram. These are Śrī: In Search of the Goddess (2000), Ansh (2004), Sacred Space (2006), Pratimä: Reflection (2008) and Sa hära (2012). She has also choreographed two full-length duet shows, Sa yoga (2012) and Songs of Love and Longing (2013). She has performed, in solo recitals and

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musician with Nrityagram and also accompanies other Odissi dancers.

Lynne Fernandez (lighting designer/technical director/Executive Producer) has worked as an actress and light de-signer with many notable directors, including Barry John, Joy Michael, Ranjit Kapoor and Lillete Dubey, and was one of the first professional lighting designers in India. Her theater work has been presented at the Edinburgh Festival Fringe, in the West End and off Broadway.

She came to Nrityagram in 1993 as a consultant for stag-ing shows and technical direction of the newly founded Ensemble. She stayed on as technical director and in 1997 was appointed executive director of the Nrityagram Village, School and Ensemble. As executive director, she is respon-sible for administration, fundraising and project develop-ment. Her recent projects include Kula, a culture collective where arts practitioners can live and create new work, and a performing arts center comprising a theater, an exhibi-tion space and rehearsal studios. She has also overseen the emergence of the ensemble in the international arena.

The Composer Pandit Raghunath Panigrahi (1932-2013) was one of the most prominent singers of Odisha. In collaboration with his wife, renowned Odissi dancer Sanjukta Panigrahi, and Guru Kelucharan Mahapatra, he created compositions that have become the mainstay of Odissi dance. He had a very successful career as composer and singer for films from southern India, which he renounced to become the vocalist for wife Sanjukta Panigrahi’s dance recitals. Audiences are still divided about who was the more magical performer. Nrityagram’s shows are all set to new compositions by Pandit Raghunath Panigrahi.

About Nrityagram The Nrityagram dance village is located outside Bangalore, India. It was founded in 1990 by Odissi dancer Protima Gauri, who converted 10 acres of farmland into a set-ting for the study, practice and teaching of dance. At Nrityagram, dance is a way of life. Reminiscent of ancient ashrams where gurus imparted not only technique but also a philosophy of being, this is a creative space where dancers, musicians and choreographers live together, sharing their skills and developing their art. To enrich their practice, dancers are also taught yoga and martial arts along with Sanskrit and classical literature. As knowledge passes from guru to disciple, the continuity of the classical arts is ensured. For almost two decades, Surupa Sen and

ensemble, all over India and the world. She received the Raza Foundation Award in 2006, the Yagnaraman Award, from Krishna Gana Sabha in Chennai in 2008 and the pres-tigious title Nritya Choodamani from Krishna Gana Sabha in Chennai in 2011.

Bijayini Satpathy (Director of Odissi gurukul) made Nrityagram her home in 1993. Her initial Odissi training was in Odisha until she moved to Nrityagram in 1993. She has worked with Surupa Sen ever since. Bijayini has per-formed alone and with the ensemble all over the world and has received national and international recognition, includ-ing the 2003 Mahari Award given to the best Odissi dancer of the year, the Sanskriti award in 2007 and Sangeet Natak Akademi’s Bismillah Khan Yuva Puraskar 2007. In 2011, she received the prestigious title Nritya Choodamani from Krishna Gana Sabha in Chennai. As Director of Dance Education, Bijayini works on extending the vocabulary of the traditional form and formulating Nrityagram’s dance pedagogy. She is also responsible for all outreach activities.

Pavithra Reddy (dancer) joined Nrityagram’s rural out-reach program in 1990 from a village nearby. She learned Odissi under the tutelage of Surupa Sen and Bijayini Satpathy and has been a part of the Nrityagram Ensemble since 1993. She had her solo debut in 2003, and in addition to performing with the ensemble, she dances at some of the most prestigious venues across India and the world. Reddy also teaches dance in Nrityagram’s residential and outreach programs.

Jateen Sahu (lead vocal, harmonium) learned Odissi sing-ing under the tutelage of Guru Ramahari Das at The Music College, Odisha. He lives in Mumbai and has worked with Nrityagram since 2008. He is also a concert singer.

Sibasankar Satapathy (mardala - percussion) was taught by Guru Dhaneswar Swain for five years before becoming second percussionist with Nrityagram in 2003. At present, he is resident percussionist at the dance village and travels and performs with the ensemble.

Sanjib Kunda (violin) started work with Nrityagram in 2006 after graduating in Hindustani violin playing from The Music College, Odisha. Since then he has performed with the Nrityagram Dance Ensemble while continuing to accompany other dancers in Odisha.

Soumyaranjan Joshi (bamboo flute) has a master’s de-gree in Hindustani flute playing from Utkal University of Culture in Odisha. He has trained with Pandit Mohini Mohan Pattanaik and Srinibas Satapathy. He works as a

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Ansh (2004) was a reworking of a typical Odissi recital, which toured extensively in India and the United States, including a run at The Joyce Theater in 2005.

Sacred Space (2006), a show based on temple architecture and its relationship to dance, which toured the United States for six months including a week’s run at the Jacob’s Pillow Dance Festival and the Spoleto Festival.

Pratimä: Reflection (2008) was commissioned by The Joyce Theater’s Stephen and Cathy Weinroth Fund for New Work as part of their 25th anniversary celebrations and premiered in February 2008 at The Joyce Theater. “Vibhakta,” from Pratimä: Reflection, was named one of “the 10 best dance performances of 2008” by Joan Acocella in The New Yorker.

The newest work Sa hära (2012) was Nrityagram’s first international collaboration. Together with Sri Lanka’s Chitrasena Dance Company, it explored the meeting point between the sensuousness of Nrityagram’s Odissi and the masculine dynamism of the Chitrasena’s Kandyan dance. Sa hära premiered in Bangalore in February 2012, toured the United States, Sri Lanka and the Far East and was per-formed in India to great critical acclaim.

Surupa Sen has also choreographed two full-length duet shows Sa yoga (2012), which had its North America premiere at World Music Institute in New York, and Songs of Love and Longing (2013), which had its North American premiere at the Baryshnikov Arts Center, New York.

Off-stage announcement: Surupa SenResearch/Costumes: Bijayini Satpathy Master Tailor: Ghulam RasoolExecutive Producer/Technical Director/ Lighting Designer: Lynne Fernandez Nrityagram is a project of The Odissi Dance Centre Trust, a not-for-profit Arts organization.

Nrityagram - The Dance Village India www.nrityagram.org nrityagram@gmail.com

U.S. Representative Harold Norris Pentacle / DanceWorks Inc. haroldn@pentacle.org www.pentacle.org

Bijayini Satpathy have researched and expanded the dance vocabulary of Odissi dance and have developed a style that distinguishes the dancers of the Nrityagram School. A unique blend of traditional knowledge with contemporary understanding and application makes Nrityagram the only institution of its kind in the world. The outside world, too, is an integral part of Nrityagram. Choreographers, move-ment specialists, sculptors, painters, writers, musicians and theater practitioners from all over the world frequently visit the village to perform and conduct workshops and semi-nars in their areas of expertise. Vasantahabba, Nrityagram’s annual dusk to dawn festival of music and dance, has a roster which includes some of the greatest names in India. It is attended by over 40,000 enthusiastic specta-tors streaming in from surrounding villages and beyond. While Vasantahabba is Nrityagram’s most public interface, everyday artistic practice connects with the larger world through initiatives like Kula, which is both a conceptual and physical space for artistic collaboration, synergy and conversation. In order to nurture the sustained cross-pol-lination of artistic work and dialogue among artists, it offers a self-contained residential facility in the Nrityagram campus. Since November 2010, Kula has hosted almost 200 writers, musicians, dancers, actors and other artists.

The Nrityagram Dance Ensemble The Dance Ensemble, Nrityagram’s repertory company, is regarded as one of the foremost dance companies of India, performing all over the world, including an annual tour to the United States. Although steeped in and dedi-cated to ancient practice, the ensemble is also committed to carrying Indian dance into the 21st century. Enabled by grants from the National Dance Project of the New England Foundation for the Arts and The Joyce Theater, Nrityagram’s dancers not only explore creative expansions of tradition but are able to commission fresh compositions from leading Indian classical musicians.

For almost two decades, Surupa Sen and Bijayini Satpathy have worked with the dance vocabulary of the Natya Shastra, an ancient treatise, and have developed a style that distinguishes the dancers of the Nrityagram School.

Since 2000, Nrityagram has presented five full-length en-semble shows, all choreographed by Surupa Sen.

Śrī: In Search of the Goddess (2000) consisted of both a non-traditional suite (“Night,” “Fire,” “Dialogue with Death”) and a reworking of traditional dance (“Śrīmatī,” “Śrīmayī,” and “Śrīdevī”).

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Part Two

Chit Chat: Composed by Eri Uchida (2013) Shishimai: Arranged by Kodo, featuring “Lion” by Leonard Eto (1990) Yuyami: Composed by Yuta Sumiyoshi (2013) Color: Composed by Masayuki Sakamoto (2009) Miyake: Traditional, arranged by Kodo Yatai-bayashi: Traditional, arranged by Kodo Jamai: Traditional, arranged by Kodo Hekireki: Composed by Masayuki Sakamoto (2013)

*The following pieces are based on these regional traditional performing arts: Jamai: Iwami Kagura (Iwami Region, Shimane) Miyake: Kamitsuki Mikoshi Taiko (Miyake Island, Tokyo) Yatai-bayashi: Chichibu Yatai-bayashi (Chichibu, Saitama)

One Earth Tour 2015: MysteryWED, FEB 4 / 7 PM / GRANADA THEATRE

Tamasaburo Bando, Artistic Director

Performers:Masayuki SakamotoEri UchidaMariko OmiYosuke Kusa

Shogo KomatsuzakiAkiko AndoYuta SumiyoshiTetsumi Hanaoka

Kosuke UrushikuboJun JidaiKoki MiuraShunichiro Kamiya

Ryoma TsurumiKengo WatanabeTomoe Miura

Part One

Jamai: Traditional, arranged by Kodo Yomichi: Composed by Tsuyoshi Maeda (2013) Wall: Composed by Yosuke Oda (2013) Ajara: Composed by Mitsuru Ishizuka (2006) Ake no Myojo: Composed by Yosuke Oda (2012) Harewataru: Composed by Eri Uchida (2013) Namahage: Arranged by Kodo, featuring “Yomichi” by Tsuyoshi Maeda (2013) Mute: Composed by Yosuke Oda (2013) Kusa-wake: Composed by Yuta Sumiyoshi (2013) Kei Kei: Composed by Yuta Sumiyoshi (2012)

- Intermission -

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imitating a fixed image of our own, but we do not want this image to limit our creative process.

Mystery incorporates lavish theatrical elements with new costumes and props like never before. Best of all, the pieces Kodo performs in this production are almost all new compositions. This performance feels like one answer to our questions about Kodo’s future, a work that was sparked by deeper dialogue and enhanced collaboration with our artistic director. We hope that this new creation will rever-berate with this renewed passion and touch the hearts of our audience.

– Nobuyuki Nishimura, Producer

Tamasaburo BandoTamasaburo Bando is a leading Kabuki actor and the most popular and celebrated onnagata (actor specializing in fe-male roles) currently on stage. His profound aesthetic sense has been demonstrated across numerous platforms as he received high acclaim for his many artistic endeavors. His stage direction of productions such as Romeo and Juliet and Kaijin Besso have garnered accolades, while as a movie di-rector he has demonstrated his artistic prowess in the films Gekashitsu, Yume no Onna and Tenshu Monogatari, which caused a splash in the arts world. In April 2012, Bando as-sumed the position of Kodo’s artistic director. In September 2012, he was recognized as an Important Intangible Cultural Property Holder (“Living National Treasure”) and in 2013 he was decorated with the highest honor of France’s Order of Arts and Letters: Commander.

KodoExploring the limitless possibilities of taiko, the tradi-tional Japanese drum, Kodo is forging new directions for a vibrant living art form. The vibrations created by the drummers not only reach the ears of the audience, they move listeners on a visceral level. Making their debut at the Berlin Festival in 1981, Kodo is based on Sado Island in Niigata, Japan, having given over 5,500 performances in 46 countries worldwide under the theme “One Earth.” Spending about a third of the year overseas, a third touring in Japan and a third on Sado Island, Kodo is always on the move, giving performances that transcend borders, genres and time.

Tamasaburo Bando and KodoIn 2003, the first Kodo performance directed by Tamasaburo Bando, Kodo One Earth Tour Special, was held.

A message from Kodo Artistic Director Tamasaburo BandoIn the folk arts that have been handed down across Japan, there’s a sacredness, an air of mystery within prayers. The drums express this, and I’d like for the audience to feel it. I hope theater-goers will experience the same sort of other-worldly splendor that you sense at a temple or a shrine, or when you discover things in nearby woods.

Another thing is I like people to enjoy “darkness.” The beauty of something you come across lit by candlelight, a sense of something vague yet marvelous. Mystery enfolds within it fear, humor, charm and various other qualities. In the “Serpent Dances” that have come down from old, the defeat-ed serpent is endowed with a surprising level of sacredness. In this performance, many things will emerge from out of the darkness. While it’s a drum concert, playing as only drums can play, we’ve added plenty of visual interest.

Religious rituals and arts as well have been refined over a long span of time from the inspiration of those who went before us. In this staging of drums I hope the audience will enjoy to the fullest that magical sense of space and time.

– Tamasaburo Bando, Artistic Director

Notes from the ProducerOne day, while we were sharing a meal, the artistic director and some Kodo performers were discussing the future of Kodo. They spoke about the future direction of the group and the kind of expression they want to explore moving forward.

You could say that both our field of performing arts and the world we live in differ greatly from that of our artistic director. For this reason alone, his demands on us create significant challenges. If we prepare for a performance with our own concepts, we cannot meet his demands. What is our artistic director aiming to do? What do we need to do to achieve those goals? These questions prompted us to ponder the very meaning of appearing on stage as opposed to just playing taiko.

The answer has to begin with us shedding the image of ourselves that we have forged to date as taiko players. In order for the Kodo performing arts ensemble to carry on, Kodo cannot merely play taiko; the group also has to experiment with new stage productions that captivate more varied and vast audiences. This ensemble has been a leader in the taiko world for many years, so we tend to end up

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Thank you for joining us for today’s Kodo One Earth Tour 2015: Mystery performance.

Please Note: *The performance will last approximately two hours, including intermission.

*The program and cast may be subject to change.

Program copy issued Oct. 14, 2014

*Please turn off mobile phones, wrist-watch alarms and other electronic devices before the performance begins.

*Please note that taking photographs, video or audio recordings during the performance is strictly prohibited.

*Please refrain from eating and drinking inside the hall and doing anything that may distract other members of the audience.

*Anyone wishing to enter the hall during the performance may be asked to wait during certain pieces in order not to disturb the performers or other members of the audience.

*Kodo merchandise (CDs, DVDs, etc.) is on sale in the lobby.

We hope you enjoy the performance.

For any inquiries, please contact Kodo at:

Kitamaesen Co., Ltd./Kodo 148-1 Ogi-kanetashinden, Sado, Niigata 952-0611 Japan Phone: +81-(0)259-86-3630 Fax: +81-(0)259-86-3631 Email: heartbeat@kodo.or.jp Website: http://www.kodo.or.jp

North American Management IMG Artists 152 West 57th St., 5th Floor New York, NY 10019 Phone: 212-994-3500 Fax: 212-994-3550 E-mail: artistsny@imgartists.com Website: http://www.imgartists.com

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Special thanks to

The production was crafted over the course of two years with Bando making five visits to Sado Island for rehearsals. The first on-stage collaboration between Bando and Kodo took place in 2006 with Amaterasu, a musical dance play based on the famous Japanese myth. Featuring Bando as the sun goddess Amaterasu and Kodo as the gods of the story, this performance was a catalyst for Kodo to break new ground in taiko expression. It has continued to receive high acclaim in its encore performances in 2007 and new-look performances in 2013. Bando’s cutting-edge Kodo DADAN, a production that boldly portrays the essence of drumming, premiered in Japan in 2009 and has become an ever-evolving series that was most recently performed in Spain and France in 2014. Kodo One Earth Tour: Legend, Kodo’s first production under the artistic direction of Bando, made its premiere in 2012 and went on to tour throughout Japan, the U.S. and Europe. In 2013, Bando’s second work, Kodo One Earth Tour: Mystery, premiered in Japan, toured extensively the following year, and this 2015 North America Tour marks the production’s foreign debut.

StaffArtistic Director: Tamasaburo BandoAssistant Artistic Director: Yosuke OdaChoreography: Kazumi BoyTechnical Director: Martin LechnerLighting Designer: Kenichi Mashiko (S.L.S.)Stage Manager: Takeshi AraiAssistant Stage Manager: Nanako Suzuki (Niigata Shoumei Giken)Company Manager: Takashi AkamineAssistant Company Managers: Yui Kawamoto, Mio Teycheney

Kodo One Earth Tour 2015: Mystery is supported by

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Sociopolitical comedian W. Kamau Bell has emerged as the postmodern voice of comedy. Named an Ambassador of Racial Justice by the ACLU, his weekly half-hour FX com-edy series, Totally Biased with W. Kamau Bell, premiered in August 2012. It became a critically acclaimed but criminally short nightly show in September 2013 on FX’s new comedy network, FXX. The New York Times called Kamau “the most promising new talent in political comedy in many years.” The show was nominated for a 2013 GLAAD Award for Outstanding Talk Show Episode (for Kamau’s interview with Orange Is the New Black’s Laverne Cox), as well as a 2012 NAACP Image Award for Best Talk Series. Salon.com named Kamau one of the Sexiest Men of 2012, calling his TV series “surreptitiously revolutionary in its effortless diversity and humanism.” The San Francisco Chronicle raved, “It makes The Daily Show seem like something your dad watches.”Totally Biased was executive produced by Chris Rock, who became a fan after seeing a performance of Kamau’s one-man show.

In 2010, Kamau released his second stand-up album, Face Full of Flour, which was named one of the Top 10 Best Comedy Albums of the year by iTunes and Punchline Magazine. His first album, One Night Only, was released in 2007. Also in 2007 he developed his one-man show The W. Kamau Bell Curve: Ending Racism in About an Hour, which received rave reviews from audiences, critics and industry insiders. The show was a comedy pick in The Guardian during its 2011 run at the Edinburgh Fringe Festival, a Time Out New York critic’s pick in the 2010 New York Comedy Festival, and played to sold-out audiences in the 2009 New York International Fringe Festival.

Kamau is a founding member of the stand-up comedy collective Laughter Against the Machine, which, using fan-funding via Kickstarter, toured some of the most polit-ically charged states in the country in 2011 while shooting a documentary that explores what role comedy plays in the revolution. In addition to visiting seven of the Occupy Wall Street encampments, they crossed the border in Arizona with immigration rights groups CultureStrike and Puente, marched with striking hotel workers in Chicago, went to a mosque in Michigan, touched the levee in the Lower Ninth Ward in New Orleans and hung out with street artists against oil pipelines in Washington, D.C. In 2012, portions of the documentary were featured at the Netroots Nation rally and the Take Back the American Dream conference.

Kamau has co-hosted the podcast The Field Negro Guide to Arts & Culture with Living Colour guitarist Vernon Reid, wrote the blog Kamau’s Komedy Korner for SF Weekly and has served on the board of the Applied Research Center, a racial justice think tank and home for media and activism. He has been featured on several of the most widely followed comedy podcasts, including WTF with Marc Maron, Comedy and Everything Else, Citizen Radio, The Sound of Young America and Jordan, Jesse, GO! and has been a regular corre-spondent on The War Room on Current TV.

Praised by Punchline Magazine as “one of our nation’s most adept racial commentators with a blistering wit,” Kamau was voted San Francisco’s best comedian by SF Weekly, the San Francisco Bay Guardian and 7×7 magazine.

W. Kamau BellThe W. Kamau Bell Curve: Ending Racism in About an Hour THU, FEB 5 / 8 PM / CAMPBELL HALL

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Emerson String Quartet SAT, FEB 7 / 7 PM / CAMPBELL HALL

Eugene Drucker, violin Philip Setzer, violinLawrence Dutton, viola Paul Watkins, cello

Mozart: String Quartet in G Major, K. 387Allegro vivace assaiMenuetto: AllegroAndante cantabileMolto allegroEugene Drucker, First Violin

Ravel: String Quartet in F MajorAllegro moderatoAssez vif, très rythméTrès lentVif et agitéPhilip Setzer, First Violin

- Intermission -Beethoven: Quartet in E-flat Major, op. 127

Maestoso; AllegroAdagio, ma non troppo e molto cantabileScherzando vivaceFinaleEugene Drucker, First Violin

About the ProgramMozart (1756-1791): String Quartet in G Major, K. 387 Despite great diversity between the movements of the G major quartet, there are some connecting threads that run throughout the entire piece. One unifying factor is the abrupt alternation forte (“loud”) and piano (“soft”) in the first movement (measure by measure), in the Menuetto (note by note), and generally in the third and fourth movements, (with several sharp changes from one to the other). Also, fragments of the chromatic scale (moving by half steps only, instead of by whole and half steps as in major and minor scales) are found in the first movement (extension of the first theme), Menuetto (the forte/piano passages) and last move-ment (start of the development section).

The first violin presents the principal theme at the very out-set; its forceful, determined character compromised some-what by alternating soft measures. After a repeat, with the melody in the second violin, the chromatic scales weave their way through the four instruments and lead to the subsidiary theme, a jocular, graceful tune introduced by the second violin. As the theme continues, we hear flashes of chromatic runs and alternating fortes and pianos. After a rather lengthy development, Mozart brings the themes back for the recapit-ulation, hewing quite closely to their original presentation, but with slight changes to vary the tonal coloration.

Although traditionally the minuet is an easygoing, unde-manding movement, Mozart invests his Menuetto with a good deal of musical weight and significance and organizes it

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in sonata form, instead of the more usual ternary form. The first theme includes the alternately loud and soft chromatic line. Starting in the first violin and then cello, it passes next to the second violin and viola, which play it together but out of phase, the second’s loud notes coming with the viola’s soft notes and vice versa. The second theme, a one-measure downward-leaning motif, is played by the first violin over a rolling accompaniment. And a theme built around three re-peated notes and a descending chromatic line concludes the tightly planned exposition. After the briefest development section, Mozart returns all three themes. The grim trio starts off with an ominous minor-key unison passage. Cast in ternary form, the middle section is a short interlude of downward melodic movement before the forbidding unison is heard again. The Menuetto returns after the trio.

The slow movement is an outpouring of serene, though concentrated, melody. Following a rising and falling con-tour, the main theme gradually grows louder and then sud-denly drops to a soft dynamic level near the end as Mozart extends the final phrase of the theme with its three repeat-ed-note upbeats. This motto goes on to become the impetus for the subsidiary theme. Further episodes conclude the exposition, after which Mozart skips any development, bringing back and developing the opening theme, followed by the second and third themes and a quiet close.

The finale is the most remarkable movement of the quar-tet, as Mozart effortlessly moves back and forth between learned polyphony, starting both themes with extended fugal passages, and galant homophony, ending the same themes with straightforward accompanied melody. The first theme fugato is based on a four-note phrase that Mozart lat-er used, almost intact, in the last movement of his “Jupiter” Symphony. The homophonic continuation is a running eighth-note line, which includes a few loud-soft alterna-tions. The cello initiates the second fugal theme, which is then combined with the first fugal theme, before the dance-like homophonic sequence ends the exposition. Mozart weaves in some short chromatic stretches at the beginning of the development. The following recapitulation is much shortened with the two fugal themes brought back simul-taneously and the first homophonic theme not returned at all. A short coda, referring to the chromatic bit and the first fugato, ends the movement.

According to his notation on the manuscript, Mozart com-pleted the quartet in Vienna on Dec. 31, 1782.

Program notes by Melvin Berger from “Guide to Chamber Music” (Anchor/Doubleday)

Ravel (1875-1937): String Quartet in F MajorEven though Ravel worked on his sole string quartet from late 1902 to April 1903, while still a student at the Paris Conservatoire, it is far from a student work. The piece in-tegrates the several styles that he had incorporated into his own musical vocabulary. A major influence was Debussy, and particularly Debussy’s Quartet in G Minor, with its Impressionist quality and fascinating tone colors. At the same time, the clear and transparent textures, the impelling logic and tight control of the basic organization bear testi-mony to Ravel’s strong Neoclassical proclivity and admira-tion for Mozart. Finally, some of the strange and unfamiliar tonal effects reflect an interest in the exotic music of the Far East.

The generally excellent initial reactions to the quartet in-cluded some sharp criticism, with a few commentators even suggesting that Ravel make extensive revisions. Debussy, a good if not intimate friend of Ravel, advised the younger composer, “In the name of the gods of music, and in mine, do not touch a single note of what you have written in your quartet.” Despite this evidence of Debussy’s support and approval, a comparison of the Debussy and Ravel quartets became a prime subject of newspapers and café debate in Paris resulting in a breach between the two men. Eventually Ravel was moved to comment sadly, “It’s probably better for us, after all, to be on frigid terms for illogical reasons.”

The quartet opens with a thematic group that contains two distinctive ideas: a rich, warmly scored melody involving the entire quartet and a first violin melody of similar char-acter over raid figures in the second violin and viola. After speeding up to a climax, the music quiets, and the soaring second theme is stated by the first violin and viola playing two octaves apart, producing a most striking tone color. Although the rest of the movement follows the dictates of regular sonata form, the precise writing, the exciting tonal effects and the powerful climaxes make this a most impres-sive movement.

Ravel conjures up the sound of a Javanese gamelan orches-tra in the swift-moving pizzicato opening of the second movement by having the outer instruments playing in 3/4 meter (three groups of two eighth notes to a measure), while the inner parts play in 6/8 meter (two groups of three eighths in the same measure). Trills and tremolos create a lustrous sheen as the movement continues. The cello alone plays a transition to the slow, moody middle section. Although they are not exactly parallel, the extremely lyrical themes here seem to grow from the second subject of the first movement. A shortened reprise of the opening section concludes the movement.

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by a hypnotic, macabre waltz using fragments of the first theme. Instead of preparing the recapitulation with the dominant, Beethoven modulates to F minor which is a passing harmony in the theme. The return, therefore, be-gins naturally but as a gentle surprise, and the theme is now decorated with running eighth notes. When the second theme returns, it is in the expected tonic key, but in major, softening the whole conclusion of the movement. The coda dwells quietly on the main theme, the first violin reaching higher and higher as if for something unattainable.

The famous variation movement, Adagio, ma non troppo e molto cantabile, is one of Beethoven’s most miraculously beautiful creations. It has everything: endless variety of texture and dynamics, drama, pathos and humor. Yet, it is a perfect whole, a unified emotional experience. Few works of music penetrate the heart and mind to this degree.

Out of an unearthly introduction, the theme is born; its strains spanning an octave and a half, and sung alternately by first violin and cello. After three cadential chords, the first variation begins, resembling the theme only in har-monic direction. The second variation, marked Andante con moto, is a lively dance played mostly in piano or pianissimo, and sounds like a distant circus. Suddenly, two slow, sinister-sounding notes are played in unison, and the prayer-like E major variation begins, marked Adagio molto espressivo. After all has been said, the music slips back to the key of A-flat, and the new key is added to the closing chords, and the texture becomes suddenly bare silence; the pulsations of the fourth variation return in pianissimo. A brief reminiscence of the movement, follows with three dis-tinct chords in E major representing the Adagio variation. The expressive pizzicati in the cello play an important role here, and the movement closes in complete fulfillment.

The Scherzando vivace is large, involved and begins like its counterpart in the Ninth Symphony with a fugal idea. After a little pizzicato fanfare, the cello takes the main subject in pianissimo, and is soon joined by the viola playing the in-version. The tune is comprised of contrasting elements: The staccato-dotted figure is followed by a legato measure with a trill at the end. These motifs are constantly inverted and juxtaposed throughout the movement. At the double bar, a fortissimo unison passage leads to a soft, dance-like sec-tion, which gradually crescendos to fortissimo and another unison passage. Suddenly the cello and viola play a dark little tune: changing time to the trio after a repeat of the previous section. The trio is a wild rave, marked Presto, the first violin dashing off in minor with the other rollicking dance against an offbeat sforzando accompaniment. Near the end of the movement, after the return of the scherzo,

Ravel achieves an improvisatory rhapsodic feeling in the slow third movement, with its continually shifting tempi and episodic construction. He is also able, with consum-mate skill, to weave the opening melody of the quartet in with the new melodic content. As in the previous move-ments, there is an ever-changing progression of new and imaginative tone colors – a remarkable achievement, considering the fact that Ravel had at his disposal only the four instruments, not the strings, winds and percussion of a symphony orchestra.

The vigorous finale opens with an angry snarl followed by a long, held note, repeated twice before the movement starts moving forward. Its awkward five-beat meter, possibly Russian in inspiration, lends it an unsettling character. The rest of the movement alternates the contrasting expressive and lyrical melodies, including returns of the first move-ment theme, with repeats of the opening outburst.

The quartet, which was dedicated to Fauré, was introduced in Paris by the Heymann Quartet on March 5, 1904.

Program notes by Melvin Berger from “Guide to Chamber Music” (Anchor/Doubleday)

Beethoven (1770-1827): Quartet in E-flat Major, op. 127In 1822, Beethoven received a request for quartets from Prince Nikolas Galitizin, a nobleman and amateur cellist from St. Petersburg. The prince was a Beethoven connois-seur and agreed to pay whatever the composer thought suitable for three quartets, on the condition that he receive the dedication. Beethoven happily accepted the commis-sion, but he responded slowly, as he had still to finish the Missa solemnis and the Ninth Symphony. It was not until 1825 that the first of these quartets, the op. 127 in E-flat Major, was completed.

The first movement, Allegro, begins with an assertive mae-stoso introduction, which, ending questioningly, moves seamlessly into the first theme. The theme is especially beautiful because of its elements: the tune, which is simple, folk-like and of the variety used so often in Beethoven’s late work (such as the “Ode to Joy”); the cantus firmus bass in parallel motion with the tune; and the suspensions and resulting dissonances between the second violin, viola and cello. The second theme, usually written in the dominant key, is presented here in the mediant minor. (Beethoven avoids the dominant key altogether in the movement.) After a strong affirmation of G minor, the second violin suggests G major, and the maestoso returns triumphantly to begin the development. After many twists and turns, that maestoso is heard again, for the last time and is followed

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The Quartet’s summer season began with engagements in Colombia, Ecuador, Peru and a pair of concerts in Rio de Janeiro, Brazil. Following a tour of Japan, the Quartet performed at the Ravinia, Tanglewood, Chamber Music Northwest, Aspen, Domaine Forget, Toronto, Austin, Norfolk, Cape Cod and Mostly Mozart festivals. In a season of over 80 quartet performances, mingled with the Quartet members’ individual artistic commitments, Emerson highlights feature numerous concerts on both coasts and throughout North America. In October, Paul Watkins performed with the Emerson Quartet for the first time in Carnegie Hall. The program included the Schumann Piano Quintet with acclaimed pianist and colleague Yefim Bronfman. Multiple tours of Europe comprise dates in Austria, Ireland, Switzerland, France, Germany and the United Kingdom. The Quartet continues its series at the Smithsonian Institution in Washington, D.C., for its 35th season, and, in May, is presented by colleagues David Finckel and Wu Han for the two final season concerts at Chamber Music Society of Lincoln Center in Alice Tully Hall. Guest artists Colin Carr and Paul Neubauer join the Emerson in a program that also includes the New York premiere of Lowell Liebermann’s String Quartet No. 5, commissioned by a consortium of presenters through Music Accord.

As an exclusive artist for Sony Classical, the Emerson released Journeys, its second CD on that label, featur-ing Tchaikovsky’s Souvenir de Florence and Schoenberg’s Verklaerte Nacht in 2013.

Formed in 1976 and based in New York City, the Emerson was one of the first quartets formed with two violinists alternating in the first chair position. In 2002, the Quartet began to stand for most of its concerts, with the cellist seated on a riser. The Emerson Quartet took its name from the American poet and philosopher Ralph Waldo Emerson and is Quartet-in-Residence at Stony Brook University. In January 2015, the Quartet received the Richard J. Bogomolny National Service Award, Chamber Music America’s highest honor, in recognition of its significant and lasting contribution to the chamber music field.

Violinist Eugene Drucker, a founding member of the Emerson String Quartet, is also an active soloist. A gradu-ate of Columbia University and The Juilliard School, where he studied with Oscar Shumsky, Drucker was concert-master of the Juilliard Orchestra, with which he appeared as soloist several times. He made his New York debut as a Concert Artists Guild winner in 1976, after winning prizes at the Montreal Competition and the Queen Elisabeth Competition in Brussels. Drucker has recorded the com-

a fragment of the trio is heard, the first violin attempting escape again. The scherzo returns patiently after a pregnant silence and finishes the movement emphatically.

So far, we have experienced majesty and poetry in the first movement, singing sensuousness in the variations, humor and a touch of insanity in the scherzo. Now, in the Finale, Beethoven offers something new and equally rewarding: a joyous compendium of folk tunes sometimes brusque and even crude, but crafted with Mozartian elegance. The result is refreshing after the depth and complexity of the preced-ing movements, and the spirit recalls that of the “Ode to Joy” or the Shaker hymn “ ’Tis the Gift to Be Simple.” The movement is in sonata form, with a false recapitulation starting with the first theme in the viola near the end of the development. The real return to the home key is so subtle as to be easily missed: all the instruments playing pianis-simo in the upper register, and the tune in the first violin, softened by the third instead of the tonic in the bass. A great metamorphosis takes place at the end of the recapit-ulation. As the violins trill, the cello and viola introduce a new triplet rhythm and new key. Swirling pianissimo scales create a hallucinating effect. After gliding through several keys, the work moves toward a triumphant conclusion.

Program notes by Archibaldus Holden

About the QuartetThe Emerson String Quartet has an unparalleled list of achievements over three decades: more than 30 acclaimed recordings, nine Grammys (including two for Best Classical Album), three Gramophone awards, the Avery Fisher Prize, Musical America’s “Ensemble of the Year” and collabora-tions with many of the greatest artists of our time.

The arrival of Paul Watkins in 2013 has had a profound effect on the Emerson Quartet. Watkins, a distinguished soloist, award-winning conductor and devoted chamber musician, joined the ensemble in its 37th season, and his dedication and enthusiasm have infused the Quartet with a warm, rich tone and a palpable joy in the collaborative process. The reconfigured group has been greeted with im-pressive accolades. Wrote The New York Times, “One of the characteristics of the Emerson Quartet is that its players all have the ability and the instruments to produce a sweet and glossy sound – but do so sparingly. Instead, they establish a chromatic scale of timbres that range from dry and tart over clean and zesty all the way to lustrous and singing. Listening to them pass tiny rhythmic motifs around the group, I was struck by how evenly calibrated these timbres were.”

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57, and Fauré’s Piano Quartet in G minor, op. 45, on the Philips label. His Aspen Music Festival recording with Jan DeGaetani for Bridge Records was nominated for a Grammy Award. Currently professor of viola and chamber music at Stony Brook University and at the Robert McDuffie Center for Strings at Mercer University in Georgia, Dutton began violin studies with Margaret Pardee and viola studies with Francis Tursi at the Eastman School. He earned his bache-lor’s and master’s degrees at The Juilliard School, where he studied with Lillian Fuchs and has received honorary doc-torates from Middlebury College in Vermont, The College of Wooster in Ohio, Bard College in New York and The Hartt School of Music in Connecticut. Dutton exclusively uses Thomastik Spirocore strings.Viola: Samuel Zygmuntowicz (New York, N.Y., 2003).

Paul Watkins enjoys a distinguished career as cellist and conductor. Born in 1970, he studied with William Pleeth, Melissa Phelps and Johannes Goritzki and was appointed principal cellist of the BBC Symphony Orchestra in 1990 at the age of 20. He made his con-certo debut at the Amsterdam Concertgebouw with the Netherlands Philharmonic Orchestra under Yakov Kreizberg. He now performs regularly with all the major British orchestras (including seven appearances at the BBC Proms) and many overseas orchestras, including the Hong Kong Philharmonic, Royal Flemish Philharmonic, Konzerthausorchester Berlin and the RAI National Symphony Orchestra of Turin. A member of the Nash Ensemble from 1997 to 2013, Watkins joined the Emerson String Quartet in May 2013. Recent releases under his exclusive Chandos Records contract include Britten’s Cello Symphony; the Delius, Elgar and Lutoslawski cello con-certos; and discs of Martinů’s and Mendelssohn’s music for cello and piano, and an ongoing series of British sonatas with his brother Huw Watkins. In 2009, he became the first-ever music director of the English Chamber Orchestra and also served as principal guest conductor of the Ulster Orchestra from 2009 to 2012. He won the 2002 Leeds Conducting Competition.Cello: Domenico Montagnana and Matteo Goffriller in Venice, c.1730.

The Emerson String Quartet appears by arrangement with IMG Artists (152 W 57th St., 5th Floor, New York, NY 10019) and records exclusively for Sony Classical. www.emersonquartet.com

Special thanks to

plete unaccompanied works of Bach, reissued by Parnassus Records, and the complete sonatas and duos of Bartók for Biddulph Recordings. His novel, The Savior, was pub-lished by Simon & Schuster in 2007 and has appeared in a German translation called Wintersonate, published by Osburg Verlag in Berlin. Drucker’s compositional debut, a setting of four sonnets by Shakespeare, was premiered by baritone Andrew Nolen and the Escher String Quartet at Stony Brook in 2008. The songs have appeared as part of a two-CD release called Stony Brook Soundings, issued by Bridge Recordings in 2010. Eugene Drucker lives in New York with his wife, cellist Roberta Cooper, and their son Julian.Violins: Antonius Stradivarius (Cremona, 1686), Samuel Zygmuntowicz (New York, N.Y., 2002)

Violinist Philip Setzer, a founding member of the Emerson String Quartet, was born in Cleveland, Ohio, and began studying violin at the age of 5 with his parents, both former violinists in the Cleveland Orchestra. He continued his stud-ies with Josef Gingold and Rafael Druian, and later at The Juilliard School with Oscar Shumsky. In 1967, Setzer won second prize at the Marjorie Merriweather Post Competition in Washington, D.C., and in 1976 received a bronze med-al at the Queen Elisabeth International Competition in Brussels. Setzer has been a regular faculty member of the Isaac Stern Chamber Music Workshops at Carnegie Hall and the Jerusalem Music Center. He also teaches as pro-fessor of violin and chamber music at SUNY Stony Brook. The Noise of Time, a groundbreaking theater collaboration between the Emerson Quartet and Simon McBurney about the life of Shostakovich was based on an original idea of Setzer’s. In April 1989, Setzer premiered Paul Epstein’s Matinee Concerto. This piece, dedicated to and written for Setzer, has since been performed by him in Hartford, New York, Cleveland, Boston and Aspen. Recently, Setzer has also been touring and recording the piano trios of Schubert, Mendelssohn and Dvorak with David Finckel and Wu Han.Violin: Samuel Zygmuntowicz (New York, N.Y., 2011)

Lawrence Dutton, violist of the Emerson String Quartet, has collaborated with many of the world’s great performing artists, including Isaac Stern, Mstislav Rostropovich, Oscar Shumsky, Leon Fleisher, Sir Paul McCartney, Sir James Galway, André Previn and Walter Trampler, among oth-ers. Since 2001, Dutton has been the artistic advisor of the Hoch Chamber Music Series, presenting three concerts at Concordia College in Bronxville, N.Y. He has been featured on three albums with the Grammy-winning jazz bassist John Patitucci on the Concord Jazz label. With the Beaux Arts Trio, he recorded Shostakovich’s Piano Quintet, op.

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Michael Lewis, Michael Mills, and John Tartaglia Present

Jim Henson’s Dinosaur Train Live! Buddy’s Big Adventure SUN, FEB 8 / 3 PM / GRANADA THEATRE

Featuring the Original Dinosaur Train Television Series Character VoicesCraig Bartlett: Dinosaur Train theme song vocalsClaire Corlett: TinyIan James Corlett: ConductorPhil Hayes: KingEllen Kennedy: Mrs. PteranodonLaura Marr: DonSean Thomas: Buddy

Musical Numbers “Dinosaurs A to Z” composed by Craig Bartlett and Mike Himelstein“Dinosaur Train Theme” composed by Craig Bartlett and Jim Lang“When I Am a Huge T-Rex” (based on “I’m a T-Rex”) composed by Craig Bartlett, Michael Turner and Jim Lang

“All Aboard” composed by Craig Bartlett and Jim Lang“Junior Conductor Jamboree Cheer” composed by Craig Bartlett“Hungry, Hungry, Herbivore” composed by Craig Bartlett and Jim Lang

“I Love Trains” composed by Craig Bartlett“My Name Is Tiny” composed by Craig Bartlett and Jim Lang“A Different Kind of Family” composed by Craig Bartlett“I Love Trains” (part of King Medley) composed by Craig Bartlett“My Cryolophasaurus Crest” (part of King Medley) composed by Craig Bartlett and Mark Drop

“A Whole Lot of Theropods” (part of King Medley) composed by Craig Bartlett

“Dinosaur Train” (part of King Medley) composed by Craig Bartlett“I’m a T. Rex!” composed by Craig Bartlett and Jim Lang“My Name Is Tiny” composed by Craig Bartlett and Jim Lang“Whole Lotta Theropods” composed by Craig Bartlett“I Love Trains!” composed by Craig Bartlett“Dinosaur Train Theme” composed by Craig Bartlett and Jim Lang

Based on the television series created by Craig BartlettBook by: Craig BartlettMusic by: Craig Bartlett, Mike Himelstein, Jim Lang, Michael Turner and Mark Drop

PuppeteersLindsey Bristol: Dr. Janet/DonCatherine Greenfield: SwingVicki Oceguera: TinyMaggie Ronck: Mrs. PteranodonVincent Rostkowski: BuddyKelley Selznick: SwingXalvador Tin-Bradbury: ConductorDarnell Wickham: King

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Creative TeamCraig Bartlett (Book and Music) has been creating kids’ entertainment for more than 30 years, starting in his native Pacific Northwest, where he learned the art of clay anima-tion for Will Vinton Studios in Portland, Ore. A job di-recting the Penny cartoons for Pee Wee’s Playhouse brought him to Hollywood in 1987. After Pee Wee, Craig remained in LA and has worked there ever since. In 1990, he was story editor and director on the first season of Rugrats. That relationship with Nickelodeon led to his own series, Hey Arnold!, which began production in 1995 and ran for 100 episodes, culminating in Hey Arnold! The Movie in 2002. In 2007, Craig created Dinosaur Train for PBS, which airs in over 100 countries and has run for more than 200 episodes.

John Tartaglia (Director/Producer) is best known to families as Johnny from the eight-time Emmy-nominated television series Johnny and the Sprites (Disney Junior) for which he was nominated Outstanding Performer in a Preschool Series. John made his Broadway debut in Avenue Q, originating the roles of Princeton and Rod. (He was nominated for a Tony Award for Best Actor in a Musical for the roles.) Other Broadway roles include originating Pinocchio in Shrek the Musical and Lumiere in Disney’s Beauty and the Beast. John has been a Sesame Street Muppeteer for over 18 years, beginning at the age of 16. He can currently be heard every Sunday afternoon on Sirius XM Radio On Broadway’s Sunday Funday with John Tartaglia. John directed the premiere productions of Jim Henson’s Sid the Science Kid: Live on Tour and Because of Winn Dixie, a musical by Duncan Sheik and Nell Benjamin, based on the classic children’s novel. Other di-recting credits include Shrek the Musical at The Muny and resident directing Avenue Q off Broadway at New World Stages. As a writer, John created ImaginOcean, which is being developed for television with The Jim Henson Company following two successful seasons off Broadway and two seasons on national tour. John is thankful to be a part of the incredible magic that Jim Henson and The Jim Henson Company have brought and continue to bring to the world. To Mom, for letting me cut up your dresses to make puppets.

Daniel Seth (Associate Director) happily returns to col-laborating with John Tartaglia after associate directing Jim Henson’s Musical World at Carnegie Hall. Most recently, Daniel served as creative aide to Forest Whitaker on mul-tiple films including Lee Daniels’ The Butler. Other proj-ects have included Jim Henson’s Emmet Otter’s Jug-Band Christmas, ImaginOcean, Avenue Q, The Book of Mormon, Sleep No More, Recursion, Dog Sees God and multiple projects in development. Daniel recently co-founded BCS

Pictures, a production company dedicated to creating so-cially conscious programming. Outside of production, he proudly works in arts education, “paying it forward” to the next generation. Daniel is an alumnus of NYU and a mem-ber of the Stage Directors and Choreographers Society. For the lovers, the dreamers, and you.

Ken Goldstein (Scenic Design) is the assistant professor of set design at SUNY at New Paltz and resident set design-er at Northern Stage. He has also designed at numerous regional theaters including: Baystreet Theatre, Capital Repertory Theatre, Gulfshore Playhouse, Barrington Stage Company, The Skylight Music Theatre, The Hangar Theatre, CPS in Potsdam, N.Y., and Orlando Rep. Ken holds an M.F.A. in set design from Brandeis University and is a member of United Scenic Artists, Local 829. Ken is thrilled to be working with this great creative team on this exciting show!

Annmarie Duggan (Lighting Design) is excited to be a part of the Dinosaur Train team. Her off-Broadway credits include Sphinx Winx (Theatre Row), Jolson & Co. (Century Center), Syria America (Greenwich Street Theatre) and Clue: The Musical (Players Theatre). Regional credits: American Girl Place Theatre in Chicago, LA and New York, Cumberland County Playhouse, Capital Repertory Theatre, Foothills Theatre, Northern Stage, Cortland Rep, Seaside Music Theatre, Utah Musical Theatre, Lycian Centre, Florida Rep. and Seacoast Rep. Dance: Navidad Flamenca (NJPAC) and Mujeres y Hombres (New Victory Theatre). Duggan is an associate professor and chair at the University of Pittsburgh, teaching lighting design and stage management. www.amddesignonline.com

Michael Naylor (Creative/Website) worked in New York City as the art director for a New York-based arts marketing company, writing and designing educational study guides for Broadway productions. He worked with Gables Grove Productions on the off-Broadway hit, John Tartaglia’s ImaginOcean. Prior to that, he spent 20 years with the historic Bucks County Playhouse in New Hope, Pa., as director of marketing and public relations. Today he serves as the media representative for Washington Crossing Open Air Theatre in New Jersey and Memorable Affairs Dinner Theater in Pennsylvania. He’s also the web designer for the New York Children’s Theater Festival. In his spare time, he is busily shopping around his television comedy about a fictional regional theater.

Jim Henson’s Creature Shop™ (Puppet Design & Fabrication) provides performed digital visual effects, animatronic creatures, animation and soft puppets to the

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Daily Show Live. Prior to Mills, she worked in Los Angeles and Chicago in theater production. Select credits: Universal Studios, Steppenwolf Theatre Company, La Jolla Playhouse, Pavement Group and A Red Orchid Theatre.

Michael Shawn Lewis (Producer) is co-owner of Gables Grove Productions, through which he creates and produces international multimedia family entertainment. In addi-tion to developing original shows, Gables Grove currently works to develop entertainment for Walt Disney Creative Entertainment, The Jim Henson Company, Sesame Place, Carnival Cruise Lines and Royal Caribbean Cruise Lines. He received a Drama Desk Award nomination for his work as producer on the off-Broadway production of ImaginOcean and is working as executive producer to adapt that magical underwater world into a television series with The Jim Henson Company. Current touring produc-tions include: Dinosaur Train LIVE!, Sid the Science Kid LIVE! and ImaginOcean. His performing credits include the Broadway productions of The Phantom of the Opera (Raoul) and The Woman in White. In Europe he starred in Elisabeth: The Musical, Les Miserables and many pro-ductions of Phantom. Michael works in association with Artists Striving To End Poverty (ASTEP) and The George Foundation as an educator/instructor for the extremely impoverished. Michael is co-founder and president of the New York Children’s Theater Festival, a 501(c)(3) non-prof-it organization created to support artists in the develop-ment and presentation of new theatrical works for young audiences (www.nyctfest.org).

Michael Mills (Producer) is president of Mills Entertainment based in Saratoga Springs, NY, a leading producer of live tours of branded and alternative enter-tainment. Current tours include Theresa Caputo Live, FX’s Archer Live, The Cake Boss: Bakin’ with the Boss Tour, Cesar Millan Live and Jack Hanna Into the Wild Live. www.millsentertainment.com

The Jim Henson Company has remained an established leader in family entertainment for over 50 years and is recognized worldwide as an innovator in puppetry, ani-matronics and digital animation. Best known as creators of the world-famous Muppets, Henson has received over 50 Emmy Awards and nine Grammy Awards. Recent credits include the Emmy-nominated Sid the Science Kid and Dinosaur Train, as well as Wilson & Ditch: Digging America, Pajanimals and Doozers. Features include The Dark Crystal, Labyrinth, MirrorMask and Unstable Fables, and television productions include Fraggle Rock and the sci-fi cult series Farscape. Independently owned and oper-ated by the five adult children of founder Jim Henson, the

international film, television and advertising industries. Based in Los Angeles and New York with satellite shop capabilities internationally, the Shop is known for design-ing and building some of the world’s best-known charac-ters including the Sesame Street puppets, classic Muppets, dinosaurs from Dinosaurs, aliens from Farscape and fantastical creatures from The Dark Crystal and Labyrinth. Other feature film credits include Where the Wild Things Are, Forgetting Sarah Marshall, Hitchhiker’s Guide to the Galaxy and Five Children and It. The shop is also known for its live performance work with artists like CeeLo Green, Kanye West, Lady Gaga and Deadmau5. A recipient of more than nine Emmy Awards for its outstanding work building puppets for Sesame Street, the Shop also received an Academy Award for its visual effects work on the film Babe. Other awards include a Scientific and Engineering Academy Award for the Henson Performance Control System, a powerful custom-based interface for puppeteers, and an Emmy Award for its work in developing the Henson Digital Performance Studio, a patented control system technology that enables puppeteers to perform a computer-generated (CG) character in real time.

Emilie Bray Schoenfeld (Production Manager) serves as the production manager for Gables Grove Productions and company/production manager for John Tartaglia’s ImaginOcean. Select credits include production manag-er, French Woods Festival; production stage manager, Huntsville Ballet; production manager, New Haven Ballet; production stage manager, Yale Opera; assistant stage manager, American Girl Theatre, NY; production coordi-nator, New York Children’s Theater Festival; and project coordinator, Circus Nexus. She is an alumna of NCSA. To my sweet little girl – thanks for letting Mom have fun with puppets!

The Brad Simon Organization (Executive Producer/Tour Booking) is the leading North American booking agency specializing in live branded entertainment for family au-diences. Current and past tour highlights include: Clifford the Big Red Dog Live, Scholastic’s The Magic School Bus Live, John Tartaglia’s ImaginOcean, The Magic Tree House: The Musical, Mad Science Presents: CSI LIVE! and Mad Science Presents: Star Trek Live!, Arthur Live, Franklin The Turtle Live, Maurice Sendak’s Little Bear Live, Caillou Live, A Garfield Christmas, and The Kennedy Center Theater for Young Audiences productions, Roald Dahl’s Willy Wonka, The Phantom Tollbooth and The Adventures of Tom Sawyer.

Simone Gianfrancesco (Associate Producer) is an associ-ate producer with Mills Entertainment. Select Mills credits: FX’s Archer Live!, Clifford the Big Red Dog Live! and The

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Puppet Design & Fabrication: Jim Henson’s Creature ShopScenic Design: Ken GoldsteinLighting Design: Annmarie DugganProps Master: Chris SchneiderCasting: Arnold J. Mungioli, C.S.A., Mungioli Theatricals Inc.Production Manager: Emilie Bray SchoenfeldTour Manager: BJ MarchiniStage Manager/Lighting Director: Melissa BondarAssistant Stage Manager/Technical Director/ Video Coordinator: Corey McIntyre Video Projection Designer: Dan CarrExecutive Producer/Tour Booking: The Brad Simon OrganizationPress Representative: Joanna BrumleyAssociate Director: Daniel SethAssociate Producer/General Manager: Simone GianfrancescoDirector: John TartagliaProducers: Michael Shawn Lewis, Michael Mills and John Tartaglia

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Special thanks to

company is also home to Jim Henson’s Creature Shop™, a preeminent character-building and visual effects group with international film, television and advertising clients, as well as Henson Recording Studios, one of the music industry’s top recording facilities known for its world-class blend of state-of-the-art and vintage equipment. www.henson.com.

Mills Entertainment is a leading producer and promoter of branded live entertainment. Mills collaborates with top brands and personalities to develop, market and produce live theatrical events throughout the U.S. and worldwide. Current projects include Theresa Caputo Live, The Cake Boss: Bakin’ with the Boss Tour, Cesar Millan Live, FX’s Archer Live and Jack Hanna’s Into the Wild Live.

Gables Grove Productions is a multimedia family enter-tainment company that was co-founded by Drama Desk Award-nominated producers Michael Shawn Lewis and John Tartaglia in 2009 with the vision of developing, cre-ating and producing exciting, innovative, original material for live stage and television in the U.S. and abroad. The company is currently working to develop several exciting productions with The Jim Henson Company, Walt Disney Creative Entertainment, Walt Disney Imagineering, Carnival Cruise Lines, Royal Caribbean Cruise Lines and Sesame Place, as well as other independent producers and writers. Gables Grove Productions is a producer and the creator of off-Broadway and national tour productions, including John Tartaglia’s ImaginOcean and Sid the Science Kid Live.

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About the ArtistsMohamed Abouzekry - Despite his tender years, this oud player has a stunning command of his instrument, as well as an open ear for other forms, skills that got him a recent album deal with Harmonia Mundi.

Alsarah - Based in Brooklyn, this soulful Sudanese singer and ethnomusicologist’s songs have won high praise from roots-music tastemakers like Songlines Magazine.Michael Bazibu - A member of Uganda’s leading traditional music and dance company, Ndere, for the past 17 years, Bazibu plays several traditional Ugandan stringed and percussion instruments with virtuosic grace.Hany Bedeir -When the biggest stars in the Middle East need daff (hand drum) or riq (traditional tambourine), they call Bedeir, whose percussion skills have also earned him a teaching position at several respected Cairo institutions.

Nader Elshaer - Born in the culturally rich town of Port Said, Egypt, Elshaer taught himself accordion and ney, only to fall in love with the tones of the kawala (end-blown cane flute) and its role in Arabic classical music.Dina El Wedidi - With experience that spans Arabic classical music, edgy theater, and street protest, this young singer has most recently worked with Brazilian heavyweight Gilberto Gil on her debut album.Meklit Hadero - Co-founder of The Nile Project, this American-based Ethiopian singer frequently digs deep into soul and hip-hop, but never loses sight of her roots.Jorga Mesfin - This self-taught sax player meshes jazz with Ethiopia’s wealth of musical forms and ideas, both as a band leader and sideman for greats like Mulatu Astatke.Kasiva Mutua - Kenyan percussionist and singer Mutua

The Nile ProjectWED, FEB 11 / 8 PM / CAMPBELL HALL

Mohamed Abouzekry, Egypt / oudAlsarah, Sudan / vocalsMichael Bazibu, Uganda / endongo, adungu, endingidi, percussionHani Bedeir, Egypt / percussionNader Elshaer, Egypt / qawalaDina El Wedidi, Egypt / vocals Meklit Hadero, Ethiopia / vocals

Jorga Mesfin, Ethiopia / saxophoneKasiva Mutua, Kenya / percussion Sophie Nzayisenga, Rwanda / inanga, vocalsDawit Seyoum, Ethiopia / krar, bass krarSteven Sogo, Burundi / ikembe, guitar, bass, vocalsSelamnesh Zemene, Ethiopia / vocals

photo

: Pete

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nourishment rates higher than 30 percent. Fewer than 10 percent of basin residents have access to electricity. The core issue at hand is how to peacefully allocate Nile Basin water among 11 nations with different needs and priorities, whose populations are all skyrocketing.

The Nile River Basin is wrought with political, environ-mental, economic and social challenges requiring a new approach to better address the myriad challenges it faces. As regional tensions flare, The Nile Project offers a unique grassroots strategy to effectively mobilize thousands of people across the Nile Basin and beyond in constructive cross-cultural dialogue and collaboration.

About The Nile ProjectThe Nile Project is transforming the Nile conflict by inspir-ing, educating, and empowering an international network of university students to cultivate the sustainability of their ecosystem. The project’s model integrates programs in music, education, dialogue, leadership and innovation to engage students across disciplines and geographies.  

Musical Collaborations: The Nile Project brings togeth-er artists from the 11 Nile countries to make music that combines the region’s diverse instruments, languages and traditions. The concert experience aims to inspire cultural curiosity, highlight regional connections and showcase the potential of trans-boundary cooperation.

Dialogue & Education Programs: Participatory workshops and cross-cultural dialogues provide university students with unique intellectual experiences, deepening their understanding of the Nile ecosystem and stimulating new ways of thinking, communicating and doing.

Leadership & Innovation Programs: The Nile Fellowship and Nile Prize programs incentivize university students to apply their education and training toward mobilizing their peers and pioneering innovative solutions to the Nile Basin’s complex and interrelated challenges.

For more information: nileproject.org facebook: nileproject twitter: nileproject

Special thanks to

may have learned drumming from her grandmother but has developed her own knack for powerful Afropop beats. Her expressive playing can tell a story on its own or keep a band perfectly in the pocket.Sophie Nzayisenga - The first female master of the Rwandan traditional zither (inanga), Nzayisenga learned at her internationally acclaimed father’s knee before setting out to make the instrument her own.Dawit Seyoum - Known for his flexibility, Seyoum rocks both the krar and the bass krar, the six-string powerhouse harps at the heart of much of Ethiopia’s music.Steven Sogo - Burundi’s leading bassist, this multilingual multi-instrumentalist can play anything with strings, including the umiduri, Burundi’s answer to the birembau. Add to that Sogo’s wonderful voice, and it’s easy to see why he was named a World Bank musical ambassador.Selamnesh Zemene - Hailing from a long line of unique culture bearers in Northern Ethiopia, this young singer has brought her traditions to collaborations with indie darlings like Debo Band and The Ex.

About the ProducersMina Girgis, President & CEO - An ethnomusicologist (M.A., ethnomusicology, UCSB, 2004) with a background in hospitality experience design, Girgis explores new ways to cultivate environments conducive to learning, making, and experiencing music. He specializes in curating and producing innovative musical collaborations across diverse styles.

Miles Jay, Musical Director - Contrabassist, composer, and arranger Miles Jay (B.A., music, UCSB, 2004) has worked with the likes of Youssou N’Dour, Ziad Rahbani, Fathy Salama, Ross Daly, Naseer Shamma, Niyaz, Mashrou3 Leila and the Cairo Symphony Orchestra.

About the NileThe Nile, one of the world’s most iconic rivers, has cap-tivated the imagination of millions throughout time. Originating in two sources – Lake Victoria in East Africa and Lake Tana in the Ethiopian highlands – the 6,670-ki-lometer river flows northward through a diversity of climates, landscapes, and cultures before passing through Egypt and emptying into the Mediterranean Sea.

Its 437 million inhabitants are projected to more than double within the next 40 years, creating an ever-increas-ing demand for Nile water. Even now, people living along the Nile are vulnerable to water-related hardships. At least five nations in the Nile basin are facing water stress. Seven of the 11 Nile countries continue to suffer from under-

34

Support Arts & Lectures: (805) 893-2174

This winter, the following artists and speakers will lead educational workshops, seminars and master classes

throughout Santa Barbara

We educate, entertain AND inspire.

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UCSB and local college students will visit with:Brooklyn Rider, Michio Kaku, Nrityagram Dance Ensemble, W. Kamau Bell, The Nile Project, Cassandra Wilson, Daniel Handler, Nederlands Dans Theater 2, The Joffrey Ballet, Robert Gates, Chick Corea & Herbie Hancock

Local schoolchildren will connect with:Gregory Porter, The Ukulele Orchestra of Great Britain, Brooklyn Rider

Families and community members will participate in workshops with:The Ukulele Orchestra of Great Britain, Kodo, The Joffrey Ballet

WILLIAM H. KEARNS FOUNDATION

Community Partner

Arts & Lectures gratefully acknowledges the generous support of SAGE, William H. Kearns Foundation, and A&L Community Partner Orfalea Foundation who help take

artists and speakers off the stage and into K-12 schools and other public settings throughout

our region to serve children and families with unique opportunities for arts engagement.

Support Arts & Lectures: (805) 893-2174

“At Arts & Lectures I’ve seen Archbishop Desmond Tutu, the Dalai Lama, and the great Dr. Paul Farmer, who has transformed healthcare in Haiti and Rwanda – all heroes whose special gift is to look so hard at reality that they can find the possibility hiding out within it. And I’ve gotten to hear writers and thinkers whom I’ve never come close to hearing while living in New York or near London. Part of the special beauty of Arts & Lectures is that it not only teaches students and our community about what the greater world looks like; it gives us practical and inspiring ways to try to make it a better place.”

- Pico Iyer Best-selling author and longtime essayist for Time and The New York Times

“Taking class with professional dancers is really inspiring. Having these master classes gives you tools for auditions, to perform and to learn what tour life is like… What’s most inspiring for me is the variety you get to see through Arts & Lectures…it’s how I got to where I am today.”

- Derion Loman UCSB alumnus ’12, dancer in Pilobolus Dance Theater

Arts & Lectures Makes a Difference

“Arts & Lectures has given me the opportunity to make my future come alive. I was a biology major and [seeing] Paul Farmer had a profound impact on my interest in global medicine, and getting to meet Nicholas Kristof, too. You read about these people, you get inspired by it, and then getting to meet them in person and ask them questions, it’s something I’ll always remember and look back on fondly.”

- Andrew Florin UCSB alumnus ’11

Dr. Paul Farmer and patient

photo

: Mark

Rose

nberg

UCSB alumnus and Pilobolus dancer Derion Loman (right) teaches a master class in the Department of Theater and Dance

3636

Support Arts & Lectures: (805) 893-2174

Why Support A&L?

Call (805) 893-2174 or email Sandy.Robertson@sa.UCSB.edu for a wide range of participation opportunities.

For more than 50 years, A&L has brought the world’s greatest artists and thinkers to the Santa Barbara community, enriching the lives of children and adults of all ages and backgrounds. And we’re not stopping! With your help, we’ll continue to do this, now and forever.

Last year we created more than 90,000 connections between students, audience members and the community.

• 48,000 were at ticketed events, performances, lectures and films • 25,000 were at community outreach events like master classes, community classes and workshops in K-12 schools • 17,000 were at free events such as lectures, films and community performances

Who We Serve

“Act on your idealism, the way people do who support Arts & Lectures. Act on your ideals. Or do it selfishly! So it can be there for you!”

- Ira Glass, host of This American Life

Here is the Math We Live WithTicket sales cover only 32% of our costs. Another 25% comes from UCSB students and the university.

The truth is that we count on the community to support what we do.

Ticket Sales

UCSB Student and

University Support

Gifts from Generous

People Like You

Make a gift to A&L and make a difference

We Need Your Help!

3737

Support Arts & Lectures: (805) 893-21743838

Producers Circle $2,500+

• VIP Ticket Concierge Service and Priority Seating for all events

• Invitation to A&L’s exclusive Season Announcement Party in June 2015

• Advance notice of selected events with early ticket-buying privileges

• Invitation to Producers Circle receptions with featured artists and speakers

• Invitation to be a guest of A&L at a performance or lecture of the season

• Opportunity to attend master classes and other education outreach activities

•

NEW THIS YEAR Complimentary wine or champagne in the McCune Founders Room at The Granada Theatre during intermissions at A&L performances and lectures

Plus all benefits of lower giving levels

Leadership Circle $10,000+

The Leadership Circle is a group of key visionaries giving $10,000 to $100,000 or more each year, making a signif-icant, tangible difference in the community and making it possible for A&L’s roster of premier artists and global thinkers to come to Santa Barbara. A range of exclusive opportunities include hosting artists and speakers at private dinners or receptions, sponsoring events, VIP Concierge Service, and more. Plus all benefits of lower giving levels

Executive Producers Circle$5,000+

• High Priority Seating for all events

• Invitation to a post-performance Green Room meet-and-greet opportunity with a featured artist or speaker

• Invitations to receptions at private residences with featured artists or speakersPlus all benefits of lower giving levels

* Fair market value of tickets provided may affect portion of gift which is tax-deductible. Gifts are tax-deductible less the fair market value of benefits received. You may choose to decline benefits at the time you make your gift, in which case the full gift amount is tax-deductible to the extent allowed by law.

Circle of Friends

$1,500+ Headliner • Invitation to A&L annual fundraiser

Plus all benefits of lower giving levels

$1,000+ Director • Membership in the UC Santa Barbara Chancellor’s Council, with all attendant benefits, including access to complimentary campus parking and invitations to university eventsPlus all benefits of lower giving levels

$500+ Partner • Invitation to season kick-off

Plus all benefits of lower giving levels

$250+ Patron • Invitation to annual Donor Appreciation Day reception with featured artist and/or guest speakerPlus benefits of lower giving level

$100+ Friend • Recognition in A&L quarterly event programs

• NEW THIS YEAR Option to join A&L’s new Book Club. Email AandL-info@sa.ucsb.edu for details

Support Arts & Lectures TodayMake a difference now, and enjoy exclusive benefits all year long!

Anonymous (4) Judy & Bruce Anticouni

Jody M. & John P. ArnholdGary & Mary Becker

Arlene & Barrie BergmanMeg & Dan Burnham

Marcy CarseyMarcia & John Mike Cohen

Cohen Family Fund of the Community Foundation for Southeast Michigan

Barbara Delaune-Warren Audrey & Timothy Fisher

Genevieve & Lewis Geyser Patricia Gregory for the Baker Foundation

Carla & Stephen* Hahn The James Irvine Foundation

Luci & Richard JanssenRobert & Gretchen Lieff

Tom Kenny & Susan McMillanLillian & Jon* Lovelace

lynda.comMarilyn & Dick MazessSusan & Craig McCaw

Sara Miller McCuneKay R. McMillan

Orfalea FoundationLady Leslie Ridley-Tree

SAGE PublicationsHarold & Hester Schoen*

Fredric E. SteckHeather & Tom SturgessAnne & Michael Towbes

James Warren Marsha* & Bill Wayne

Lynda Weinman & Bruce HeavinWilliam H. Kearns Foundation

Irene & Ralph WilsonYardi Systems, Inc.

UC Santa Barbara Arts & Lectures is honored to recognize donors whose lifetime giving to A&L is $100,000 or more. We are very grateful for their longtime, visionary support

of A&L and for believing, as we do, that the arts and ideas are essential to our quality of life.

UC Santa Barbara Arts & Lectures wishes to recognize those who are leading the way to

educate, entertain and inspire by participating in

Recognition based upon cumulative giving during The Campaign Recognition is based on cumulative, lifetime giving.

$500,000 - $999,999 Anonymous (2) ‡

Audrey & Timothy Fisher ‡Orfalea Foundation

Lady Leslie Ridley-TreeSAGE Publications ‡

Lynda Weinman & Bruce Heavin ‡

$1,000,000 and above

lynda.comSusan & Craig McCaw ‡

Sara Miller McCune ‡Anne & Michael Towbes ‡

$250,000 - $499,999

Meg & Dan Burnham ‡Marcy Carsey ‡

Marcia & John Mike Cohen ‡Carla Hahn ‡

Luci & Richard Janssen ‡Fredric E. Steck ‡

Heather & Tom Sturgess ‡William H. Kearns Foundation ‡

Support Arts & Lectures: (805) 893-2174

Jody M. & John P. ArnholdArlene & Barrie Bergman

Cohen Family Fund of the Community Foundation for Southeast Michigan

Tom Kenny & Susan McMillan ‡Kay R. McMillan ‡

Marsha* & Bill WayneYardi Systems, Inc.

$100,000 - $249,999

‡ Indicates those that have made gifts to UC Santa Barbara Arts & Lectures endowed funds, in addition to their annual program support. * In Memoriam

39Support Arts & Lectures: (805) 893-2174 39

Support Arts & Lectures: (805) 893-217440 Support Arts & Lectures: (805) 893-217440

Council for Arts & LecturesSara Miller McCune (Co-chair)Dan Burnham (Co-chair)Barrie BergmanTimothy O. FisherRichard JanssenTom KennyKath LavidgeSusan McCawLois MitchellNatalie OrfaleaLady Leslie Ridley-TreeFredric E. SteckTom SturgessAnne TowbesMilton WarshawLynda Weinman

Arts & Lectures AmbassadorsArts & Lectures is proud to acknowledge our Ambassadors, volunteers who help ensure the sustainability of our program by providing advice to the A&L Miller McCune Executive Director, cultivating new supporters and assisting with fundraising activities.

Judy AnticouniArlene BergmanMeg BurnhamAnnette CaleelAlicia LancashireGenevieve & Lewis GeyserEva HallerLuci JanssenNancy Walker KoppelmanDonna Christine McGuireMaxine PrisyonBobbie RosenblattHeather SturgessAnne Smith Towbes

Arts & Lectures Legacy CircleArts & Lectures is pleased to acknowledge the generous donors who have made provisions for future support of our program through their estate.

Judy & Bruce AnticouniEstate of Helen BorgesAudrey & Timothy FisherSara Miller McCuneEstate of Hester SchoenConnie J. SmithIrene & Ralph Wilson

Arts & Lectures Honor Roll of DonorsArts & Lectures is pleased to acknowledge the generous donors whose support enables us to offer quality programming, provide arts education and outreach activities to UC Santa Barbara students and the community, and maintain affordable ticket prices.

Recognition is based upon a donor’s cumulative giving/pledges within a 12-month period. Every effort has been made to assure accuracy. Please notify our office of any errors or omissions at (805) 893-2174. List current as of December 16, 2014.

Leadership Circle

Diamond - $100,000+Anonymous (2)Arlene & Barrie BergmanMeg & Dan BurnhamMarcy CarseyMarcia & John Mike CohenMargo Cohen-Feinberg

& Bob FeinbergAudrey & Timothy FisherCarla HahnLuci & Richard Janssenlynda.comSusan & Craig McCawSara Miller McCuneKay R. McMillanSusan McMillan & Tom KennyOrfalea Foundation

Lady Leslie Ridley-TreeSAGE PublicationsFredric E. SteckHeather & Tom SturgessAnne & Michael TowbesLynda Weinman & Bruce HeavinWilliam H. Kearns Foundation

Platinum - $50,000+AnonymousJody M. & John P. ArnholdMary & Gary BeckerAnnette & Dr. Richard CaleelEva & Yoel HallerEllen & Peter O. JohnsonSanta Barbara FoundationCristina & Erck RickmersPatricia & James Selbert The Towbes Fund for the

Performing ArtsDr. Bob Weinman

Gold - $25,000+Sue & Brian KellySiri & Bob MarshallMarilyn & Richard MazessDiana & Simon Raab FoundationLiza Rassner Susan J. Rose & Allan S. GhittermanYardi Systems, Inc.

Silver - $10,000+AnonymousSheila & Michael BonsignoreConnie Frank FoundationChristine & William Fletcher Martha & John GabbertMontecito Bank & TrustGenevieve & Lewis GeyserPatricia Gregory for the Baker

FoundationJudith HopkinsonHutton Parker Foundation Melissa R. & Ralph T. Iannelli Morris & Irma Jurkowitz Gretchen & Robert Lieff Lillian LovelaceJillian & Peter MullerRoddick FoundationRusty’s PizzaThe Simms/Mann Family

Foundation

Stephanie & Jim Sokolove The Stone Family FoundationMarsha* & Bill WayneWestmont CollegeNoelle & Dick WolfNicole & Kirt Woodhouse

Producers Circle

Executive Producer - $5,000+Pat & Evan AptakerSarah ArgyropoulosMonica & Tim BabichLaurel Beebe BarrackLeslie & Ashish BhutaniLyn & Mark Brillo-SonninoNancy BrownSarah & Roger ChrismanNancyBell Coe & William BurkeComer Foundation FundWilliam B. Cornfield Deckers Outdoor CorporationDeanna & Jim DehlsenBaroness Léni Fé Bland*Lisa & George HagermanIrina & Stefan HearstJoan & Robert R. HollmanElaine & Herbert KendallLisa LoiaconoPatricia & John MacFarlaneMission Wealth Management, LLCAmanda & James* McIntyreSuzanne & Duncan MellichampLisa Reich & Robert JohnsonVicki Riskin & David W. RintelsNancy & Mike SheldonLinda Stafford BurrowsBarbara StupayIna TornallyayThe Towbes FoundationWilliam E. Weiss Foundation, Inc.

Producer - $2,500+AnonymousRoxana & Fred AnsonJudy & Bruce AnticouniHiroko BenkoCelesta M. Billeci & John HajdaSusan E. BowerSusan D. Bowey

Support Arts & Lectures: (805) 893-2174 41Support Arts & Lectures: (805) 893-2174 41

Circle of Friends

Headliner $1,500+Betsey Moller Malinda Pennoyer

& Yvon Chouinard

Director $1,000+Lyn & David H. AndersonBonnie & Frank BurgessDebbie & Dan Gerber Joyce M. GreeneMary & Thomas JacobEric KronvallAlicia LancashireJohn La Puma, M.D.J. Roger & Almeda MorrisonDale & Michael NissensonSusanuah E. RakeElizabeth Tyng Susan & Bruce Worster

Partner $500+Steve & Peggy & Steve BarnesSallie & Curt CoughlinOlivia Erschen & Steve StarkeyDodd & Beth GeigerNancy & Robert KnightPat Lambert & Rick DahlquistElinor & James LangerDavid & Janice Toyo LevasheffFima & Jere LifshitzLeila & Dr. Robert NoelRobin & Chuck Rickershauser Christiane Schlumberger Mary SipesBarbara VoorhiesDiana Woehle

Patron $250+Pamela Benham & Paul HansmaRachel & Douglas BurbankBarbara CalderClaudia & David ChapmanJo Ann ChaseAnnie Pham-Cheng

& George ChengBarbara Lynn DegrootDr. Jeana L. DresselMichael K. DunnDouglas H. HarrisRenee Harwick

Linda Hedgepeth & Michael Millhollan

Cecia & Milt HessDonna & Daniel HoneSharyn JohnsonMartha & Peter KaroffLinda & Sid KastnerSusan Keller & Myron Shapero, M.D.Mr. & Mrs. Richard B. KennellyRobert W. KohnNancy Walker Koppelman

& Larry KoppelmanCarol KosterkaZoë Landers Diana & Carl LasnerCarol Spungen & Aaron LiebermanJadwiga & R. Emmett McDonoughSheila & Frank McGinityMartin McKenzieRonnie Haran Mellen

& Chase Mellen IIIMaryanne Mott Mayra & Spencer NadlerJanet OetingerKim Phillips & Michael HayesKyra & Tony RogersSybil RosenGayle & Charles RosenbergJulie & George RusznakJo & Ken SaxonLila & Joseph ScherAnitra & Dr. Jack SheenConnie J. SmithAnita & Eric Sonquist John A. SonquistMary Jo SwalleyLeah & Robert TemkinMaryBeth & Jim VogelzangKathy & Bill WeberJean WeidemannJudith WeismanCarolyn & Philip WyattJoAnne & Michael Young

A special thanks to all our new Producers Circle members – your support is making a difference!

Stephanie & Fred ShumanSusan & Howard SilverJoan SpeirsSuzanne & John SteedRussell SteinerDebra & Stephen StewartDenise & James S. TaylorCaroline & Steve ThompsonPatricia ToppelBarbara & Samuel ToumayanSandra & Sam TylerDianne & Daniel VapnekVillanueva FamilySue & Bill Wagner Carol Wilburn & Charles McClintockIrene & Ralph WilsonCrystal & Clifford WyattLaura & Geofrey Wyatt Diane & Steve Zipperstein

Associate Producer - $1,500+Anonymous (2) Alison Allan & Chuck BlitzSherri BallKathleen Barry, Ph.D.Jill & Arnie BelloweLeslie & Philip BernsteinVicky Blum & David LebellRochelle & Mark BookspanKaren & Peter BrillWendy BrussM. Peyton & Suzanne BucyAndrew D. ButcherCarol & Andrew CampbellSusan & Claude CaseDrs. Susanne & J.W. ColinLilyan Cuttler & Ned SederLaurie Deans & Joseph MedjuckPatty DeDominic & Gene SinserDr. David W. Doner Jr. Nancy Englander & Harold WilliamsCinda & Donnelley ErdmanMarion & Richard FlacksDorothy FlasterCarole & Ron FoxTeri & Eric GabrielsenCindy & Robert GelberAnne Ready & David GershMarianne & Paul GertmanMarianne GordinYonie Harris

Natalie BryantRobin & Daniel CerfBeth Chamberlin Endowment for

Cultural Understanding Karla & Richard ChernickDarcy & Dean ChristalTana & Joe ChristieMary & Richard ComptonTrudy & Howard CoopermanAnn DanielJudy DartPhyllis DePicciottoGinni & Chad DreierWhitney & Tyler DuncanChristine & Robert EmmonsDoris & Tom EverhartNancy & Michael GiffordMelinda GoodmanPaul Guido & Stephen Blain Betsy & Jule HannafordLaurie Harris & Richard HechtMary J. HarveyRuth & Alan HeegerFaith & Mel HenkinAndrea & Richard HuttonShari & George IsaacHollye & Jeff JacobsJulie & Jamie KellnerMargaret & Barry KempLinda Kiefer & Jerry RobertsLinda & Bill KitchenJill & Barry KitnickThe Lehrer Family FoundationMark LinehanCatherine Lloyd Sandra L. LynneMarilyn MagidDiane Meyer SimonAnne & Hale MilgrimLois & Mark MitchellThe Neubauer FamilyDr. Raymond & Barbara RobinsAndy Oakley & Bruce S. RussellJoan Pascal & Ted RhodesAnn & Michael PlessStacy & William PuliceSusan J. Rose & Allan S. GhittermanBobbie & Ed RosenblattGinger Salazar & Brett MatthewsDr. William E. SansonMark & Lynda Schwartz

Support Arts & Lectures: (805) 893-217442 Support Arts & Lectures: (805) 893-217442

Arts & Lectures StaffCelesta M. Billeci,

Miller McCune Executive DirectorRoman Baratiak,

Associate DirectorMeghan Bush,

Director of Marketing & Communications

Michele Bynum, Senior Artist

Emily Cesca, Finance & Operations Manager

Kevin Grant, Business Analyst

Karna Hughes, Senior Writer / Publicist

Caitlin Karbula, Director of Development

Janelle Kohler, Public Events & Administrative Assistant

Mari Levasheff, Media / Marketing Associate

Beatrice Martino, Public Events Assistant

Hector Medina, Development Associate

Jim Muneio, Ticket Office Manager

Cathy Oliverson, Manager for Performing Arts & Educational Outreach

Antoinette Patrick, Administrative Assistant

Sandy Robertson, Senior Director of Development & Special Initiatives

Heather Silva, Programming Manager

Campbell Hall StaffSarah Jane Bennett,

Public Events Manager John O. Davis,

Campbell Hall ManagerCameron Squire,

Public Events Manager

Granting OrganizationsCalifornia Arts CouncilCohen Family Fund of the Community

Foundation for Southeast MichiganThe James Irvine FoundationNew England Foundation for the Arts’

National Dance ProjectNational Endowment for the ArtsOrfalea FoundationSanta Barbara County Arts CommissionSanta Barbara FoundationUCSB Office of Academic Preparation

Arts & Lectures EndowmentsThe Fund for Programmatic

ExcellenceThe Commissioning of New Work

FundThe Education and Outreach FundBeth Chamberlin Endowment for

Cultural UnderstandingThe Harold & Hester Schoen

EndowmentSonquist Family Endowment

Thank You! Arts & Lectures is especially grateful to UCSB students for their support through registration and activity fees. These funds directly support lower student ticket prices and educational outreach by A&L artists and writers who visit classes.

Maren HenleJorge HerreraGeoffrey HornbyHannah-Beth Jackson

& George EskinSarah JacobsBarbara Janelle Mary Ann Jordan & Alan StaehleDanson KiplagatCarol & Don LauerCatherine & Wayne A. LewisPamela & Russell LombardoMartin LynchLinda & Richard LynnSherry & Craig MadsenSusan MatsumotoJulie McLeodLori K. MeschlerKatharine Metropolis

& Jeff RichmanEllicott MillionSusan & Max NeufeldtJohn NorrisDennis J. PerryDorris Phinney & Owen PatmorChristopher PilafianD.E. Polk & J.P. LoganbachH & M Pompe van MeerdervoortAlbert ReidAdele R. RosenRhonda & Larry SheakleyBarbara SilverEllen & Harvey H. SilverbergJan & George SirkinLisa Stratton & Peter SchuylerDena SteinDrs. Beverly & Michael L Steinfeld Colleen SterneLouise & Raymond L. StoneTerry & Art SturzMarshall M. ThomasDoris ThomeMarion & Frederick TwichellMary WalshSusanne & John WeaverJudy & Mort WeismanRichard WeistTheresa YandellAnna & Don YlvisakerSeyburn Zorthian & Marc McGinnes

*In Memoriam

Laura Haston & Frank DavisValerie J. Hoffman & Roland NoeCarla J. MarcinkusDonna & Ron MelvilleKathlyn & Bill PaxtonCraig PennerDeborah & Ken PontifexJulie & Chris ProctorLoretta Redd, Ph.D.Mary Lou & Clay RunningMissy & Chuck SheldonSusan Sheller & Bob RoeRobert A. SorichElizabeth & K. Martin StevensonGail & David Teton-LandisAnne & Tony ThacherJoseph ThomasJo Ellen & Thomas WatsonHelayne & Ronald White

Friend $100+Anonymous (2)Vickie Ascolese & Richard VincentJulie AntelmanCatherine AlbaneseChristine AllenAriana & Christopher Arcenas-UtleyLaurel BarrackJanice & Ralph BaxterIla BayhaLinda & Peter BeuretMary & John BlairDrs. Paula & Thomas BruiceDiana & Steve CharlesThomas Dain ConstructionAdrianne & Andrew DavisGwen & Rodger DawsonEdward S. DeLoretoJoan & Thomas DentBarbara Ann Dobbs-WhiteElizabeth Downing & Peter Hasler Ann & David DwelleyMargaret & Jerrold EberhardtJennifer & Jim EbyRebecca EldridgeKerin FridenPriscilla & Jason GainesTheresa GoreyLinda & Robert GruberLorna HardyBetty & Stan HatchDr. Betty Helton

& Dr. Alex Weinstein

Magpie and the DandelionLife’s rich ephemerality. That’s what Magpie and the Dandelion is about. The things in life we can never repeat. People we will never see again. Relationships that run their course. Words that will never be spoken or sung in exactly the same way. That moment in a concert we experience only one time. Once. Then it’s over. Gone. Poof.

When the Avett Brothers went into the studio in early 2011 to begin recording their sprawling song cycle of the following year, The Carpenter, they actually brought in enough material for two albums. It was a heady, exciting session, new exper-iments attempted, used, discarded. But not everything fit neatly into The Carpenter’s grand narrative about love and life, aging and mortality. So the Brothers put the extra songs on a shelf and hit the road to perform for their fans.

It was a tough tour. That September, bassist Bob Crawford took a leave of absence after his baby daughter, Hallie, was diagnosed with a brain tumor. The next two years would continue to be challenging. Scott and Seth Avett’s beloved aunt, Alice Haas, would die from cancer, and Seth’s marriage would fall apart. The universal and remarkably mature truths the Brothers had explored on The Carpenter – in lyrics like, “If I live the life I’m given, I won’t be scared to die,” “You and I, we’re the same” and “We’re not of this earth for long” – had become very immediate and very personal.

In their 13 years of performing and touring, the Avett Brothers have spent lots of time thinking about variety, dynamics and song placement. Early on, they just wanted to

create the right mood and arc for frenetic shows full of ringing acoustic guitars and banjos, chirpy vocal harmonies, lots of hooting, hollering, hand-clapping and foot-stomping. Their earliest full-length studio albums for the Concord indie label Ramseur – Country Was (2002), A Carolina Jubilee (2003) and Mignonette (2004) – were fine documents of specific moments in time, but it wasn’t until the Avetts recorded Emotionalism in 2007, that they began thinking more in the tradition of great LPs from rock’s golden age – albums like The Band’s Music from Big Pink, or Neil Young’s 1972 classic, Harvest.

The Avett Brothers’ subsequent releases – I and Love and You in 2009, The Carpenter in 2012, and now Magpie and the Dandelion, all produced by Rick Rubin and released on American Recordings – have thrust the Brothers into the pantheon of quintessential American bands. When the Avetts think of variety, dynamics and song placement today, the results are more novelistic.

Perhaps the larger truth that Magpie achieves is showing that the Avett Brothers have grown far beyond their old pigeon-hole of being those quaint, foot-stomping, banjo-picking Southern boys who sparked a back-to-basics trend in rock. Says Seth Avett: “I think, genre-wise, we continue to give little attention to what’s said about us – you know, the banjos on the radio thing. At this point, that’s more of a humorous after-thought. The idea of there being a movement – if there is such a thing – I think we’re on the other side of that.”

Special thanks to

The Avett BrothersTUE, FEB 10 / 8 PM / ARLINGTON THEATRE

43

When Cécile McLorin Salvant arrived at The Kennedy Center in Washington, D.C., to compete in the finals of the 2010 Thelonious Monk International Jazz Competition, she was not only the youngest finalist, but also a mystery woman with the most unusual background of any of the participants. When she walked away with first place in the jazz world’s most prestigious contest, the buzz began al-most immediately. If anything, it intensified in the months leading up to the launch of her Mack Avenue Records debut, WomanChild, in 2013.

“She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace,” Wynton Marsalis asserts. “I’ve never heard a singer of her generation who has such a command of styles,” remarks pianist Aaron Diehl. “She radiates authority,” critic Ben Ratliff wrote in The New York Times in response to one of her post-competition performances. A few weeks later his colleague Stephen Holden announced: “Ms. McLorin Salvant has it all… If anyone can extend the lineage of the Big Three – Billie Holiday, Sarah Vaughan and Ella Fitzgerald – it is this 23-year-old virtuoso.”

Yet at almost every step of the way, McLorin Salvant has followed a different path from her peers. Born in Miami to a French mother and Haitian father, McLorin Salvant’s first language was French. She immersed herself in the classical music tradition, long before she turned to jazz – starting on piano at age 5 and joining the Miami Choral Society at age 8. When it came time for college, McLorin Salvant bypassed all the U.S. conservatories and jazz schools, heading instead to Aix-en-Provence in France, where she

continued to develop as a singer, but with an emphasis on classical and baroque vocal music as well as jazz.

There, thousands of miles away from jazz’s land of origin, McLorin Salvant entered into a fruitful partnership with reed player and teacher Jean-François Bonnel, first as a student and soon as a performer. Before returning to the U.S., she gave concerts in Paris, recorded with Bonnel’s quintet and immersed herself in the early jazz and blues vocal tradition. By the time she returned to her home country to take the stage in the Monk Competition, she had drawn on this unusual set of formative experiences in shaping a personal style of jazz singing, surprising and dramatic by turns.

After McLorin Salvant’s triumph at the Monk Competition, the jazz world eagerly awaited her first U.S. recording. Answering that call with WomanChild, McLorin Salvant drew on songs spanning three centuries of American music. “I like to choose songs that are a little unknown or have been recorded very few times,” McLorin Salvant notes. “While these songs aren’t recognized as standards, many should be because they are so beautifully crafted.”

The old and new rub shoulders throughout WomanChild, but this singer’s attitude is neither beholden to the past nor trying to anticipate the trends of the future. Her captivating singing is immersed in the immediacy of the present moment. That said, McLorin Salvant may have the deepest roots of any singer of her generation. She knows the sounds and styles of modern jazz but also possesses complete command of the classic blues and

Cécile McLorin Salvantand The Aaron Diehl TrioTHU, FEB 12 / 8 PM / CAMPBELL HALL

Aaron Diehl, pianoPaul Sikivie, bass

Event Sponsors: Luci & Rich Janssen

Education Sponsor: Sonquist Family Endowmentphot

o: Jo

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44

featuring Michelle Dorrance with original music from Toshi Reagon and BIGLovely

Dance series sponsored in part by Margo & Robert Feinberg and the Cohen Family Fund

early American vocal tradition. She has studied the entire recorded legacy of the great Bessie Smith (1894-1937), often called the “Empress of the Blues,” and also has deep familiarity with Valaida Snow, Bert Williams and other early masters of American music. For her, these musicians are exponents of living traditions that she has drawn into the orbit of her own work.

However, McLorin Salvant can’t be pinned down as a jazz traditionalist. Alongside fellow Monk Competition winner Jacky Terrasson, she has recorded works by John Lennon, Yoko Ono and Erik Satie and can sing in French, Spanish or English as the mood and situation warrant. Knowledgeable jazz fans will identify the influence and inspiration from some of the most distinctive modern jazz stylists, such as Betty Carter, Carmen McRae and Abbey Lincoln. She also has continued her studies of the classical and baroque tradition. In short, McLorin Salvant is a seeker and a creative spirit who is determined to push ahead, even while she shows an extraordinary command of the tradition that has preceded her.

In his article in The New York Times, critic Stephen Holden listed some of the virtues of McLorin Salvant’s singing: “perfect pitch and enunciation, a playful sense of humor, a rich and varied tonal palette, a supple sense of swing, exquisite taste in songs and phrasing, and a deep connection to lyrics.” Her musical skills are considerable, but they are matched by an interpretive ability that is almost more akin to an actor’s than a singer’s. She draws out the story hidden inside the song and can draw on the elements of her own personality and a full gamut of emo-tional stances – from the darkly troubling to the richly comic – in bringing lyrics to life.

“I want to get as close to the center of the song as I can,” McLorin Salvant explains. “When I find something beau-tiful and touching I try to get close to it and share that with the audience.”

Special thanks to

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The Blues Project

DorranceDance

Live Music and

Tap Dance

SAT, MAY 2 / 8 PM / GRANADA THEATRETickets start at $35 / $19 UCSB students

A Granada facility fee will be added to each ticket price

A&L: (805) 893-3535 Granada: (805) 899-2222 www.ArtsAndLectures.UCSB.edu

Ina Garten, the celebrated specialty food store maven and best-selling cookbook author, was once a nuclear budget analyst at President Carter’s White House. Garten left Washington, D.C., in 1978 to buy a 400-square-foot store called Barefoot Contessa in the Hamptons. Eighteen years later, Barefoot Contessa had grown to a 3,000-square-foot store in East Hampton, N.Y., and Garten decided it was time to shake things up. She sold the store to her chef and manager and began to write cookbooks.

Ina Garten’s first book, The Barefoot Contessa Cookbook, was published in 1999 and was one of the best-selling cookbooks of the year. She has since gone on to write seven phenomenally successful cookbooks, including Barefoot Contessa Parties!, Barefoot Contessa Family Style, Barefoot in Paris, Barefoot Contessa at Home, Barefoot Contessa Back to Basics and Barefoot Contessa, How Easy is That? Her eighth book, Barefoot Contessa Foolproof (Clarkson Potter, 2012), was an instant best-seller. Ina Garten’s ninth book is titled Make It Ahead: A Barefoot Contessa Cookbook (October 2014).

In 2002, Food Network approached Ina Garten to do a cooking show based on her cookbooks and her love of entertaining. She was reluctant but decided to challenge herself to do 13 shows. Today her Emmy-winning cooking show, Barefoot Contessa, is one of the highest rated shows on Food Network. Garten has also been a columnist at House Beautiful, Martha Stewart Living and O, the Oprah magazine. Ina Garten received the 2014 James Beard Foundation Broadcast and New Media Award in the category of Outstanding Personality/Host for her show Barefoot Contessa: Back to Basics (Food Network).

Garten lives in East Hampton, N.Y., with her husband, Jeffrey.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Pre-signed books will be available for purchase in the lobby

Special thanks to

Ina GartenAn Evening with the Barefoot ContessaTHU, FEB 19 / 8 PM / GRANADA THEATRE

Event Sponsored by an Anonymous Donor

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Cassandra Wilson is a jazz musician, vocalist, songwriter and producer from Jackson, Miss. She has been described by preeminent jazz critic Gary Giddins (longtime col-umnist for The Village Voice) as “a singer blessed with an unmistakable timbre and attack who has expanded the playing field” by incorporating blues, country and folk music into her work.

She began playing piano at 6, guitar by the age of 12 and was working as a vocalist by the mid-’70s, singing a wide variety of material. After moving to New York City in the early ’80s, Cassandra met saxophonist Steve Coleman and became one of the founding members of the M-Base Collective. She signed with Blue Note Records in 1992 and released a landmark album titled Blue Light ‘Til Dawn, which paved the way for a new generation of jazz singers seeking an approach and repertoire that challenges the supremacy of the Great American Songbook.

Wilson has continued interpreting vintage blues, country and folk music in fresh and creative ways up till the present day. Her awards include two Grammys, the Django D’Or, the Edison Music Award and the 2012 Echo Award for Jazz. She also received a marker on the Mississippi Blues Trail and performed one of the leading roles in Wynton Marsalis’ Blood on the Fields, the first jazz work to receive a Pulitzer Prize.

Special thanks to

Event Sponsors: Cristina & Erck Rickmers

Cassandra WilsonComing Forth by Day: A Celebration of Billie HolidaySUN, FEB 22 / 7 PM / CAMPBELL HALL

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Daniel Handler’s latest novel for adults is the highly anticipated We Are Pirates, which Bloomsbury will publish in February 2015. He is also the author of the novels The Basic Eight, Watch Your Mouth, Adverbs, and, with Maira Kalman, Why We Broke Up, which won the Michael J. Printz Honor. Handler also worked with Kalman on the book Girls Standing on Lawns and Hurry Up and Wait (May 2015).

As Lemony Snicket, he has written the best-selling series All The Wrong Questions, as well as A Series of Unfortunate Events, which has sold more than 60 million copies and was the basis of a feature film starring Jim Carrey and Meryl Streep, with Jude Law as Lemony Snicket.

Snicket is also the creator of several picture books, including the Charlotte Zolotow Award-winning The Dark, illustrated by Jon Klassen. His newest picture book is 29 Myths on the Swinster Pharmacy illustrated by Lisa Brown. Other Snicket titles include the picture book 13 Words, in collaboration with Maira Kalman, as well as Lemony Snicket: The Unauthorized Biography, The Beatrice Letters, Horseradish: Bitter Truths You Can’t Avoid, and two books for Christmas: The Lump of Coal and The Latke Who Couldn’t Stop Screaming: a Christmas Story.

His criticism has appeared in The New York Times, Newsday, The San Francisco Chronicle, and The Believer, where he has a column exploring the Nobel Prize in Literature titled “What The Swedes Read.” He recently wrote the inaugural dispatch for The Wall Street Journal’s new monthly feature on literary cocktails, “Message in a Bottle,” and the foreword for Tin House’s reissue of Bernard DeVoto’s The Hour. Handler has

worked as a screenwriter on the adaptation of A Series Of Unfortunate Events, as well as the independent films Rick, based on Verdi’s opera, Rigoletto, and Kill The Poor.

This year, Handler established, in partnership with the American Library Association, the Lemony Snicket Prize for Noble Librarians Faced With Adversity, which was awarded in Las Vegas in June. He hosted the National Book Awards in November 2014 in New York.

Handler works extensively in music, serving as the adjunct accordionist for the music group The Magnetic Fields and collaborating with composer Nathaniel Stookey on a piece commissioned and recorded by the San Francisco Symphony, entitled “The Composer Is Dead,” which has been performed all over the world and is now a book with CD. He is currently at work on a commission from the Royal Shakespeare Company on a stage musical in collaboration with songwriter Stephin Merritt.

He is a graduate of Wesleyan University and lives in his native San Francisco with his wife, illustrator Lisa Brown, and their son.

Books are available for purchase in the lobby and a signing follows the event

Daniel HandlerWho is Lemony Snicket? And Other Wrong QuestionsMON, FEB 23 / 8 PM / CAMPBELL HALL

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About the Program

I New ThenChoreography: Johan Inger Assistant Choreographer: Urtzi Aranburu Music: Van Morrison, “Madame George,” “The Way Young Lovers Do,” “I’ll Be Your Lover, Too,” “Sweet Thing,” “Crazy Love” Lighting: Tom VisserDécor: Johan IngerCostumes: Bregje van BalenWorld premiere Feb. 23, 2012, Lucent Danstheater, The Hague, the Netherlands

Johan Inger takes four girls and five boys to great heights on songs by Van Morrison. Not a group in unison but indi-viduals who rebel against the group – swinging their hips, falling in between the others and sheltering in a steel forest. Inger’s work breathes humor: It’s fresh and optimistic, rang-ing from comic and theatrical to earthy and organic.

Associate choreographer Johan Inger was born in Stockholm, Sweden, but found himself as a dancer and choreographer in The Hague. He joined Nederlands Dans Theater 1 in 1990 and made his choreographic debut with Mellantid in 1996. His NDT creations Dream Play (2000) and Walking Mad (2001) earned him the 2001 Lucas Hoving Productie award. Inger received the 2002 Merit Award from the Stichting Dansersfonds ’79. He was the artistic director of the Cullberg Ballet from 2003 to 2008.

- Intermission -

Shutters Shut A short study of the poem written and read by Gertrude Stein: “If I Told Him: A Completed Portrait of Picasso” (1923) Choreography: Sol León and Paul Lightfoot Lighting: Tom Bevoort World premiere March 6, 2003, Lucent Danstheater, The Hague, the Netherlands

Shutters Shut is a remarkable four-minute piece during which the dancers visualize the words of Gertrude Stein re-citing her poem “If I Told Him.” Setting the action to spoken words instead of music makes this piece all the more inter-esting. The body language blends seamlessly into the poem, sweeping you away with sheer beauty.

Paul Lightfoot (Kingsley, England) and Sol León (Córdoba, Spain) started creating with NDT 25 years ago. Together they won prestigious awards, such as the Benois de la Danse and the Herald Archangel. They have been house choreographers of NDT since 2002 and choreographed 50 pieces. In 2014-2015, they celebrate their anniversary with a program for both NDT 2 and NDT 1.

Sol León joined NDT 2 after graduating from the National Ballet Academy of Madrid in 1987. In 1989, she joined NDT 1 and danced masterpieces of Jiří Kylián, Hans van Manen, Mats Ek and Ohad Naharin. León became artistic advisor of NDT in 2012.

Nederlands Dans Theater 2TUE, FEB 24 / 8 PM / GRANADA THEATRE

Paul Lightfoot, Artistic Director

Dance series sponsored in part by Margo & Robert Feinberg and the Cohen Family Fund

Sponsored in part by

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Subject to Change is an expressive piece. Six dancers shine in an extremely beautiful ballet filled with emotions, vary-ing from an oppressive duet between a man and a fragile girl to a swirling group dance. The compelling music by Schubert and the gorgeous red carpet unrolling across the stage complement the dance. Subject to Change won the Dutch Zwaan award for Best Dance Production of 2003.

About the CompanyNederlands Dans Theater, guided by artistic director Paul Lightfoot, is one of the world’s leading contemporary dance companies. The Dutch troupe is based in The Hague, but performs on a yearly basis for an international audience of 115,000 visitors in Europe, the U.S., Asia and Australia. Since its founding in 1959, the pioneering company has built a rich repertoire of over 600 pieces by master choreographers Jiří Kylián and Hans van Manen; renowned house choreogra-phers Sol León and Paul Lightfoot; associate choreographers Crystal Pite, Johan Inger, Alexander Ekman and Marco Goecke; and high-profile guests such as Gabriela Carrizo, Hofesh Shechter, Sharon Eyal and Gai Behar.

In 1978, NDT founded a junior division to feed the main company with young talent. Over three years, NDT 2 pre-pares 16 classically trained dancers from around the world for NDT 1. Both companies are celebrated as two of the world’s sleekest, most distinctive dance ensembles. NDT 2’s varied repertoire consists of work by established chore-ographers as well as upcoming stars, such as Jiří Pokorný, Imre van Opstal and Marne van Opstal. One of the objec-tives of NDT 2 is to acquaint the dancers with a lexicon of dance languages.

www.ndt.nl/en YouTube: neddanstheater Facebook: NederlandsDansTheater Twitter: NDTdance

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Special thanks to

Paul Lightfoot was educated at The Royal Ballet School in London. He joined NDT 2 and after only two years he moved to NDT 1, where he danced until 2005. Lightfoot became artistic director of NDT in 2011.

Sara Choreography: Sharon Eyal and Gai Behar Assistant Choreographer: Doug Letheren Music: New composition by Ori Lichtik; “From Off to On” by The Knife Lighting: Tom Visser Decor and Costumes: Sharon Eyal and Gai BeharWorld premiere April 4, 2013, Lucent Danstheater, The Hague, the Netherlands

Choreographer Sharon Eyal and her partner DJ Gai Behar created Sara specifically for NDT 2. The choreography and composition of electronic sounds were created simultane-ously. Sara revolves around memories, dreams, emotions, inspiration, loneliness, sorrow, caring and sharing about life. “It springs from the subconscious but is very humane at the same time,” says Eyal. The mysterious dream world originates fully from the creators’ feelings and intuitions.

For 18 years, Sharon Eyal (Jerusalem) danced with the world-renowned Batsheva Dance Company of Ohad Naharin. Her work is inspired by his Gaga technique, where movement is felt from within rather than designed in front of a mirror. Two years ago, she and her partner Gai Behar (Jerusalem) started their own group L-E-V (“heart”). The duo’s work has given energetic, edgy Israeli dance a new relevance. Behar has worked as a producer in the underground scene in Tel Aviv, and that can be heard in the sound of their performances. In 2014-2015, they create their first choreography for NDT 1.

- Intermission -

Subject to Change Choreography: Sol León and Paul Lightfoot Staged by: Hedda Twiehaus Music: Franz Schubert, String Quartet No. 14 in D Minor, D. 810, “Death and the Maiden” (1824), second movement: Andante con moto; arranged for string orchestra by Gustav Mahler (1894) Decor and costumes: Sol León and Paul Lightfoot Lighting: Tom Bevoort World premiere March 6, 2003, Lucent Danstheater, The Hague, the Netherlands

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Event Sponsors: Tom Kenny, Susan McMillan, Caroline & Lauren and Kay McMillan

Cirque Mechanics Pedal PunkSUN, MAR 8 / 3 PM & 7 PM / CAMPBELL HALL

About the Program From the inventive Cirque Mechanics comes Pedal Punk, a Steampunk-inspired acrobatic whirlwind in which cycling is an escape from a technology-obsessed society. In Pedal Punk, we experience the excitement, artistry and thrill that occurs when a zany bike shop mechanic interacts with cyclists and bikes and repairs more than broken pieces. He creates wondrous machines that come to life and inspires us to find our inner Pedal Punk.

• The Gantry Bike, the show’s centerpiece, is a pedal-driven, roving mechanical marvel, a giant playground on wheels, elegant and versatile.

• The Gantry Trampoline Act, led by master trampolinist Wes Hatfield, is a daring adrenaline rush. The acrobats bounce, climb and play, all while the Gantry spins and moves.

• Male contortionist Windu seems to disassemble his body à la an urban break-dancer.

• BMX rider Blake Hicks is a master of his machine. He displays flashy technical prowess as he pulls off big tricks and extreme stunts, testing his limits every time.

Creative Director Chris Lashua spent most of his career on a BMX bike and inside a German Wheel. This new produc-tion showcases his innate passion and fascination for all things bicycles and cycling. The synergy between man and machine, the hallmark of Cirque Mechanics, is magnifi-cently on display in Pedal Punk. The New York Times called that synergy “exceptional, evocative, eye-catching and grossly entertaining… in a word, excellent.”

• Nata Ibragimov transforms playing with bike rims into a dynamic tango. She rolls and spins her hoops with rhythm and precision across the stage and high up in the air.

• A Classic Penny-farthing turns into an aerial duo act when the bike is lifted by Gantry power high above the stage.

• Jan Damm is a skillful comedic juggler and clown. His hysterically funny audience participation piece, a very clever stationary bike race, will create heroes in the crowd.

• Holland Lohse and Katie Ketchum perform a romantic unicycle dance that overwhelms the senses. Their balancing and pedaling tell a tale with dexterity, strength and passion.

A Few More Things to Know About the Show:

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known for his bold and often surprising use of space and for large-scale movement, Riley’s installations commonly reflect his lifelong obsession with gravity and Newtonian physics. His works have been installed from backyards to Broadway and continue to tour internationally. He is a founding member of Cirque Mechanics and his company Gravity Design, through which he has developed an arse-nal of specialized tools and pushed the bounds of perfor-mance as well as industrial safety. Riley is also the host of the National Geographic Television series World’s Toughest Fixes. www.visiblegravity.com, www.gravitydesign.org, www.cirquemechanics.com

Steven Ragatz, Writer/ArtistAn original Birdhouse Factory, Boom Town and Orchestra Project cast member and collaborator, Steven Ragatz has been entertaining audiences with his juggling, physical comedy, stilt walking and general antics for the past three decades. As a 10-year veteran of Cirque du Soleil, Steven has toured throughout North, South and Central America as well as Asia and Europe, performing multiple juggling acts and portraying an eclectic array of characters. His television credits include The Tonight Show with Jay Leno, The Rosie O’Donnell Show and The Today Show. And he has enjoyed seasonal appearances with the Indianapolis and Detroit symphonies, juggling in front of live orchestras.

Michael Picton, ComposerMichael Picton first ran off with the circus in 2000, as keyboardist with the European tour of Cirque du Soleil’s Quidam. Since then, he has become one of the musical voices of the Greatest Show on Earth, composing songs and score for Bellobration and Funundrum, the 137th and 140th editions, respectively, of the Ringling Bros. and Barnum & Bailey circus, and he has orchestrated the Dragone produc-tions Le Rêve (Las Vegas) and The House of Dancing Water (Macao). As the Grand Prize winner of the 2004 Turner Classic Movies Young Film Composers Competition, Michael was chosen from a field of over 600 composers to compose the epic score to the 1926 Greta Garbo silent film, The Temptress. Other film and TV work includes scores to the Marion Davies silent film The Red Mill, the indepen-dent feature Little Chenier, the Sci Fi Network series Flash Gordon and the theme to the VH1 series I Want to Work for Diddy, for which he was awarded a 2009 BMI Film and TV Music Award. He has scored numerous commercials and his music has defined the sound of networks such as PBS, CNN, Comedy Central, Discovery Channel, Sprout TV, FX Networks, Universal Network and the Biography Channel. Michael studied composition at McGill University in Montreal and he is currently based in Brooklyn.

About the Creative TeamChris Lashua, Creative Director/FounderCompany founder Chris Lashua hails from Boston, Mass., where he spent most of his youth riding on a BMX bike. He was discovered by Cirque du Soleil and created/performed a BMX bike act that was entirely his own. He was then com-missioned to build a German Wheel piece for the company, cementing his reputation as a visionary of circus gadgetry. His engineering chops and creative energy led him to run away with his own circus company, Cirque Mechanics. Chris believes that innovative mechanical apparatuses and the re-lationship between performer and machine set his company apart and are at the heart of what makes Cirque Mechanics unique. He has delivered on this unique relationship in Birdhouse Factory and Boom Town, the company’s two the-atrical productions. In Cirque Mechanics for the Orchestra, Chris explored the performer-machine relationship with the Gantry Bike, a self-contained, pedal-driven mechanical stage, worthy of the grand classical music featured in that show. In Pedal Punk, he continues to build on the might of the Gantry Bike by adding newly designed, inventive pedal-driven devices that interact with the performers. Chris masterfully merges his passion for cycling, circus and all things mechanical in an exceptionally playful and artful way.

Aloysia Gavre, Co-Director/ChoreographerAn original co-director and choreographer of Birdhouse Factory, Boom Town and Cirque Mechanics for the Orchestra and also an early member of the San Francisco-based Pickle Family Circus, Aloysia has been a movement, dance and circus enthusiast most of her life. She has studied with Pilobolus, The Tandy Beal Dance Company and Zacho Dance Theater and perfected her circus abilities with Master Lu-Yi of the San Francisco School of Circus Arts and L’Ecole Nationale du Cirque in Montreal. Aloysia was a fea-tured act in Cirque du Soleil’s O in Las Vegas and Quidam, in which she performed the aerial hoop act that earned the troupe a special prize at the Monte Carlo International Circus Festival in 2002. Aloysia is also co-founder of Cirque School LA, a place for “anybody with any body” to explore the circus arts. www.cirqueschoolla.com

Sean Riley, Set Designer/Artistic RiggerSean Riley has had a 20-year career combining suspension, kinetic movement and design with performance. Through scenic design, rigging design and mechanical design he creates unique performance environments. Concentrating his designs on site-specific and non-traditional work, Riley has created installations in collaboration with a wide spectrum of accomplished artists and collaborators. Being

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Aida Lashua, Co-Producer/CollaboratorAida has been Chris’ co-producer and creative partner in life and work for over 20 years. This partnership has led her to develop an appreciation for business and a passion for the circus arts. Aida manages the day-to-day operations of company and family with poise; she is a creative force and a stabilizing influence. Aida’s background in direct marketing allows her to use a targeted message approach in the devel-opment of the company’s website and social media presence. As a mother of three boys, Aida is an avid supporter of the educational component and community outreach programs offered by Cirque Mechanics. She has written the education outreach support materials and study guides and developed the structure of the educational workshops. Aida hopes to one day become a published writer.

Special Thanks Aida and our three sons, Zion, Quinn and Iago, for their unconditional love and support, their encouragement and for adopting my love of machines and exploration. For their never-ending act ideas, narrative and plot discussions. And for pedaling through life beside me. To dad and mom for making me believe anything IS possible.

Our cast and crew for their tireless efforts, incredible imagi-nation and collaborative spirit. Gilles Ste-Croix for discover-ing my potential and encouraging me through the years, Neil Benson and his team at Opus3 Artists for delivering on the vision for our company and believing in our creative process. Armand Thomas (my consigliere) for his continuing support of me, my family and our projects. Bo Bogatin for keeping us honest and legal. Andy Espo for his friendship, clear head and objectivity. John Henry for his dedication and work ethic. Brian Schuette and the boys at United Machine for fab-ricating and creating and trusting me with their equipment. Our friends and family at Cirque du Soleil for continuing to set the bar higher.

It is my life’s thrill to get to build a circus with my friends and call it work. Creating this show was an invigorating, challeng-ing and at times frightening journey. The days were long but encouraging, uplifting and exhausting. But most of all, they were a blast. I hope you get half as much enjoyment watching as we had in creating. Thanks for coming!

Special thanks to

Lisa Ragatz, Costume DesignerLisa Ragatz studied opera and ballet costuming at Indiana University and has 30 years of experience in costume design and construction for opera, dance, ice skating and circus arts. She has worked as a costumer for Cirque du Soleil at Treasure Island, Cirque du Soleil Special Events, Bietak Productions, Busch Gardens, Indiana University School of Music, Celebration Barn Theater, The Oddfellows Theater, Under the Umbrella and for several Cirque Mechanics productions, including Birdhouse Factory (2004-2007), Mechanical Action (Philippines, 2007), the Gantry Project (2012), the Symphony Project (2014), and most recently, Pedal Punk (2014). Lisa lives in Bloomington, Ind., with her husband, Steven; son, Andrew; and cat, Mrs. Mears.

Anthony Powers, Lighting DesignerAnthony has designed productions throughout the U.S., Asia, South America and Europe. For the past few years, he has designed the lighting and managed productions for corpo-rate and live events as well as national broadcast events and music festivals for a vast array of clients and talent. Anthony is also the undisputed karaoke king of Nome, Alaska. He currently lives in sunny Oakland, Calif., with his amazing, robot-designing, rocket ship-building wife and the cutest little dog you will probably ever see – The Lemmy. Anthony is as passionate about metal (especially old-school thrash) as he is about lighting, and you can often find him by simply following the loudest music in the building. He would like to give all praises to ODIN, the Allfather, King of the Nine Realms and Lord of the Aesir. His design work can be seen at anthonypowers.virb.com.

Bryan Rosenbaum, Assistant to the ComposerIn 1996, vocalist and multi-instrumentalist Bryan Rosenbaum launched his music career in Los Angeles, mak-ing a name for himself in the underground subculture of the rave and club scene. In 2000, he accompanied Michael Franti and Spearhead on an adventure around the globe. Bryan has composed and/or performed with artists such as Los Lobos, Ozomatli, Perry Ferrel and Ivan de Prume (White Zombie), and at Coachella, the Billboard Music Awards and more. Bryan has opened up for Primus, Tool, Stanley Clark, Jane’s Addiction and Sublime. Bryan now resides in Las Vegas working with Down By Day, an up-and-coming original electro punk band. His work has been used in commercials, theater, circus and Broadway shows. Bryan is currently teach-ing music production and live performance on Ableton Live.

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Dance series sponsored in part by Margo & Robert Feinberg and the Cohen Family Fund

The Joffrey BalletTUE, MAR 10 / 8 PM / GRANADA THEATRE

Ashley Wheater, Artistic Director

IncantationsChoreography by Val CaniparoliMusic by Alexandre Rabinovitch-BarakovskyScenic and Costume Design by Sandra WoodallLighting Design by Lucy Carter, Recreated by Jack Mehler World premiere: The Joffrey Ballet, April 25, 2012, The Auditorium Theatre, Chicago

- Intermission -

Son of Chamber SymphonyChoreography by Stanton WelchMusic by John AdamsCostume Design by Travis Halsey Lighting Design and Scenic Concept by Jack Mehler By arrangement with Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright owner.World premiere: The Joffrey Ballet, Aug. 22, 2012, Jacob’s Pillow, Becket, Mass.

- Intermission -

Episode 31Choreography by Alexander EkmanMusic by Mikael Karlsson, Ane Brun & Erik SatieStaged by Zack Winokur Costume Design by Luke Simcock Lighting Design by Jack Mehler“Do You Remember,” Ane Brun. Used by permission of Sony/ATV Music Publishing, LLC. All rights reserved.World premiere: Dec. 14, 2011, Peter Jay Sharp Theatre, New York, N.Y.Joffrey premiere: Aug. 22, 2013, Chicago Dancing Festival, Auditorium Theatre of Roosevelt University, Chicago

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Son of Chamber SymphonyWhen it came to selecting music for his new work for The Joffrey Ballet, Stanton Welch began by looking for a variety of pieces to offer to Ashley Wheater. During that process one piece really caught his imagination: Son of Chamber Symphony by John Adams. Welch thought that John Adams’ deconstruction of the music was like looking at the inner workings of a clock. He found the music inspired him to move in both expected and unexpected ways.

While listening to the music, Welch began to see the structure of his future ballet. As a choreographer, he likes to strip away the layers and show the dancers at the edge of their ability, riding the top of their physical wave. Just as the composer took a classical musical structure and decon-structed it, so the choreographer takes standard ballet tra-ditions and opens them out to discover new interpretations and greater awareness. Throughout the ballet there are references to many classical works (more inspirations than direct quotes), which are turned inside out and evolved. Welch wants the audience to feel familiar with what they are seeing, but it’s not important for them to know exactly why.

Welch says that “so much of ballet is about hiding the difficulties and seeking to attain seamless movement. Here I want to show the seams.” The costuming underscores this, too. Recognizable forms are literally turned inside out and show the inner construction marks and understructure of the garments. The women wear recognizable but stylized tutus, the geometric shape of which forms an integral part of the movement and choreographic structure.

The ballet opens with one woman in a tutu – the quint-essential ballet costume – surrounded by four men. This could be the set up for the Rose Adagio from Sleeping Beauty, but see how quickly this allusion is shattered and the choreography takes off in new directions. The second movement is a pas de deux, another essential element of most classical ballets, but many things are going on here. It is more than just a dance for two; there is struggle and complexity. The final movement contains allusions to a corps de ballet of swans, but the dynamics and thrust of the work reveal so much more. Welch has given the group of women steps that would normally be given to principal dancers. He feels an obligation to keep moving classical art forward and to challenge the dancers in a way that allows them to grow. But it is not only about athleticism; Welch also looks for sensuality in his choreography.

About the Program

IncantationsIn Incantations, Val Caniparoli creates an exciting spectacle set to the exhilarating rush of Alexandre Rabinovitch-Barakovsky’s score of the same name, which features chimes and otherworldly sounds. The piece is vividly de-signed by Sandra Woodall (whose spiral-patterned leotards echo both the choreography and the silvery coils hanging above the stage), with magically sculptural lighting by Lucy Carter.

Said composer Alexandre Rabinovitch-Barakovsky of his intriguing score, “I conceived the Incantations as a sort of very intense panting prayer, spread out over one very long breath… musical fleetness is a very unsettling element, synonymous with the fragility of existence.”

Caniparoli seemingly pulls the movements directly out of the score as if the dance steps were embedded in the music, just waiting to emerge. He describes a vortex, a circular en-ergy he detects in the score that partly inspires his choreog-raphy. “I also discovered that a lot of this composer’s work has spiritual and religious themes. That influenced me and the design team, including these Buddhist incense coils that are scenically represented in the piece.”

Wrote reviewer Hedy Weiss of the ballet in the Chicago-Sun Times: “It gradually builds into something altogether hypnotic and deeply sensual with the use of various circling patterns, turns, centrifugal spins and glides. This is a work that surely will continue to reveal its secrets in much-anticipated repeat performances.”

Margaret Eva from Chicago Critic remarked: “Tonight the world premiere of Incantations took the amazing musi-cal notes right off the page and translated them onto the Auditorium stage. At times the dancers seemed no longer people, but musical notes with ‘circular energy’ moving with each and every booming or subtle sound coming from the orchestra. It is hard to recall another piece that so closely defines the meaning of ballet.”

Incantations is pure dance magic, that moment when everything – music, choreography, performance – is in harmony.

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Ashley Wheater, Artistic DirectorBorn in Scotland and raised in England, Ashley Wheater was trained at The Royal Ballet School. Wheater began his professional career with The Royal Ballet and danced at the London Festival Ballet, The Australian Ballet, The Joffrey Ballet and San Francisco Ballet. In 1997, he became ballet master at the San Francisco Ballet and, in 2002, assistant to the artistic director.

In 2007, Wheater was appointed artistic director of The Joffrey Ballet. New work is the life blood of a company, and he has introduced numerous premieres to the repertoire. In 2008, the Boeing Corporation recognized his commit-ment to community outreach and diversity in the world of dance, presenting him the “Game Changer” award. In 2010, Wheater, representing The Joffrey Ballet, was named Lincoln Academy Laureate, the highest honor presented by the state of Illinois. The Chicago Tribune selected Wheater as 2013 “Chicagoan of the Year” for his contributions to dance.

Val Caniparoli, ChoreographerVal Caniparoli’s versatility has made him one of the most sought-after American choreographers in the U.S. and abroad. He has contributed to the repertories of more than 40 dance companies, including The Joffrey Ballet, Scottish Ballet, Pacific Northwest Ballet, Boston Ballet, Louisville Ballet, Northern Ballet Theatre, Pennsylvania Ballet, Royal Winnipeg Ballet, Ballet West (resident choreogra-pher 1993-1997), Washington Ballet, Israel Ballet, Oregon Ballet Theatre, Cincinnati Ballet, Singapore Dance Theatre, Atlanta Ballet, State Theatre Ballet of South Africa and Tulsa Ballet.

Caniparoli is most closely associated with San Francisco Ballet, his artistic home for over 35 years. He began his career under the artistic directorship of Lew Christensen, and in the 1980s was appointed resident choreographer of San Francisco Ballet. He continues to choreograph for the company under Artistic Director Helgi Tomasson.

Caniparoli has created a body of work that is rooted in clas-sicism but influenced by all forms of movement: modern dance, ethnic dance, social dancing and even ice skating. His extensive knowledge and appreciation of music is reflected in the range of composers that have inspired his choreography, which range from Jimi Hendrix to Chopin.

Lady of the Camellias, choreographed in 1994 and co-pro-duced by Ballet Florida and Ballet West, was Caniparoli’s first full-length work. He has also choreographed The

Episode 31Episode 31 by Swedish choreographer Alexander Ekman expends the high energy levels of dancers to maximum effect in a witty, immersive and imaginative piece of dance theater. Ekman’s seemingly haphazard choreography con-notes the busy confusion of an urban lifestyle, emphasizing the relentless commitment of the talented, young dancers. Yells; chants; quick, quirky jerks – all lend to Ekman’s focus of this piece to push dancers beyond their comfort zone in an effort to have them reach the depths of their potential.

A wonderfully dramatic playground, Episode 31 brings a youthful approach to dance with a robust sense of humor. It contrasts pumping, almost tribal sequences with strong balletic poses that show off the dancers’ youth and vigor. For the dancers, Episode 31 has been about studying how the piece works in different settings: created in a studio, experimented with in Chicago streets and, finally presented in a performance on stage. The audience will be captivated as Episode 31 opens the dancers’ eyes and minds to all the choreographic possibilities that lie ahead in this eclectic performance.

About the CompanyThis year, The Joffrey Ballet celebrates its 20th anniversary of being in Chicago, and in 2016, its 60th company anni-versary. Classically trained to the highest standards, The Joffrey Ballet expresses a unique, inclusive perspective on dance, proudly reflecting the diversity of America with its company, audiences and repertoire, which includes major story ballets, reconstructions of masterpieces and contem-porary works.

The company’s commitment to accessibility is met through its extensive touring schedule; an innovative and highly effective education program, including the much-lauded Academy of Dance, official school of The Joffrey Ballet; Community Engagement programs; and collaborations with myriad other visual and performing arts organizations.

Founded by visionary teacher Robert Joffrey in 1956 and guided by celebrated choreographer Gerald Arpino from 1988 until 2007, The Joffrey Ballet continues to thrive under internationally renowned Artistic Director Ashley Wheater and Executive Director Greg Cameron.

To learn more, please visit joffrey.org.

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at the late age of 17, quickly winning a scholarship to San Francisco Ballet School. In 1989, he was engaged as a dancer with The Australian Ballet, where he rose to the rank of lead-ing soloist, performing such principal roles as Des Grieux in Sir Kenneth MacMillan’s Manon, Lensky in John Cranko’s Eugene Onegin, Camille in Ronald Hynd’s The Merry Widow and Alan Strang in Equus. He has also worked with interna-tionally acclaimed choreographers such as Jiří Kylián, Nacho Duato and Maurice Béjart.

Welch’s choreographic career developed during his time with The Australian Ballet. In 1990, he received his first choreographic commission from the company, marking the beginning of a series of commissioned works over the next 14 years and developing his diverse choreographic style. For The Australian Ballet he created The Three of Us (1990); Of Blessed Memory (1991); Divergence (1994); full-length pro-ductions of Madame Butterfly (1995) and Cinderella (1997); Red Earth (1996); X (1999) and Velocity (2003). He created a new Sleeping Beauty for The Australian Ballet, which pre-miered in 2005. Madame Butterfly has become a signature work for Welch and is in the repertoires of Houston Ballet, National Ballet of Canada, Atlanta Ballet, Singapore Dance Theatre, Boston Ballet, Pittsburgh Ballet Theater and The Royal New Zealand Ballet. In 1995, Welch was named resident choreographer of The Australian Ballet. That same year, he was commissioned to create Corroboree for The Australian Ballet to perform at United We Dance, a dance festival in San Francisco celebrating the 50th anniversary of the signing of the United Nations Charter.

Welch has been extremely active internationally, receiving numerous commissions from the world’s leading compa-nies. For Houston Ballet, he has choreographed eight works: Indigo (1999), Bruiser (2000), Tales of Texas (2004), Blindness (2004), Bolero (2004), Nosotros (2005), Brigade (2006) and a spectacular new staging of Swan Lake (2006). For San Francisco Ballet: Maninyas (1996), Taiko (1999), Tutu (2003) and Falling (2005). For American Ballet Theatre: Clear (2001), two songs from Within You Without You: A Tribute to George Harrison (2002) and a new version of Carmina Burana as part of the evening-length work HereAfter (2003). For BalletMet: Evolution (2004) and Don Quixote (2003), both full-length works. For Atlanta Ballet: A Dance in the Garden of Mirth (2000). For Royal Danish Ballet: Ønsket (1998) and Ander (1999). For Birmingham Royal Ballet: Powder (1998). For Nina Ananiashvili’s Moscow Dance Theatre: Green (2000) and OPUS X (2001). Welch has also staged works for Colorado Ballet, Cincinnati Ballet, Tulsa Ballet, Texas Ballet Theater, The Royal Ballet School, Singapore Dance Theatre, The Royal New Zealand Ballet and Fugate/Bahiri Ballet NY.

Nutcracker (2001) for Cincinnati Ballet and Val Caniparoli’s A Cinderella Story, set themes by Richard Rodgers, for Royal Winnipeg Ballet (2004). In 2009, he created a new version of The Nutcracker for Louisville Ballet. Caniparoli has choreographed operas for three of this country’s major companies: Chicago Lyric Opera, San Francisco Opera and the Metropolitan Opera. In addition, he has worked on several occasions with the San Francisco Symphony, most memorably on the Rimsky-Korsakov opera-ballet Mlada, conducted by Michael Tilson Thomas – a major success of the 2002 Russian Festival. In 2005, he received rave reviews for his choreography in Carey Perloff ’s new production of A Christmas Carol at San Francisco’s esteemed American Conservatory Theatre (A.C.T.). Additional work with A.C.T. includes choreography for Ibsen’s A Doll’s House, ’Tis Pity She’s a Whore and the creation, with Carey Perloff, of a new movement-theater piece, Tosca Café.

The recipient of 10 grants for choreography from the National Endowment for the Arts, Caniparoli was also awarded an artist fellowship from the California Arts Council in 1991. He has twice received the Choo-San Goh Award from the Choo-San Goh and H. Robert Magee Foundation. One of his most performed works, Lambarena, was nominated for the Benois de la Danse Award from the International Dance Association at a gala at the National Theater of Warsaw in 1997. Dance Bay Area acknowledged Caniparoli’s contributions to the local dance scene with an Isadora Duncan Award for Sustained Achievement in 1996 and twice for Outstanding Choreography.

Born in Renton, Wash., Caniparoli opted for a professional dance career after studying music and theater at Washington State University. In 1972, he received a Ford Foundation Scholarship to attend San Francisco Ballet School. He per-formed with San Francisco Opera Ballet before joining San Francisco Ballet in 1973. He continues to perform with the company as a principal character dancer.

Stanton Welch, ChoreographerIn 2003, the acclaimed Australian choreographer Stanton Welch assumed leadership of Houston Ballet, America’s fourth largest classical ballet company. Welch is one of the most sought-after choreographers of his generation, having created works for prestigious international companies such as Houston Ballet, San Francisco Ballet, American Ballet Theatre, The Australian Ballet, Birmingham Royal Ballet and Royal Danish Ballet.

Welch was born in Melbourne to Marilyn Jones, O.B.E., and Garth Welch, A.M., two of Australia’s most gifted danc-ers of the 1960s and 1970s. In 1986, he began his training

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Alexander Ekman, ChoreographerBorn in Sweden in 1984, Alexander Ekman began his dance training at the age of 5, started studying profes-sionally at age 11 and joined the Royal Swedish Ballet at the age of 16. While attending a choreography workshop at Nederlands Dans Theater in 2005, Ekman caught the attention of the instructors for his original style. By 2006, Ekman was completely devoted to choreography and presented his breakout work, Flockwork, for which he also created music and scenography. Ekman is known for his fast-paced timing and witty humor and clever transitions. He aims to create work which the majority can connect to, featuring relatable subjects.

Since 2006, he has devoted his time creating pieces that both entertain and question the observer. He aims to transform the atmosphere in the auditorium and to always surprise the audience.

In recent years, this creative master hasn’t slowed down; he is sought after on all continents for commissioned work and has created pieces for international dance festivals. He has also proven to be a multi-talented artist, translating his passion into other art media, with collaborations includ-ing a video dance projection for the play HallPlats and an installation for the Museum of Modern Art in Stockholm featuring a Cullberg Ballet dancer. In 2014, Ekman’s A Swan Lake premiered with Norwegian National Ballet to critical acclaim.

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Special thanks to

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FRI, APR 17 / 7 PM (note special time) / GRANADA THEATRETickets start at $45 / $15 UCSB students

A Granada facility fee will be added to each ticket price

A&L: (805) 893-3535 Granada: (805) 899-2222 www.ArtsAndLectures.UCSB.edu

The Mutter- Bronfman- Harrell Trio

Anne-Sophie Mutter, violin Yefim Bronfman, piano Lynn Harrell, cello

SantaBarbaraDebut

Program

Beethoven: Piano Trio in B-flat Major, op. 97 (“Archduke”)Tchaikovsky: Piano Trio in A Minor, op. 50

This exceptional encounter between three of the world’s most highly regarded classical virtuosos follows their appearance the same week at Carnegie Hall!

Two of South Africa’s true freedom fighters and renowned musical icons come together to honor 20 years since the start of democracy in South Africa, and the official end of apartheid. In a collaborative performance with a band, Hugh Masekela and Vusi Mahlasela will pay homage in 20 Years of Freedom, featuring South Africa’s Freedom Songs, including many of their own. While both artists have been like-mind-ed musical comrades at home in South Africa for years and shared the stage on several occasions, this marks their debut tour joining forces together.

Vusi Mahlasela, simply known as “The Voice” in his home country, is celebrated for his distinct, powerful voice and his poetic, optimistic lyrics. His songs of hope connect apart-heid-scarred South Africa with the promise for a better fu-ture. Raised in the Mamelodi Township, where he still resides, Vusi became a singer-songwriter and poet-activist at an early age teaching himself how to play guitar and later joining the Congress of South African Writers. After the release of his popular debut album on BMG Africa, When You Come Back, Vusi was asked to perform at Nelson Mandela’s inaugura-tion in 1994. Vusi has shared the stage with Dave Matthews Band, Sting, Paul Simon and Taj Mahal, among many others. Perhaps his biggest gig was in 2010 when he helped ring in the World Cup at Orlando Stadium in Soweto, South Africa. Vusi has released seven studio albums to date; his latest re-lease is Sing to the People (ATO Records).

Hugh Masekela is a world-renowned flugelhornist, trum-peter, bandleader, composer, singer and defiant political

voice who remains deeply connected at home, while his international career sparkles. In 1968, his instrumental single “Grazin’ in the Grass” went to No. 1 on the American pop charts and was a worldwide smash, elevating Hugh onto the international stage. His subsequent solo career has spanned five decades, during which time he has released over 40 albums and has worked with diverse artists such as Harry Belafonte, Dizzy Gillespie, The Byrds, Fela Kuti, Marvin Gaye, Herb Alpert, Paul Simon, Stevie Wonder and the late Miriam Makeba. In 1990, Hugh returned home, following the repeal of the ban of the African National Congress and the release of Nelson Mandela – an event anticipated in Hugh’s anti-apart-heid anthem “Bring Home Nelson Mandela” (1986), which had been a rallying cry around the world.

Hugh Masekela & Vusi Mahlasela20 Years of Freedom FRI, MAR 13 / 8 PM / CAMPBELL HALL

Hugh Masekela, flugelhorn and lead vocalsVusi Mahlasela, guitar and lead vocals Francis Fuster, percussion Ian Herman, drumsBakithi Kumalo, bassMongezi Ntaka, guitarRandal Skippers, keyboards

North American Agency for Hugh Masekela Opus 3 Artists 470 Park Ave. South New York, NY 10016 Tel: 212-584-7500 www.opus3artists.com

Worldwide Management Josh Georgiou Semopa Entertainment Josh Georgiou josh@88.co.za Tel: +27 (0) 82 881 8565

Management for Vusi Mahlasela Red Light Management Ann Kingston Tel: 434-245-4940 Ann@RedLightManagement.com

International Music Network 278 Main St. Gloucester, MA 01930 www.imnworld.com

Special thanks to

Tour Production: Rapelang Eugene Leeuw, Band Manager

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Robert Gates served as the 22nd secretary of defense (2006-2011) and is the only secretary of defense in U.S. history to be asked to remain in that office by a newly elected president. President Barack Obama was the eighth president Gates served. On Gates’ last day in office, President Barack Obama awarded him the Presidential Medal of Freedom, America’s highest civilian honor.

Before becoming secretary of defense in 2006, Gates was the president of Texas A&M University. Prior to assuming the Texas A&M presidency in 2002, he served as interim dean of the George Bush School of Government and Public Service at Texas A&M from 1999 to 2001.

Gates joined the Central Intelligence Agency in 1966 and spent nearly 27 years as an intelligence professional. During that period, he spent nearly nine years at the National Security Council, the White House, serving four presidents of both political parties.

Gates served as the director of Central Intelligence from 1991 to 1993. He is the only career officer in CIA’s history to rise from entry-level employee to director. He served as deputy director of Central Intelligence from 1986 until 1989 and as assistant to the president and deputy national security adviser from 1989 to 1991, for President George H.W. Bush.

Gates has been awarded the National Security Medal and the Presidential Citizens Medal. He has received the National Intelligence Distinguished Service Medal and the Distinguished Intelligence Medal, the CIA’s highest award, three times each.

He has authored two memoirs: Duty: Memoirs of a Secretary at War (2014), an account of his experience serving presi-dents George W. Bush and Barack Obama during the wars in Iraq and Afghanistan, and From the Shadows: The Ultimate Insider’s Story of Five Presidents and How They Won the Cold War (1996), which details his career as a CIA officer at the center of power during a time when the threat of global anni-hilation informed America’s every move.

Gates currently serves on the board of directors of Starbucks and is partner in the consulting firm RiceHadleyGates LLC with former Secretary of State Condoleezza Rice. He has also served on the board of directors and executive committee of the American Council on Education, the board of directors of the National Association of State Universities and Land-Grant Colleges and is president of the Boy Scouts of America.

In 1967, he was commissioned a second lieutenant in the U.S. Air Force and served as an intelligence officer at Whiteman Air Force Base in Missouri.

Pre-signed books are available for purchase in the lobby

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Event Sponsors: Susan & Craig McCaw

Robert Gates The Challenges Facing the United StatesTHU, MAR 19 / 8 PM / GRANADA THEATRE

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Chick CoreaAn NEA Jazz Master and 20-time Grammy winner, prolific Chick Corea has attained iconic status in jazz. The key-boardist is a DownBeat Hall of Famer as well as the fourth-most nominated artist in Grammy Award history with 63 nods – and 20 wins, in addition to a number of Latin Grammys. From straight-ahead to avant-garde, bebop to fusion, children’s songs to chamber and symphonic works, Chick has touched an astonishing number of musical bases in his career since playing with the electric bands of Miles Davis in the late ’60s and early ’70s. Yet Chick has never been more productive than in the 21st century, wheth-er playing acoustic piano or electric keyboards, leading multiple bands, performing solo or collaborating with a Who’s Who of music. Underscoring this, he has been named Artist of the Year twice this decade in the DownBeat Readers Poll.

Chick’s classic albums as a leader or co-leader include Now He Sings, Now He Sobs (with Miroslav Vitous and Roy Haynes; Blue Note, 1968), Paris Concert (with Circle: Anthony Braxton, Dave Holland and Barry Altschul; ECM, 1971) and Return to Forever (with Return to Forever: Joe Farrell, Stanley Clarke, Airto Moreria and Flora Purim; ECM, 1972), as well as Crystal Silence (with Gary Burton; ECM, 1973), My Spanish Heart (Polydor/Verve, 1976), Remembering Bud Powell (Stretch, 1997) and Further Explorations (with Eddie Gomez and Paul Motian; Concord, 2012). A venturesome collaborator, Chick has teamed with artists from jazz legend Lionel Hampton to new-generation pianist Stefano Bollani, from banjoist

Béla Fleck to vocal superstar Bobby McFerrin. Chick’s duo partnerships with Gary Burton and Herbie Hancock have endured decades.

The latest release from Chick ranks as a new classic in his discography: Trilogy, a live triple-disc set with bassist Christian McBride and drummer Brian Blade (Concord, 2014). Nominated for two Grammys, the album documents this trio interpreting classic Chick compositions (such as “Spain”), plus previously unreleased pieces by the pianist (“Piano Sonata: The Moon”), an array of jazz standards and even a prelude by Alexander Scriabin.

In 2012, Chick’s most recent album with vibraphonist Gary Burton, Hot House (Concord), marked the fifth decade of their duo. It earned the pianist his 19th and 20th Grammy wins. Rare for a jazz musician, Chick received the Richard J. Bogomolny Award from Chamber Music America in 2010, and he broke new ground as a composer with The Continents: Concerto for Jazz Quintet and Chamber Orchestra, released in 2013 by Deutsche Grammophon. Chick recorded his first album of solo piano in 1971, and he continued his intimate journey with the instrument on Solo Piano – Portraits (Concord, 2014).

For a sold-out tour and live album in 2008, Chick recon-vened his pioneering jazz-rock fusion band Return to Forever, which he founded in 1972. The core of the band – Chick with original member Stanley Clarke and veteran Lenny White – produced a Grammy-winning acoustic

Event Sponsors: Cristina & Erck Rickmers Anne & Michael Towbes

Chick Corea & Herbie HancockSUN, MAR 22 / 7 PM / GRANADA THEATRE

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Shock, again struck platinum, and the single “Rockit” rocked the dance and R&B charts, winning a Grammy for Best R&B Instrumental. Their follow-up album, Sound-System, received a Grammy in the same category.

The legendary Headhunters reunited in 1998, recording an album for Hancock’s own Verve-distributed imprint and touring with the Dave Matthews Band. That year also marked the recording and release of Gershwin’s World with collaborators Joni Mitchell, Stevie Wonder, Kathleen Battle, the Orpheus Chamber Orchestra, Wayne Shorter and Chick Corea. Gershwin’s World won three Grammys in 1999, including Best Traditional Jazz Album and Best R&B Vocal Performance for Stevie Wonder’s “St. Louis Blues.”

In 2007, Hancock recorded and released River: The Joni Letters, a tribute to longtime friend Joni Mitchell, in collaboration with numerous musicians and vocalists. The album garnered three Grammy Awards, including Album of the Year; Hancock is one of only a handful of jazz musicians ever to receive that honor. He followed that with Herbie Hancock’s The Imagine Project, which won two 2011 Grammy Awards for Best Pop Collaboration and Best Improvised Jazz Solo.

Hancock serves as creative chair for jazz for the Los Angeles Philharmonic and chairman of the Thelonious Monk Institute of Jazz. He is a founder of the International Committee of Artists for Peace and has been designated Commandeur de l’ordre des Arts et des Lettres by the French government and a UNESCO Goodwill Ambassador.

Hancock was a 2013 Kennedy Center Honoree and the 2014 Norton Professor of Poetry at Harvard University, where he delivered a six-week lecture series, “The Ethics of Jazz.” His long-awaited memoir, Herbie Hancock: Possibilities, was published by Viking in the fall. Now in the fifth decade of his professional life, Herbie Hancock re-mains where he has always been: in the forefront of world culture, technology, business and music.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Special thanks to

album in 2011 with Forever (Concord). Then a new version of Return to Forever – with Clarke, White, Jean-Luc Ponty and Frank Gambale – toured the world to acclaim, yielding the live CD/DVD The Mothership Returns (Eagle Rock, 2011). In another celebration of kindred spirits, Chick co-led the Five Peace Band with guitarist John McLaughlin, his fellow Miles Davis alum. The group won a Grammy for Five Peace Band Live (Concord, 2009), and the New Zealand Herald praised the quintet live as “jazz without compromise, invention without fear.”

For the 2013 album The Vigil (Concord), Chick put togeth-er a new-era fusion quintet, featuring himself on synthesiz-ers and longtime associate Tim Garland on reeds along-side some hot young players. A review in The Guardian is indicative of this artist’s questing path, no matter his accomplishments and awards: “Chick Corea sounds on scintillating form… This full-on set is all about celebrating and reinventing, not polishing silverware.”

www.chickcorea.com

Herbie HancockHerbie Hancock is a true icon of modern music. Throughout his explorations, he has transcended limita-tions and genres while maintaining his unmistakable voice. With an illustrious career spanning five decades, an Oscar (Round Midnight) and 14 Grammy Awards, he continues to amaze audiences across the globe.

There are few artists in the music industry who have had more influence on acoustic and electronic jazz and R&B than Herbie Hancock. Born in Chicago in 1940, Hancock was a child piano prodigy who began playing jazz in high school. He was discovered by trumpeter Donald Byrd, eventually signing as a solo artist with Blue Note, where his solo career blossomed with classic albums like Maiden Voyage, Empyrean Isles and Speak Like a Child. His score for Michelangelo Antonioni’s 1966 film Blow Up led to a successful career in feature film and television music.

After performing and recording with the Miles Davis Quintet for five years, Hancock put together a new band called The Headhunters. Their 1973 disc Head Hunters be-came the first jazz album to go platinum. During the 1970s, Hancock had a total of 11 albums in the pop charts, an output that inspired and provided samples for generations of hip-hop and dance music artists.

In 1983, a new pull to the alternative side led Hancock to a series of collaborations with Bill Laswell. The first, Future

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VALENTINE’S DAY TRIANGLE OF LOVERobert and Clara Schumann along with Johannes Brahms were music’s most celebrated love triangle. Rediscover their music through their love letters read live from the stage by actor Peter Strauss. February 14 & 15.

IMPRESSIONS OF SPAINEnjoy soprano Maria Rey-Joly, a sensation in Spain, for an evening of Zarzuela and other popular Spanish music. March 14 & 15.

THE NEW WORLDExplore how the American experience made its mark on composers and artists from around the world as Russian violinist Philippe Quint joins the Symphony in performing the works of Hirokazu Tanaka, Erich Wolfgang Korngold and Antonin Dvorák. APRIL 11 & 12.

PORGY AND BESSDelight in the symphonic version of George Gershwin’s iconic Broadway hit featuring the full orchestra, soloists and the Santa Barbara Choral Society. May 16 & 17.

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Opening in early 2015, the new Goleta Valley Cottage Hospital will feature:• An expanded Emergency Department with 20 private rooms• 52 private patient rooms for medical/surgical and intensive care• A Healing Arts Program featuring 280 pieces created by Central Coast artists• Four hyperbaric oxygen therapy chambers in a new Center for Wound Management within the hospital• Seven surgical suites to support services that include the renowned Cottage Center for Orthopedics and Oral and Maxillofacial Surgery Program for restorative and reconstructive procedures

It will be a hospital distinctly Goleta, and decidedly Cottage. The new hospital will provide an expanded, modern facility and advanced technologies to support the personal touch and excellence in care that is already a trademark of Goleta Valley Cottage Hospital. Great care is growing.

Depiction of the new Goleta Valley Cottage Hospital lobby, featuring a landscape painting by local artist Hank Pitcher.

www.cottagehealthsystem.orgCottage is a not-for-profit, community organization dedicated to providing medical excellence close to home.

CottageGVCHad_A&L.indd 1 9/6/14 9:07 PM

Great Care is Growing in the Good Land.

Opening in early 2015, the new Goleta Valley Cottage Hospital will feature:• An expanded Emergency Department with 20 private rooms• 52 private patient rooms for medical/surgical and intensive care• A Healing Arts Program featuring 280 pieces created by Central Coast artists• Four hyperbaric oxygen therapy chambers in a new Center for Wound Management within the hospital• Seven surgical suites to support services that include the renowned Cottage Center for Orthopedics and Oral and Maxillofacial Surgery Program for restorative and reconstructive procedures

It will be a hospital distinctly Goleta, and decidedly Cottage. The new hospital will provide an expanded, modern facility and advanced technologies to support the personal touch and excellence in care that is already a trademark of Goleta Valley Cottage Hospital. Great care is growing.

Depiction of the new Goleta Valley Cottage Hospital lobby, featuring a landscape painting by local artist Hank Pitcher.

www.cottagehealthsystem.orgCottage is a not-for-profit, community organization dedicated to providing medical excellence close to home.

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