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2014-15 CULTURE&IDEAS GUIDE

Box Office: (800) 914-SHOW / 494-3933

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Front cover image:

MELISSA ALDANA & CRASH TRIO pg. 14 Photo credit: Jose Aguilar Back cover image:

ETHAN LIPTON AND HIS ORCHESTRA pg. 40 This page:

DAVID DORFMAN DANCE pg. 20

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ABOUT US Founded in 1902, Purdue Convocations is among the oldest collegiate performing arts presenting organizations in the United States. With an artistic eye and entrepreneurial flair, Convocations brings a diverse array of world-class performances and intellectual encounters—including collaborations with an ever-widening circle of partners—fulfilling our mission by connecting them to our academic, local, and regional audiences through engaging educational opportunities. Box Office: (800) 914-SHOW / 494-3933

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2014 2015 CONTENTS

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LEGEND EXPERIENCE+

For those who like to dig deeper into the arts, Experience+ programs give community members an opportunity to find out more. Programs run the gamut from talks with a company’s artistic director, a choreographer, or a playwright to sessions that highlight historical backgrounds or examine performance styles.

FRIENDS INTERMISSION CLUB Photo:

Compagnie KäFIG pg. 44

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Friends of Convocations at the Benefactor level ($250) and above can enjoy a private hospitality area during Elliott Hall of Music shows. Learn more about Friends on page 73 or visit convocations.org/support.

EVENTS

SEPT

112th SEASON

That’s more than a century of world-class inspiration. Experience large-scale spectacles, lectures, and moving recitals.

OCT

IN DEPTH IF/THEN

NOV

A collection of thought-provoking lectures and performances.

WHAT’S IN AN ENSEMBLE? Q&A with BÉLA FLECK 3 STORIES HIGH:

A DOWNTOWN THEATRE COLLECTION

New January mini-festival will take over downtown Lafayette.

Q&A with JEREMY DENK Peter Pan prequel has heart and humor.

3 STORIES

HIGH

CHILDREN LEARN FROM THE ARTS

A DOWNTOWN

THEATRE COLLECTION

FEB

INFO STUDENT DISCOUNTS & OPPORTUNITIES

FRIENDS

OF CONVOCATIONS

EDUCATION:

CURRICULAR CONNECTIONS

INFO TO KNOW SEATING MAPS DIRECTIONS

mAR APR

15 Yo-Yo Ma & Kathryn Stott 18 Melissa Aldana & Crash Trio 21 Mamma Mia! 23 David Dorfman Dance: Come, And Back Again + 30 Donald Sinta Quartet

6 Brian Greene 14 Béla Fleck and Brooklyn Rider 16 The Musical Adventures of Flat Stanley +

DEC 13 The Klezmatics: Happy Joyous Hanukkah Chris Potter Underground (Purdue Jazz Festival) + JAN 2016Disney’s Beauty and the Beast

PREVIEW: PETER AND THE STARCATCHER TOP 10 SKILLS

12 Opening Night Dance Party: La Yegros + 18 James Barrat

24 ETHEL’s Documerica + 28-31 The Cardinals 29-31 The Adventures of Alvin Sputnik: Deep Sea Explorer 29-31 No Place to Go: Ethan Lipton and His Orchestra

1 The Adventures of Alvin Sputnik: Deep Sea Explorer 8 Popovich Comedy Pet Theater + 12 Trio Voce 22 The Ugly Duckling & The Tortoise and the Hare + 26 Compagnie Käfig 27 Sister Act

24 Academy of St. Martin in the Fields with Jeremy Denk + 27-28 Fieldwork: Jayme Stone with The Lomax Project Residency

10 Dublin Guitar Quartet 11 TEDxPurdueU 22 Peter and the Starcatcher +

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DIRECTOR’S NOTE Todd Wetzel

this series looks at causal factors that shape our future as humans. Your participation in interactive events with our artists has led to the creation of “Fieldwork: An Alan Lomax Centennial Residency,” in which we’ve created the opportunity for extended and immersive interaction with world-class “If you build it, they will come.” musicians. And finally, the abandon and joy with which you’ve adopted the dance floor at club-style —Ray Kinsella in Field of Dreams events has led directly to the creation of our Opening Night Dance Party, where we’ll put out The actor Kevin Costner probably wasn’t concerned with the logic state- the dance floor just for you. ment inside the earnest phrase from Underneath all of this is our continued integration the movie Field of Dreams that has of these activities with the academic discourse subsequently taken up permanent and curricula of Purdue. We are deeply inspired residence in America’s collection of by the creativity of our faculty who invite artists, favorite movie lines and zingers. ensembles, and thinkers into their classrooms and However, the classic conditional onto their syllabi. The generosity of spirit brought “if/then” expression is one that by these guest catalysts, their faculty hosts, identifies a causal relationship and their curious students all conspire together between two entities, as in: to create a dynamic crucible for inspired learning. “IF Purdue audiences express incredible interest in innovative and offbeat Of course, our Friends of Convocations play theatre productions, THEN Convos will a fundamentally causal role, for without their generous support, Convos wouldn’t have the bring more of them.” capacity to deliver this increasingly diverse colIn this case, the causality is evident lection of performance, immersion, and discourse. (and the statement is true!). Please consider joining the Friends and becoming a catalyst for our powerful programmatic growth. This season, Convos answers the logical extension of your response on As always, thank you for being an active part of several levels. Your feedback to our our cultural community. adventures in festival-style theatre has yielded “3 Stories High: A Down- Be sure to look for town Theatre Collection,” a specially these remarkable activities: curated set of three divergent but • If/Then: Decoding Our Future. See pages 8-9. dynamic small-scale works placed in • Opening Night Dance Party. See pages 10-11. venues in downtown Lafayette. Your • 3 Stories High: A Downtown Theatre Collection. response to the inclusion of lectures See pages 38-41. and discourse in the Convos season • Fieldwork: An Alan Lomax Centennial Residency. See pages 52-55. has yielded a collection of talks and investigations under the “If/Then: Decoding Our Future” banner. From Note our new address beginning May 2014: new discoveries about the cosmos Purdue Convocations and artificial intelligence to our 128 Memorial Mall, STEW 194 stewardship of natural resources, West Lafayette, IN 47907-2034 6 LEARN MORE AT CONVOCATIONS.ORG

Todd Wetzel Director

Laura Clavio Assistant director/scc advisor

MARKETING Abby Eddy

Director of Marketing

Joshua Lowe

GRAPHIC DESIGNER

Kate Mane Marketing Assistant/CVN Advisor

Cory Wonderly

Graphic design intern

Alex Bolten

MARKETING INTERN

Zach Ballard

STUDENT COURIER

DEVELOPMENT Amanda Dunkle

Director of Development

Kate Spanke

development associate

Diane Carlson

ADMINISTRATIVE ASSISTANT FOR DEVELOPMENT AND EDUCATION

Production Kathy Dietz

Manager of production

Matthew Parr

production intern

Aaron Whiteman

production intern

Business Debbie Siciliano business manager

Lois Harth

business assistant

Contributors Nick Rogers

copy Editor/writer

Stacey Mickelbart writer

Amy Long writer

STUDENT GROUPS Jamie Reed CVN PRESIDENT

David LaVanne SCC PRESIDENT

ENGAGE

with CONVOCATIONS

Tell us how we’re doing: convocations.org/SURVEY

Lucky Plush post-show discussion

GET THE INSIDE SCOOP ON THIS SEASON’S ARTISTS INSTANT EXPERT Pre- and Post-show discussions: For those who like to dig deeper into the arts, Experience+ programs give community members an opportunity to find out more. Programs run the gamut from talks with a company’s artistic director, a choreographer, or a playwright to sessions that highlight historical backgrounds or examine performance styles. These events are free to ticketholders.

Visit convocations.org/connect for updates on discounts, news, and publications, to join our mailing list, and to sign up for our e-mail newsletter! @Convocations

PurdueConvocationsIN

Purdue Convocations

Purdue Convocations

Program notes: Within four weeks of a performance, visit convocations.org for access to detailed program notes!

Photo:

BROOKLYN RIDER pg. 24

CULTURE & IDEAS: Video Guide Visit convocations.org or youtube.com/PurdueConvocations for custom videos highlighting the 2014-15 season. Videos feature Convocations Director Todd Wetzel, Assistant Director Laura Clavio, and several other special guests!

Box Office: (800) 914-SHOW / 494-3933

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A.

How do we shape the future? How will the future shape us?

If/Then is a programmatic experiment to encounter ideas, issues, and hypotheses as we do the very work of building our future. 8 LEARN MORE AT CONVOCATIONS.ORG

b.

c.

Our collective future is worthy of our most imaginative thought. Among the considerations are provocative discussions about the rise of artificial intelligence, new understandings of the cosmos, and the complexities of managing our planet’s natural resources. In this discourse, we must reconcile doomsday predictions on one hand with the promise of technological breakthroughs on the other. To that end, the pathway into that greater understanding comes through sustained and nuanced discussion. The challenges we must overcome will certainly require our most sophisticated scientific achievements, but they will simultaneously beg our most nuanced understanding of the ethical, philosophical, and sociological aspects of our humanity.

Purdue Convocations and

The Office of the Provost present

With support from

Office of the System Chief Information Officer College of Engineering College of Science Discovery Lecture Series And additional support from

The College of Liberal Arts Purdue Libraries Distinguished Lecture Series

A. Dawn or Doom: The new Technology Explosion

Purdue will host an in-depth, interdisciplinary summit on the manifestations of artificial intelligence and the technology explosion. See page 64.

B. BRIAN GREENE

One of the world’s leading theoretical physicists and an entertaining communicator of cutting-edge scientific concepts will speak at Purdue in November. See page 66.

c. ETHEL’S DOCUMERICA

A multimedia feast of panoramic projections from the 1972 photo project DOCUMERICA—combined with music performed by the innovative and boundary-free string quartet ETHEL. See page 34. Box Office: (800) 914-SHOW / 494-3933

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OPENING NIGHT DANCE* PARTY SEPTEMBER 12

FRIDAY / 8PM FOUR POINTS BY SHERATON BALLROOM $15-20 GENERAL ADMISSION

“La Yegros has serious stage presence... But there’s substance to her music— cumbia at its core but with some earthy “Pachamama” influences with a haunting, siren-like voice.” –Songlines

* PRE-SHOW / 7PM

Come early for a cumbia dance step warm-up

LA YEGROS The rich musical cauldron of Buenos Aires, Argentina, has a global reach and influence. With exports such as Astor Piazzolla and tango to Mercedes Sosa and folk revival decades ago, it continues to be the place where musical styles come to merge and transform, just like the many peoples that have inhabited its diverse geographical, social, and political landscape. Now, springing from the underground scene is La Yegros, a group led by the incandescent Mariana Yegros, who fuses the dancehall roots of the infectious Colombian cumbia beat with tropical rhythms and the rural folk of the rainforests with the attitude of hiphop and the sheen of electronica to create a dynamic, non-stop invitation to dance. “I was brought up with the spirit of folklore, and my father carried a radio around all day and night…I was always surrounded by music,” says Yegros. “So writing, for me, is inspired by a wide array of sounds and styles, and narratives. And today, I live in a very modern city, and am moved by very modern musical concepts.” La Yegros will bring the “future sounds of Buenos Aires” to the Four Points by Sheraton ballroom, where their propulsive music, iconoclastic fashion, and a big dance floor create the perfect way to kick off the 2014-15 season!

Box Office: (800) 914-SHOW / 494-3933

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YO-YO MA & KATHRYN STOTT

Cello virtuoso Yo-Yo Ma’s masterful, multifaceted career is a testament to his WED / LOEB PLAYHOUSE continual search for innovative ways to THIS RESCHEDULED communicate, and connect, with new PERFORMANCE DATE audiences. From his base in the classical IS SOLD OUT. canon, Ma’s journeys from minimalism Tickets for the Nov. 17, 2013 performance will be honored. to McFerrin, from Baroque to bluegrass, and more have yielded more than 75 albums, more than 15 Grammys®, and LEAD SUPPORT FROM: status as one of the world’s best-selling recording artists. Additionally, Ma has performed for eight U.S. presidents, serves as a United Nations Messenger of Peace, and has received such prestigious FRIENDS SUPPORT FROM: awards as the Avery Fisher Prize, the National Medal of the Arts, and Kennedy Center Honors. Joining Ma for

OCTOBER 15 / 7:30PM

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this extraordinary Purdue performance is Kathryn Stott, his collaborator of nearly 30 years and one of Britain’s most versatile, imaginative pianists, hailed by The Washington Post as “every bit Ma’s equal, playing…with striking individuality.” Stott, a versatile performer of standard repertoire as well as new music, is also a remarkable exponent of tango and other Latin dance music, reflected in her collaboration with Ma and leading South American musicians on the Grammy®-winning album Soul of the Tango. Together, the duo will perform a program featuring Manuel de Falla, Heitor Villa-Lobos, Johannes Brahms, and more.

Q

What’s in an : ensemble?

pg. 56 Dublin Guitar Quartet

An ensemble is a group of musicians who perform together. Composers dictate, and musicians perform, in a vast array of configurations, but sometimes the traditional ensemble names require a bit of illumination. Here are a few of the ensemble types that merit explanation—and you’ll get to hear a number of them this season:

Piano Trio piano, violin, cello

pg. 30 Chris Potter Underground

Jazz Piano Trio piano, bass, percussion

String Trio violin, viola, cello pg. 22 Donald Sinta Quartet

Saxophone Trio

tenor saxophone, bass, percussion

pg. 24 Brooklyn Rider

Saxophone Quartet

soprano, alto, tenor, and baritone saxophones

String Quartet two violins, viola, cello pg. 14 Melissa Aldana & Crash Trio

Piano Quintet piano, violin, viola, cello, bass

GUITAR QUARTET pg. 42 Trio Voce

four guitars

Box Office: (800) 914-SHOW / 494-3933

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MELISSA ALDANA & CRASH TRIO

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OCTOBER 18 / 8PM

SAT / CARNAHAN HALL $15-20 GENERAL ADMISSION SEATING DOORS OPEN AT 7PM CASH BAR AVAILABLE

“(Melissa Aldana’s music is) a moment of synthesis AND challenge, when a jazz musician wants to squeeze the music’s history and prove herself on deeper levels.” —The New York Times

FRIENDS SUPPORT FROM:

It’s no secret that jazz music has been one of America’s great cultural exports. But interestingly, as the influential, dynamic, and malleable art form that it is, jazz also comes back to us as a cultural import from other corners of the globe where it has taken root. Chilean saxophonist Melissa Aldana is one such new voice in the burgeoning global vocabulary of jazz. Fronting a saxbass-drums setup—aptly named the Crash Trio for its sudden, unpredictable intensity—this 24-year-old swirls Afro-Latin grooves and the percussive strut of chinchineros (Chilean street musicians) into straight-ahead swing standards and free-form improvisation. By age 16, this third generation of jazz saxophonists was headlining jazz clubs in her native Santiago. After arriving in America with a scholarship to the Berklee College of Music, Aldana cut two solo albums (Free Fall and Second Cycle) for Inner Circle Music, a label founded by saxophonist Greg Osby, one of her mentors. Last year, she became the first female instrumentalist to win the Thelonious Monk International Jazz Competition, for which her prize money has funded an inaugural recording with the Crash Trio—featuring fellow Chilean Pablo Menares on bass and Francisco Mela on drums. Blending Aldana’s force-of-nature technique with a rhythm section both playful and powerful, the Melissa Aldana & Crash Trio will energize the intimate club setting of Carnahan Hall, the newest music venue on Lafayette’s Main Street, with the sound of jazz-as-global-citizen. Box Office: (800) 914-SHOW / 494-3933

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WHY I BELONG

AARON WHITEMAN FRiend since 2013

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When did you first get involved with Convocations? I was looking for something to get involved in my freshman year, and I found the Convocations Voice Network (CVN). I started participating in their activities, going to all the shows, and it just snowballed from there. I always wanted to do something more with Convos, so it’s really cool that I get to be a part of Friends, and I get to be an engineer, and be a part of the CVN board. I’ve been immersing myself in it. Why was that important to you, to be immersed in the arts? I’ve always been immersed in the arts. I got into theatre and choir and all these other sorts of arts in high school, and I was missing those things working on an engineering degree and being in a fraternity composed of mostly engineers. Convos really filled the void. We don’t have enough arts on our campus, and it’s really nice that Purdue has an organization whose sole responsibility is bringing the arts to campus. I’m from the Chicago area, so I’m also accustomed to seeing shows anytime because I could just get on the train and go see them. Arts have to be accessible for somebody to learn about them, or even to understand them when they already are interested. It’s kind of shocking that a lot of students I know whom I’ve tried to get to go to the shows, like a musical or play or concert, haven’t had that opportunity. It’s really great that they have that opportunity here at Purdue. Hopefully students are coming here to learn, and hopefully the arts are one thing that they take with them the rest of their lives. How would you say the arts function within engineering? I wouldn’t be able to continue with engineering if I didn’t have some form of arts involvement to keep me going. It’s one of the things I do miss about my introductory engineering classes and learning about engineering on my own. The reason I loved it was that it combined math and science and art together because you have to design and

create these beautiful products and figure out the math to make it work. We don’t get as much of that now in my engineering major, so having Convos is this beautiful breath of fresh air. I try to find parallels between the two to try to motivate me, so when I go see a show, there’s something about the show that really clicks with me. Like LEO, the way that he manipulated everything, really inspired me to think about the physics and how everything plays together in the show and then ask myself, “How does everything play together in my designs that I’m working on?” I try to find parallels like that. It’s really refreshing to have a different take on life than the constant science and engineering and math.

because of the donations that Friends give. I’ve gotten the unique opportunity to work with a lot of the Friends, and I get to see why they donated. I think it inspired me to help out while I can. Also, the school shows are important. It’s really hard to pass up a donation, knowing that $50 helps Convos send 10 kids to a show. I LOVE the school shows, no matter where I am: in the audience, ushering with CVN, or backstage as a Convos production intern—it doesn’t matter. It’s amazing to see how engaged the kids are. I never had anything like that when I was in elementary school: coming to a university campus and seeing an awesome show, having it all taken

“It’s a real interaction that you don’t get anywhere else.” But I know a lot of students just really look forward to performances. It doesn’t matter if it’s something like LEO versus something like Life in Color—even those kinds of things are still introducing somebody to the arts. Even if it’s a different, less commonly accepted format, it is still an introduction. Why do you belong? It’s like a family to me, whether they are people I know or not. The whole group comes together for one common cause. In this case, that common cause happens to be bringing something that’s changed my life forever, and for the better, to people who haven’t had that experience yet. What prompted you to give an extra gift outside of the time that you’re already giving to Convos? One day, I realized that it was in my budget. I always planned on donating to a few groups as soon as I left Purdue, and one of them, by far, was Convos because I know how much we rely on the donations. I know how much of what we do is possible only

care of, and then having the curriculum background, too, to learn more about the show and incorporate it at school. I love that. I will continue to donate as long as I can.

YOU BELONG

HERE To learn more about the perks of belonging, see page 73, visit convocations.org/support, or call (765) 494-9712.

Box Office: (800) 914-SHOW / 494-3933 17

© LITTLESTAR

TM

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Photo credit: Kevin Thomas Garcia

“ This high-energy musical brings

happiness wherever it goes!” OCTOBER 21 / 7:30PM TUES / ELLIOTT HALL $22-52

FRIENDS SUPPORT FROM:

Over 54 million people all around the world have fallen in love with the characters, the story, and the music that make MAMMA MIA! the ultimate feel-good show! Writer Catherine Johnson’s sunny, funny tale unfolds on a Greek island paradise. On the eve of her wedding, a daughter’s quest to discover the identity of her father brings three men from her mother’s past back to the island they last visited 20 years ago. The storytelling magic of ABBA’s timeless songs propels this enchanting tale

—TIME Magazine

of love, laughter, and friendship, and every night, everyone’s having the time of their lives! With more productions playing internationally than any other musical, MAMMA MIA! is the World’s No. 1 Show!

Box Office: (800) 914-SHOW / 494-3933

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DAVID DORFMAN DANCE COME, AND BACK AGAIN OCTOBER 23 / 7:30PM THUR / LOEB PLAYHOUSE $22-32 RUNTIME: 70 MIN POST-SHOW DISCUSSION

Join the choreographer and artists for a discussion immediately following the performance.

Did you know?

Be on the lookout because this performance will feature some familiar faces. Several local musicians will perform live onstage as part of the band!

David Dorfman has a lot on his mind. He knows what it’s like to feel vulnerable. To contemplate life—and death. He knows what it’s like to be loved and to do the even harder work of loving. But sometimes this can all get a little messy. Dorfman’s newest opus, the sprawling, athletic Come, and Back Again, is an exploration of the daily virtuosity required to navigate the little details of life, especially when the big details—like, say, mortality— are woven into it. Propelled by the charged poetry and unapologetic, raw ferocity of indie, punk, and folk-rock music—including venerated artists such as Atlanta band Smoke and the godmother of punk, Patti Smith—five dancers and five musicians embark on a kinetic anthem of reckless personal abandon—taking on time and how memory influences and manages our slippery, elastic existence. Dancers and musicians cohabitate on the stage and often find their worlds intersecting in unpredictable ways. And through it all, despite the seriousness of the inquiry, Dorfman’s signature humor and unbridled joy of movement are deeply imprinted in the piece. In the end, Come, and Back Again is a work about loss and survival, beauty and love, and resilience and life—and its mess.

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Box Office: (800) 914-SHOW / 494-3933

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“In this close -to-epic one -hour meditation talent for telling a story ,D that is the orfman revealed his audience’s story, too powerful .” –The Washington

Post

“ …immensely entertaining…

they are really superb musicians!” —Audiophile Audition

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Donald Sinta Quartet OCTOBER 30 / 7:30PM thuRS / Loeb Playhouse

$15 Dan Graser

soprano saxophone

Zach Stern

alto saxophone

Joe Girard

tenor saxophone

Danny Hawthorne-Foss

baritone saxophone

FRIENDS SUPPORT FROM:

The influence of a mentor can be life-changing. It’s bigger than the sum of learning, responding, and emulating. It’s about finding, channeling, and directing one’s own purpose—but with the momentum of an energy that has been given shape. This is what drives the Donald Sinta Quartet, a saxophone ensemble founded in 2010 and named for the man under whom its members studied— a legendary performer and University of Michigan professor who has influenced the American articulation of saxophone style and sound for 40 years. This internationally renowned quartet adopted Sinta’s name because they embody his mission—embracing classic repertoire while championing audacious new works and educating the next generation of players. Under his guiding spirit, they won the top prize in the 2013 Concert Artists Guild Victor Elmaleh Competition and have already chalked up concert engagements in China, France, Greece, and Scotland, all while actively commissioning new works that suit their protean technique and gifted artistic sensibilities. Their Purdue engagement will present a robust collection of new music, commissioned works, and transcriptions while also giving voice to celebrated landmarks of saxophone quartet literature. Box Office: (800) 914-SHOW / 494-3933

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BéLA+BROOKLYN FLECK RIDER Banjo

String Quartet

Night Flight Over Water

Did You Know? You may recognize Brooklyn Rider violinist Colin Jacobsen and his brother, cellist Eric Jacobsen, from their 2013 performance at Purdue with the Knights…or their impromptu turn at the Black Sparrow afterward! 24 LEARN MORE AT CONVOCATIONS.ORG

“...profoundly talented musicians interacting in profoundly interesting ways.”

Critics have made a fair amount of fuss over classical music’s recent appropriation of musical and emotional reference points from rock, pop, and electronic music. Is this novel or, to dare a rhetorical barb, legitimate? How about a more historically informed question: Isn’t this expected? Nearly all celebrated composers in the Western classical canon contemplated other styles within their works—a natural byproduct of the curiosity that inspires composers and those who —EditorsMix.FM perform their music.

NOVEMBER 14 / 8PM FRI / LOEB PLAYHOUSE $ 22-32

FRIENDS SUPPORT FROM:

In this light, it’s no surprise 13-time Grammy®-winning artist Béla Fleck has added classical-music composition and performance to a four decade-long journey of bluegrass, rock, jazz, pop, and world music. Similarly, musical adventurers Brooklyn Rider continue to radically redefine chamber music for the 21st century, with Philip Glass and indie-rock band The National among the group’s collaborators. This concert unites them for a program anchored by Fleck’s Night Flight Over Water—a suspenseful chase story that maintains mystery and momentum across three riveting movements for banjo and string quartet. This free-ranging investigation of musical influences will continue in works from Brooklyn Rider’s versatile repertoire, virtuoso solo turns from Fleck, and one-of-a-kind collaborative surprises. Box Office: (800) 914-SHOW / 494-3933

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Q&A with BéLA

FLECK

Béla Fleck has been nominated in more different Grammy® categories than anyone in the awards’ history—country, pop, jazz, bluegrass, classical, folk, spoken word, composition, and arranging. See Béla Fleck live at Purdue University on November 14 with Brooklyn Rider.

Q: You’ve mentioned that Night Flight Over Water is an outsider piece—the banjo player who doesn’t belong at the masquerade being unmasked and fleeing into the night. Do you often compose with a narrative or vision in your head?

Béla Fleck: I’ve really only done that a few times. More typically, I’ve let my unconscious run free and then tried to figure

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out where a piece came from after the fact. The Impostor [Fleck’s Concerto for Banjo and Symphony Orchestra] and Night Flight seemed very clear to me after I wrote them. I had to get the nerve to speak up and say what I thought they were about.

Q: For those more familiar with the banjo in a bluegrass or folk setting, what are some of the different techniques you use when playing classical music? BF: There are different harmonies, different tempos, and so on. But the truly unique thing to classical music is that there is no improvising, and every single note has to be written. This requires a commitment that is very different from improvised music, where the notes are different every night, and if you don’t love what you did last night, you try something else tonight.

Q: What is the experience of playing with a string

Q: You’ve collaborated so voraciously and successful-

quartet like Brooklyn Rider? Is it closer to playing with a symphony, more like sitting with a bluegrass band, or some new hybrid style?

ly in different genres and with a wide variety of musicians. Is there still a musical holy grail out there—a collaboration you’d like to do, or a style of music that you haven’t played but would love to?

BF: It’s somewhere in between, actually. A string quartet has the flexibility of a small jazz group, or even the Flecktones (his namesake band), but their technical abilities are very highly evolved—and they are specialists at making the written page come alive.

Q: The only banjo you play onstage is your 1937 Gibson Mastertone. What makes that instrument so special for you?

BF: There are certainly specific musicians I’d love to get to work with: Yo-Yo Ma, Radiohead, U2, Pat Metheny, and others. But I’m very happy with the level of my musical partners. My life seems like a dream, honestly. I am amazed at some of the people I’ve been able to connect with.

BF: That banjo is still my true love, for a banjo anyway! It has an expressiveness, a power in the high range, a depth of tone—and it’s very in tune. It’s hard to beat, with all the banjos I have.

Interview by Stacey Mickelbart Box Office: (800) 914-SHOW / 494-3933

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HAPPY JOYOUS HANUKKAH DECEMBER 13 / 8PM

SAT / LOEB PLAYHOUSE $20-28

Did You Know?

The Klezmatics’ Grammy® win came in the Best Contemporary World Music category for 2006’s Wonder Wheel, another album on which they set unrecorded Woody Guthrie lyrics to music.

Klezmer has been a musical cornerstone of Jewish culture for centuries, translated in English as “vessel of song.” Those words also define Woody Guthrie, an indefatigable icon of 20th-century American music whose prolific folk song heritage endures. From the same discovery of unrecorded Guthrie lyrics that yielded Wilco and Billy Bragg’s Mermaid Avenue sessions comes Happy Joyous Hanukkah—an uptempo series of Guthrie songs about the holiday that have been given vibrant, contemporary life through newly written music by the Klezmatics, one of the world’s preeminent klezmer bands. Through his mother-in-law, Yid-

dish poet Aliza Greenblat, Guthrie fostered an affinity for Jewish culture and wrote such songs as “Honeyky Hanuka,” “Hanukah Tree,” and “Hanuka’s Flame.” After these songs were lost to his archives for nearly 30 years, Guthrie’s daughter Nora commissioned the Grammy-winning® Klezmatics to revive these festive freylekhs that playfully, but respectively, honor Hanukkah traditions. Join us for a celebration of the Festival of Lights and an evening that offers a bold, bouncy, and revelatory new perspective on how much more there was to the “Dust Bowl troubadour.”

Box Office: (800) 914-SHOW / 494-3933

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CHRIS POTTER UNDERGROUND Purdue Jazz Fest—25th Anniversary

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“ easily the most

compelling saxophonist of his generation.” —Detroit Free Press

It’s a heady experience to move to New York City as an 18-year-old to break into the jazz scene. It’s all the more heady when you land a stint in bebop trumpetJANUARY 16 / 8PM er icon Red Rodney’s band. Saxophone phenom Chris FRI / LOEB PLAYHOUSE Potter did just that, and it connected him directly to $19-26 a lineage from Rodney to legendary saxophonist PRE-SHOW / 7PM Charlie “Bird” Parker, as it was in Bird’s band that Don Seybold, host of Rodney had his own precocious start. Since then, Inside Jazz on WBAA, and pianist Judd Danby Potter has been a longstanding collaborator with will discuss Chris Potter a who’s who of jazz, including Herbie Hancock, Underground / Stewart Jim Hall, John Scofield, and Paul Motian, as well as Center, room 314 multiple stellar Purdue engagements with both Dave Holland and the Mingus Big Band. He has CHRIS POTTER appeared on over 100 albums as a sideman and 15 saxophone albums as a leader, but his recurring project, Chris Craig Taborn Potter Underground, has emerged as particularly electric piano fertile and imaginative. Digging into the funk and ADAM ROGERS jazz intersection, the Underground has become a guitar place where Potter can explore the buoyancy of the NATE SMITH groove but retain the dynamism of free jazz. In this drums pocket, his Underground bandmates bring impeccable chops to bear: Drummer Nate Smith (also a Purdue Jazz Fest veteran with Dave Holland’s groups) anchors the proceedings with fluidity and finesse, in complete lockstep with Fender Rhodes wizard Craig Taborn, who simultaneously handles locking-and-popping basslines along with dexterous solo runs and harmony kicks. Meanwhile, guitarist Adam Rogers shows chameleonic range as soloist, rhythmist, and texturalist. The Underground has given Potter a place to let his voice—one schooled in the tone and vocabulary of Bird, Lester Young, and Sonny Rollins—dig into fresh and funky terrain. Box Office: (800) 914-SHOW / 494-3933

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Live On Stage!

©Disney

NETworks presents

BeautyAndTheBeastOnTour.com

32 LEARN MORE AT CONVOCATIONS.ORG

“ Warm and winning performances,

a tuneful score, and real heart.”

—Chicago Sun-Times

Disney’s Beauty and the Beast, the smash-hit Broadway musical, returns to TUES / ELLIOTT HALL OF MUSIC Purdue University! Based on the Acad$22-52 emy Award®-winning animated feature film, this eye-popping spectacle has won the hearts of over 35 million people worldwide. It’s the classic story of Belle, a young woman in a provincial town, and FRIENDS SUPPORT FROM: the Beast, who is really a young prince trapped in a spell placed by an enchantress. If the Beast can learn to love and be loved, the curse will end and he will be transformed to his former self. But time is running out. If the Beast does not

JANUARY 20 / 7PM

learn his lesson soon, he and his household will be doomed for all eternity. This classic musical love story is filled with unforgettable characters, lavish sets and costumes, and dazzling production numbers, including “Be Our Guest” and the beloved title song.

Box Office: (800) 914-SHOW / 494-3933

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ETHEL’S

DOCUMERICA

Directed by

Steve Cosson

Projection design by

Deborah Johnson Ralph Farris

viola

Dorothy Lawson cello

Kip Jones

violin

Tema Watstein

violin

Did You Know? Ralph Farris, artistic director and violist for ETHEL, has collaborated with Depeche Mode, Yo-Yo Ma, Gorillaz, Martin Scorsese, Natalie Merchant, Harry Connick, Jr., Allen Ginsberg, Leonard Bernstein, Roger Daltrey, and more. 34 LEARN MORE AT CONVOCATIONS.ORG

Purdue Convocations and

The Office of the Provost present

In 1972, the newly created Environmental Protection Agency commissioned Project DOCUMERICA—a five-year mission that sent 70 photographers across the United States to document “subjects of environmental concern.” The result was more than a staggeringly diverse collection of 22,000 images—it was a modern portrait of America’s soul in the ’70s. Visions of rugged natural beauty, machines of industry, candid snapshots of everyday life, and images of carcentric communities were all captured on film with equal photographic finesse. The DOCUMERICA collection, now resurrected through a recent digitization, inspired the latest project from ETHEL—a boundary-free string quartet whom TimeOut New York calls “fearless and pioneering” and who has performed alongside David Byrne, Kaki King, Andrew Bird, and more. ETHEL’s Documerica is a multimedia feast of panoramic projections and newly commissioned works from contemporary American composers that The New York Times described as “a stylistic continuum from Dvorak to Steve Reich by way of Copland, with sidelong nods toward the blues, funk and Radiohead.” As the images and music evolve, they crystallize the discourse of the environmental and social paradoxes we face today: our call to “save the environment” while simultaneously charging our iPhones. Documerica is a mammoth, beautiful, thought-provoking, and immersive essay in cultural anthropology that, through a uniquely American lens, is a meditation on our relationship to our land, our resources, and ourselves.

View the DOCUMERICA digital archive: Visit convocations.org/documerica

JANUARY 24 / 8PM SAT / LOEB PLAYHOUSE $18-24 With support from

Office of the System Chief Information Officer College of Engineering College of Science Discovery Lecture Series And additional support from

The College of Liberal Arts Purdue Libraries Distinguished Lecture Series PRE-SHOW / 6:30PM

A panel of Purdue experts will present a survey of current climatological and environmental issues for discussion / Location TBD

POST-SHOW

A moderated discussion including the artists and experts from the pre-show talk / Loeb Playhouse

Box Office: (800) 914-SHOW / 494-3933

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WHY I BELONG

BARRETT CALDWELL FRiend since 2009

36 LEARN MORE AT CONVOCATIONS.ORG

“It’s a rush to...sense the crowd responding to the performers and vice versa.”

Why do you belong? I can easily tell you the day I joined the Friends of Convocations. It was in the lobby of Loeb Playhouse during the intermission of Dave Brubeck’s 2009 performance here. I grew up listening to jazz, but to be honest, I didn’t care for much of it when I was a child, except Brubeck was one of the people that I really, really liked. My parents had his albums, and they had everybody – Nina Simone, Ramsey Lewis, Nancy Wilson. So when I saw that Dave Brubeck was coming to Purdue, I said “I have got to go to this.” During intermission, I learned that Friends of Convocations could get posters from the show, so I joined on the spot! I like to joke that it was the most expensive poster I every bought, but that was hardly the only reason I became a Friend. My campus obligations make it hard to travel out-of-town for cultural experiences. I’ve found that I don’t have to miss out because Convos regularly brings this culture right to us at Purdue. It’s so great to be able to leave my office and wander over for what I know will be an invigorating evening of entertainment. Feeling that connection to the culture of Greater Lafayette is the greatest benefit I’ve received. What are some perks of belonging?

YOU BELONG

HERE To learn more about the perks of belonging, see page 73, visit convocations.org/support, or call (765) 494-9712.

Joining the Friends has a low entrance level, so it’s really accessible, and the show tickets are less expensive than in larger cities. Plus, the monthly paycheck-deduction option makes contributing easy, so you can just enjoy being a Friend.

What are some of your most memorable experiences? Talking to all of the actors from Proof during a great reception in the Ringel Gallery was just amazing. Getting to meet with the cast and crew of One Small Step was unforgettable for me, too. I do education, outreach, and grant work for the Indiana Space Grant Consortium, so I was able to give them patches and pins and get a picture with them. They were grateful, and now we’ve built an unexpected relationship that continues. Those moments with an artist are truly memorable. What makes a live performance different than another type of experience? My experience with entertainment is as a participant. Whether I am watching TV or attending an event, I am immersed in the experience. But TV’s got nothing on the energy of the crowd at a live event. It’s a rush to attend a concert where you sense the crowd responding to the performers and vice versa. You build up this momentum of genuine engagement between the artists and the audience, and that’s exciting. Plus, the types of artists Convos brings seem honestly affected, touched, and thrilled to be here, and you can tell the difference. I think a stellar example of that was The Strange Undoing of Prudencia Hart, where the audience isn’t just engaged by the performance but literally in the middle of it, and so you can’t help but be caught up in its magic. How has belonging to the Friends enriched your life? I’m not an extrovert; I’m not the one always saying “Hi” to everybody at events and mingling. But being a Friend has definitely helped me feel more connected, and it’s put me in touch with like-minded people with whom I can share the experience of these fantastic events. In terms of the idea of belonging, being a Friend is one of the anchors that allows me to participate in my community in a more effective, more complete way. Box Office: (800) 914-SHOW / 494-3933

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3 STORIES

HIGH A DOWNTOWN THEATRE COLLECTION WED

12PM

THUR

FRI

SAT

SUN

28 29 30 31 01

12:00 12:00 ALVIN ALVIN

1PM 2PM

2:00

3PM

STAN’s CAFE

4PM 5PM

5:00 ALVIN

6PM 6:30 6:30 7PM 8PM 9PM

7:30

ALVIN

7:45

NO PLACE TO GO

7:30

8:15 STAN’s STAN’s CAFE STAN’s CAFE CAFE ALVIN

This is all your fault. Let me explain. We’re always looking for fascinating artists to bring into our community. Each time we’ve thrown the range of possible experiences even wider, you’ve rushed right in and made it a success. We hosted a brilliant, surreal outdoor spectacle with Australia’s Strange Fruit, and you clamored for more. We’ve ventured into both new and non-traditional spaces with two productions from the National Theatre of Scotland (Long Gone Lonesome and The Strange Undoing of Prudencia Hart), and you were deliriously enthralled. We delved into non-verbal physical theatre with LEO, and you were mesmerized. We launched into comically low-tech, devised theatre with Oxford Playhouse’s One Small Step, and you were over (and on) the moon. Truth be told, we’re all hooked. This year, let’s venture further into this realm by examining a key quality of the world’s great festivals—immersion. Regardless of genre, festivals are places to push back everyday life’s boundaries and concerns to dive into a new, alternate world. Ultimately, time is one of our most precious commodities—a true luxury through which you can encounter more than one artist in a day and that you can fill time between performances with friends, lively discussion, food, and drink. In other words, it’s a conscious choice to merge so many of your favorite pastimes into one experience. It’s the freedom of giving yourself permission to leave other things behind and the fraternity of others who have joined you. With 3 Stories High, we’re adding to the already-growing energy of downtown Lafayette. This collection of festivallength shows have shorter running times (60 to 90 minutes), so put on your coat, come on down, and see the shows all on one night, or see them on successive nights. Hit your favorite restaurants and pubs. Bring your friends. Join the scene. Because, after all, this really is all your fault. —Todd Wetzel, Director

9:30 9:30 9:30 10PM

NO NO PLACE STAN’s PLACE TO GO CAFE TO GO

*CASH BAR AVAILABLE AT ALL VENUES 38 LEARN MORE AT CONVOCATIONS.ORG

A Special Project Calls for Special People

These special ventures work on a different economic model than traditional single-night performance engagements, and we’ve only been able to do this because of a groundswell of new donor support for these offbeat, small-scale, immersive performance experiences. You can join this band of generous thought leaders and make a true difference. We’ve created special benefits just for this vanguard group, so give us a call at (765) 494-9712 to hear all the details.

3 STORIES

HIGH A DOWNTOWN THEATRE COLLECTION

THE ADVENTURES OF ALVIN SPUTNIK: DEEP SEA EXPLORER Created by Tim Watts (Australia) Seas have risen. Billions have died. Alvin Sputnik is our only hope for survival. In this highly imaginative fusion of puppetry, live-action performance, animation, and music, the tale of deep-sea explorer Alvin Sputnik is spun. Alvin plumbs the seemingly endless depths of the ocean—as both a last-ditch effort to save mankind and an impassioned search for his lost love. This quirky and uplifting, funny-yet-thought-provoking story explores love, loss, and heroism in a postapocalyptic world—a stunning spin on

Orpheus’s descent into the underworld to search for Eurydice and a remarkable pocket masterpiece of invention, staging, and performance. Direct from its spectacular successes at the Edinburgh Festival Fringe, and runs in New York, Sydney, and Auckland— where it won multiple awards—this piece of heartwarming “theatrical magic” (The Sunday Mail) is a one-man micro-epic about enduring love and the end of the world “…akin to a theatrical ‘WALL-E.’ ” (The New York Times).

JAN 29 / 6:30PM JAN 30 / 8:15PM JAN 31 / NOON / 5PM FEB 01 / NOON

LAFAYETTE THEATER $15-20 General admission

RUNTIME: 60 MIN

AWARDS: 
Outstanding Solo Show, New York Fringe Festival / Best Theatre Production, Auckland Fringe
/

Best Puppetry,
Adelaide Fringe / Best Male Performer, Dublin Fringe

Box Office: (800) 914-SHOW / 494-3933

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3 STORIES

HIGH A DOWNTOWN THEATRE COLLECTION

“…Accurately charts the plight of the suddenly redundant.” —The Guardian

JAN 29 / 9:30PM JAN 30 / 6:30PM JAN 31 / 9:30PM CARNAHAN HALL

General admission

$15-20 RUNTIME: 90 MIN

ETHAN LIPTON

vocals

EBEN LEVY guitar

IAN M. RIGGS

bass

VITO DIETERLE

saxophone

NO PLACE TO GO

ETHAN LIPTON AND HIS ORCHESTRA Ethan Lipton is looking for an upside to the downturn—the economic downturn, that is. His character is the classic everyman that could easily be that guy in the cubicle next to you. You’ve probably had a half-hearted Monday morning chat about “them lousy bums” on the Sunday sports channel with someone like him, yet now you’ve learned that his job’s been outsourced to some distant locale and he’s trying to make the best of it, brave face and all. But you know the truth: there might not be much “best” to be found. In No Place to Go, the OBIE award-winning playwright, actor, and singer Ethan Lipton, with his fine three-piece group, has created a comedic new cabaret theatre gem that mines the anxieties of the middle-class workplace, bagel carry-ins and all. Yes, there’s plenty of

40 LEARN MORE AT CONVOCATIONS.ORG

office camaraderie and water cooler yuks, but there’s also plenty of universally understood pain emerging in the newly “permanent part-time” future. Lipton expertly guides the whole affair through stories and songs that, in the hands of his band, become a theatrical song cycle of sublime jazz, blues, and folk music. The show has had celebrated engagements at Joe’s Pub in New York City and The Gate in London, along with a large wall-calendar planner full of dates in major U.S. cities. With regular appearances on public radio and TV, plus five albums under their belts and a new one in the works for 2014, Ethan Lipton and His Orchestra will “clock in” at Carnahan Hall, Lafayette’s new downtown nightclub venue at 8th and Main. By the way, the minutes from last week’s meeting show that it’s your turn to bring the coffee.

3 STORIES

HIGH A DOWNTOWN THEATRE COLLECTION

THE CARDINALS

STAN’S CAFE (ENGLAND) / Directed by James Yarker Three British Catholic Cardinals in JAN 28 / 7:30PM JAN 29 / 7:45PM crimson robes are on JAN 30 / 9:30PM a mission of evangeJAN 31 / 2PM / 7:30PM lism—touring with LONG CENTER a puppet show of General admission their own making that $15-20 presents abbreviated, RUNTIME: 90 MIN extrapolated readings of The Bible. At least that’s how it starts—in Genesis, of course— but the Cardinals’ stories eventually extend beyond the literal end of the New Testament to depict elements of contemporary history. As it turns out, this task calls for increasingly more skill and technique than they possess. Despite their naïve best intentions, only a dependence on their stage manager will get them through—a young, female, Muslim stage manager.

Renowned for spectacular visual flair and superb comic inventiveness, Stan’s Cafe, a theatre collective from Brighton, England, stages a spectacular play-within-a-play. We watch the Cardinals perform to their imagined audience while we, all the wiser, enjoy the startlingly funny, strangely touching theatrical conceits. The Cardinals builds from a history of mystery plays in the early church, during which Bible stories were acted out for the uneducated masses. Simultaneously, it also embraces and reflects the complexities of faith in today’s world—regardless of religion or tradition. As remarkably elegant as it is simple, The Cardinals offers a modern meditation on belief that trades fire and brimstone for humor and humanity.

“So, far from mocking faith, I believe that this play got to the nub of what it is all about. It was a moving and powerful piece of theatre and I would recommend any thinking congregation to welcome it as a piece to be performed in a church. I would recommend it, too, to anyone who thinks that religion is pure delusion. Beyond the mythology and the alternative paradigms that constitute a Biblical worldview, the themes at the heart of the Biblical narrative, and at the heart of The Cardinals, go to the very nub of what it means to be a human being today.” —Richard Frazer, Minister, Greyfriars Kirk Edinburgh

Photo: During the 2013 edition of the Edinburgh Festival Fringe, The Cardinals was performed in the Greyfriars Kirk, a church that has stood in Edinburgh’s old town since 1620 and is home to a congregation of the Church of Scotland.

Box Office: (800) 914-SHOW / 494-3933

41

TRIO VOCE

Individually, pianist Patricia Tao, FEBRUARY 12 / 7:30PM violinist Jasmine Lin, and cellist Marina THURS / LOEB PLAYHOUSE Hoover have graced stages at Carnegie $18-24 Hall, Lincoln Center, and Kennedy Center, soloed with premier orchestras Patricia Tao worldwide, and founded Grammy®piano nominated ensembles that have become Jasmine Lin staples at preeminent festivals such as violin Tanglewood and Newport. But these Marina Hoover seasoned and acclaimed artists found cello an unparalleled artistic voice when they began speaking as one in Trio Voce. PROGRAM Whether in the traditional repertory of Haydn or innovative compositions by Arvo Pärt today’s noted composers, the collaboraMozart-Adagio tive trio format reveals their prowess as Rebecca Clarke gifted interpreters, passionate commuTrio nicators, and exhilarating performers. At Johannes Brahms Purdue, the trio will perform: MozartTrio in B Major, Op. 8 Adagio, an elegiac, elegant reimagination (1854/1889)

42 LEARN MORE AT CONVOCATIONS.ORG

of Mozart’s Sonata in F Major, K. 280 by the noted Estonian composer Arvo Pärt (whose work was heard extensively in the Estonian Philharmonic Chamber Choir program in the 2013-14 Convos season); the Trio by the trailblazing Rebecca Clarke, a female composer from 19th-century England whose legacy has only continued to grow today; and one of the early trios of Johannes Brahms, the Trio in B Major, a work that Brahms returned to nearly four decades later to rework and expand with his then legendary artistic vision.

Deeply committed and

passionate performances…

Impressive music-making, interpretively and technically” —Fanfare Magazine Box Office: (800) 914-SHOW / 494-3933

43

CCN CRéteil et VAL-DE-MARNE

Compagnie Käfig Correria / Agwa 44 LEARN MORE AT CONVOCATIONS.ORG

Choreographer Mourad Merzouki’s imagination is fueled by a dazzlingly rich collection of influences. Growing up in an Algerian family with roots in France, he studied circus arts and acrobatics as a child. By his mid-teens, he’d founded a company that fused hip-hop street dancing with acrobatics at a time and place where those connections were startlingly inventive. He founded his next group, Compagnie Käfig, in Lyon, France, in 1996, continuing his visionary mash-up

of contemporary dance and street dance forms. At a festival a decade later, Merzouki encountered an all-male company of Brazilian dancers from the favelas (shantytowns) of Rio de Janeiro, who inspired him to take his next formative step. Working with these dancers, he blended the famed Brazilian martial arts known as capoeira with hip-hop, channeling the explosive Latin and African roots of the movements. Directly out of this experiment come Correria (Run-

ning) and Agwa (Water), two 30-minute works that feature the electricity of 10 male dancers who’ve found a new place between the architecture of contemporary dance and the wide-open, strutyour-stuff of the street corner. Equally unbridled is the intentionally eclectic sound score, which bridges cultures and styles as effortlessly as Compagnie Käfig’s dancers move from one gasp-worthy pyrotechnic move to the next.

FEBRUARY 26 / 7:30PM THUR / LOEB PLAYHOUSE

$22-32

Box Office: (800) 914-SHOW / 494-3933

45

46 LEARN MORE AT CONVOCATIONS.ORG

“When the wimples start quivering, the pinched mouths break into sunbeam smiles, and the nuns start rocking to raise the Gothic rafters,

ALL’S RIGHT IN THE

KINGDOM OF MUSICAL COMEDY” —The New York Times

FEBRUARY 27 / 7PM FRI / ELLIOTT HALL OF MUSIC

$22-52

FRIENDS SUPPORT FROM:

Sister Act is Broadway’s feel-amazing musical comedy smash! The New York Post calls it “ridiculously fun,” and audiences are jumping to their feet in total agreement! Featuring original music by eight-time Oscar® winner Alan Menken (Beauty and the Beast, The Little Mermaid, Little Shop of Horrors), Sister Act tells the story of Deloris Van Cartier, a wannabe diva whose life takes a surprising turn when she witnesses a crime and the cops hide her in the last place anyone

would think to look—a convent! Under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own. A sparkling tribute to the universal power of friendship, Sister Act is reason to rejoice!

Box Office: (800) 914-SHOW / 494-3933

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ACADEMY OF ST. MARTIN IN THE FIELDS ,

with jeremy denk piano

48 LEARN MORE AT CONVOCATIONS.ORG

MARCH 24 / 7:30PM TUES / ELLIOTT HALL

$22-45 PRE-SHOW / 6:30PM

Greg Kostraba, WBAA Program Director, will discuss the Academy of St. Martin in the Fields and the program / Location TBD

FRIENDS SUPPORT FROM:

Jeanne Compton Endowment for Artistic Excellence

It’s a rather simple idea: Invite your best musician friends to perform together in your living room. For violinist Sir Neville Marriner and his cohorts—who, in 1958, were among London’s elite classical musicians—the ambition was an intimate chamber music concert at the St. Martin in the Fields church. Surprising even themselves, they were invited to make a recording from that very first engagement. More than 55 years, 500 recordings, and thousands of concerts later, rarely a day of classical music radio passes without hearing the extraordinary, unparalleled work of what became the Academy of St. Martin in the Fields. The next chapter in this ensemble’s amazing history was 2011’s appointment of Indiana native and superstar violinist Joshua Bell as Music Director to succeed Sir

Marriner. For this special limited engagement at Purdue, pianist Jeremy Denk— MacArthur Foundation “Genius” grant recipient and 2014 Musical America Instrumentalist of the Year—will join them for two J.S. Bach keyboard concerti. Known to Purdue audiences from 2008’s collaborative recital with Bell and a 2009 solo appearance, Denk will bring his intelligent, expressive talents to bear while the Academy adds luminous performances of works by Antonín Dvorák and Josef Suk.

PROGRAM Suk Serenade for Strings in E flat Major, Op. 6 BACH Keyboard Concerto No. 2 in E Major, BWV 1053 BACH Keyboard Concerto No. 4 in A Major, BWV 1055 Dvorák Serenade for Strings in E Major, Op.22

Box Office: (800) 914-SHOW / 494-3933

49

lot closer to chamber music than a concerto, and the whole ensemble has to be unified in a way that’s even more profound than with Mozart or Beethoven. I’m looking forward to the opportunity to rehearse this music and find the groove of it with them—to find a way to talk together about Bach that makes sense on the modern piano in the 21st century.

Q: Most instrumentalists perfect their repertoire on their own personal

Q&A with JEREMY

DENK

Known to Purdue audiences from 2008’s collaborative recital with Joshua Bell and a 2009 solo appearance, Jeremy Denk will return to Purdue University—with the Academy of St. Martin in the Fields—on March 24.

Q: This is your first series of engagements with the Academy of St. Martin in the Fields. What excites you about conducting them?

Jeremy Denk: I grew up with their records, and it’s an amazing tradition. That’s definitely part of it: the thrill of playing with a famous and storied ensemble. I’m looking forward to that music; the Bach keyboard concertos are some of my most-beloved music. It’s a

instrument. How do you prepare to perform on a piano that you barely know for each performance?

JD: You get used to, in the hours or time in the hall that you have, understanding the instrument’s strengths and limitations—what you can say on it and how to bring the sounds that you want out of it. Sometimes it’s frustrating and sometimes you’re surprised by how it’s possible to say new things. It’s part of the pianist’s life; you have to constantly communicate in public on an instrument that is basically a blind date. I know pianos all look the same to everyone, but they’re made of so much wood and there are so many millions of little parts. They’re very sensitive and finicky instruments, and small changes can make big effects.

Q: You do a lot of interviews; what do you wish people would ask you that they never do?

JD: They ask me a lot of things, but usually what I want to talk about is whatever piece I’m playing or fascinated by at the moment. Usually, what I’d love to do most of all is sit down at the piano with someone and talk through some magical passage. That’s what I try to do on the blog when I get into the workings of certain pieces. Maybe, in a way, that’s why the blog was such a natural fit for me. It allows me to speak about music exactly the way that I want to at any given moment, and sometimes that’s wry and humorous, or reflective, or analytical. What’s so extraordinary about the Bach concertos is the rhythmic energy that they represent—a moto perpetuo in some ways because once they get started, they click or hum along. But at the same time that they’re unstoppable, they also have all kinds of wonderful quirks and not exactly wrong turns, but strange turns and surprises and curlicues. Bach is the great genius of doing that—of keeping you jogging along this rhythmic track of the wonderful energy he’s set up, and yet, at the same time, anything and everything can happen while you’re going.

Interview by Stacey Mickelbart 50 LEARN MORE AT CONVOCATIONS.ORG

unstoppable, they also “ they’re have all kinds of wonderful quirks and not exactly wrong turns, but strange turns and surprises and curlicues.” —Denk, on the Bach concertos

Box Office: (800) 914-SHOW / 494-3933

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FIELDWORK: AN ALAN LOMAX CENTENNIAL RESIDENCY Featuring Jayme Stone and The Lomax Project Friday/Saturday, March 27-28, 2015 can and Caribbean landscape. With his remarkable penchant for uncovering leads and tips, he was able to track down notable, yet hitherto unknown, talents, including artists whom we now know as everyday names: Woody Guthrie, Lead Belly, Big Bill Broonzy, Muddy Waters, Jelly Roll Morton, Sonny Boy Williamson, and Pete Seeger, to name but a few. Importantly, he also documented—with unvarnished and unflinching clarity—the songs,

Beginning in 1934, with cumbersome—and now quaintly primitive—recording equipment loaded in the back of his car, the young Alan Lomax (1915-2002) traveled down the dusty byways and backwaters of the United States to source and record the roots and branches of American folk music for the Archive of American Folk Song at the Library of Congress. Initially working with his folklorist father, John Lomax, and later with numerous other colleagues and guides, he captured for posterity an incredibly deep and enormously diverse musical portrait of life across the Ameri-

52 LEARN MORE AT CONVOCATIONS.ORG

...YOUNG ALAN LOMAX TRAVELED DOWN THE DUSTY BYWAYS AND BACKWATERS OF THE UNITED STATES... stories, and circumstances of Americans whose lives and voices were limited by the strictures of the pre-Civil Rights Movement. In a career spanning more than six decades, more than 17,000 recordings and interviews, scores of concerts and shows on radio and TV, and nearly two dozen books, Lomax’s legacy as one of the most

preeminent and authoritative American musicologists to have captured our cultural history is worthy of commemoration. Now, as a way to celebrate the Alan Lomax Centennial in 2015 and examine the deeply multifaceted cultural source material of our American identity, we’ve assembled a two-day residency engagement featuring a stellar ensemble led by two-time Junowinning artist, banjoist, composer, and self-proclaimed instigator Jayme Stone. In this residency, and especially in The Lomax Project concert, Stone brings together some of the country’s most distinctive and creative roots musicians to revive, recycle, and reimagine traditional music. The repertoire includes Bahamian sea shanties, African-American a cappella singing from the Georgia Sea Islands, Old World weavers’ work songs, ancient Appalachian ballads, fiddle tunes, game songs, and ring shouts. This residency offers us, as listeners and musicians, a participatory gateway into our treasured and diverse cultural history as Americans.

FIELDWORK SCHEDULE Friday, March 27 7PM PUBLIC TALK / TIPPECANOE ARTS FEDERATION GRAND HALL

Jayme Stone will discuss Alan Lomax’s life, work, and profound impact on American culture. Free admission. 8:15PM COMMUNITY MUSICIAN WORKSHOP “COLLABORATORY” TIPPECANOE ARTS FEDERATION GRAND HALL

Jayme Stone and the band will host a “Collaboratory” (equal parts collaborative and explorative laboratory) for musicians interested in examining and developing musical arrangements sourced, or inspired by, field and archival recordings. Bring your preferred acoustic instrument and join the musical investigation in a supportive, positive musical environment. Free admission. The two preceding events will run consecutively with a brief pause between them. Guests and non-musicians are certainly welcome and encouraged to stay and observe the Collaboratory.

THE LOMAX PROJECT MARCH 28 / 8PM SAT / LAFAYETTE THEATER General admission

$19-25

JAYME STONE banjo

ELI WEST

voice, guitar, bouzouki

MARGARET GLASPY voice, guitar

BRITTANY HAAS fiddle, voice

JOE PHILLIPS bass

Saturday, March 28 10AM-2PM COMMUNITY FIELD RECORDING OPEN HOUSE / LOCATION TBd

Musicians, now it’s your turn to capture the songs and stories of our community in the true Lomax spirit! Simply bring your preferred acoustic instrument and any musical collaborators to capture historical and contemporary portraits of our region, as well as your version of our story today. All musical styles and genres are welcome, but instruments and arrangements that can be captured by a single, hiqh-quality condenser microphone will be most ideal. Then, we’ll share your work on the Purdue Convocations website and social media channels for all to experience. Reservations required, but participation is free. See convocations.org for details.

LIVE PERFORMANCE

8pM Concert: Jayme Stone and The Lomax Project / LAFAYETTE THEATER

As a culmination of our Lomax residency, musically adventurous banjoist Jayme Stone will lead his group through a vast songbook of Americana sourced from the Lomaxes’ archival work. This unique, startlingly diverse musical journey will span decades and cultures in tribute to both the range of Lomax’s musical curiosity and our own American spirit. Lafayette Theater. Tickets required. Doors will open at 7PM. All ages welcome. Cash bar available. Box Office: (800) 914-SHOW / 494-3933

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FIELDWORK: AN ALAN LOMAX CENTENNIAL RESIDENCY Friday/Saturday, March 27-28, 2015

On August 20, 1977, the renowned spacecraft

Voyagers I & II were launched into space to explore Jupiter and Saturn, and beyond. Famously, four “golden records” containing 27 musical selections were sent along as a special payload. President Jimmy Carter described these as a “present from a small, distant world” to any potential discoverer of the craft. NASA appointed astronomer/ astrophysicist Carl Sagan to lead the selection process, and he then turned to Lomax to assist in the process. In what was undoubtedly a charged set of discussions about how to represent the greatest aspects of creative human expression, Lomax proposed, and successfully advocated for, 15 tracks representing a diverse array of global cultures, including “Dark was the Night” by Blind Willie Johnson. Now, with the Voyager spacecraft traveling into interstellar space, Lomax can be said to have projected human culture “to infinity and beyond.”

Alan Lomax’s story and contributions

to society are especially rich and reward deeper investigation. Among Lomax’s notable books is his memoir, The Land Where the Blues Began, which, as Mick Jagger says, offers “a fresh insight into the strange and cruel origins of the blues.” Also, the acclaimed Miles Davis and Sun Ra biographer John Szwed has written a fine “cradle-to-grave” biography titled Alan Lomax: The Man Who Recorded the World. Importantly, the vast majority of Lomax’s field recordings are available for study and enjoyment online (along with the contributions of many others):

The American Folklife Center of the Library of Congress: http://www.loc.gov/folklife/lomax/

The Association for Cultural Equity: http://research.culturalequity.org/

Box Office: (800) 914-SHOW / 494-3933

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“ A quartet with

a difference”

—The Irish Times

APRIL 10 / 8PM FRI / LOEB PLAYHOUSE

$15

BRIAN BOLGER PAT BRUNNOCK MICHAEL O’TOOLE TOMAS O’DURCAIN FRIENDS SUPPORT FROM:

With a cultural legacy as vibrant as its landscape is verdant, Ireland can boast centuries of remarkable contributions to the range of human creative expression. In a decidedly incomplete list, such Irish voices as James Joyce, William Butler Yeats, Samuel Beckett, Bram Stoker, Oscar Wilde, Seamus Heaney, Van Morrison, Bono and U2, and Sinéad O’Connor all charted new artistic territory. Entering this strong and independent group is the Dublin Guitar Quartet. A guitar quartet is at once a classical configuration, but one with a smaller body of historical repertoire when compared to the iconic string quartet format. Nonetheless, the DGQ has seized upon this seeming liability and turned it into artistic opportunity. Since its 2002 formation at the Dublin Conservatory of Music and Drama, the ensemble has commissioned new work, adapted contemporary pieces not originally written for guitar, and broadened both its range and tuning capabilities through the use of eight- and 11-string guitars, as well as specialized amplification. Their catalogue now includes work by Steve Reich, Gyorgi Ligeti, Philip Glass (with a soon-to-bereleased recording of his recast string quartets) and Arvo Pärt (who collaborated on the quartet’s arrangement of his Summa, originally written for chorus). With full-bodied power and grace, the Dublin Guitar Quartet is firmly charting its place on the map of Irish voices on the global artistic stage. Box Office: (800) 914-SHOW / 494-3933

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“Fantastical and enchanting” Philadelphia Inquirer

“Absurdly funny” Entertainment weekly

“A shimmering treasure” Denver Post

APRIL 22 / 7PM WED / ELLIOTT HALL OF MUSIC

$22-52 PRE-SHOW / 6PM

Purdue Professor Jill May will discuss the history of Peter Pan / Location TBD

FRIENDS SUPPORT FROM:

Peter and the Starcatcher, the most magical evening of madcap fun, is now on tour! Hailed by The New York Times as “the most exhilarating storytelling on Broadway in decades,” this comedy takes a hilarious romp through the Neverland you never knew. The winner of five Tony Awards®, this swashbuckling prequel to Peter Pan will have you hooked from the moment you let your imagination take flight. Peter and the Starcatcher is the innovative and imaginative play based on the bestselling novel by Dave Barry and Ridley Pearson. A company of a dozen actors plays more than 100 unforgettable characters, all on a journey to answer the centuryold question: How did Peter Pan become the boy who never grew up? This epic origin story of popular culture’s most enduring and beloved character proves that your imagination is the most captivating place in the world. Peter and the Starcatcher is suitable for younger audiences but most enjoyable for ages 10 and up.

“Miraculous.NewSpectacle, Wit & Joy” York Magazine “You mustNewExperience it!” York Times “Soars deliriously High and Gloriously Far!” Time out New York

“A Marvelous Theatrical Romp” Houston Chronicle

“Utterly Charming” San Antonio Express News

“High-flying Fun!” Seattle Times

“A fantastical Adventure” San Jose Mercury News “StorytellingSan theater at its finest” jose mercury news “A celebration of theatrical mirth And magic” Seattle Times

“Deliciously enjoyable” seattle times

Box Box Office: Office: (800) (800) 914-SHOW 914-SHOW // 494-3933 494-3933

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Photo credit: theatreblog.wordpress.com

Just as the hit musical Wicked provides a prequel to The Wizard of Oz, Peter and the Starcatcher imagines a backstory to J.M. Barrie’s classic Peter Pan and explains how Peter ended up on an island, where he got his name, how Hook lost his hand, and how the croc swallowed a clock. But while Wicked is all about the slick and showy special effects, the cast of Peter and the Starcatcher needs only spirit and spunk to share this story.

PREVIEW by AMY

LONG

Peter Pan Prequel Has Heart and Humor For 12 actors to be able to portray 100 different characters and conjure spectacular locales with low-tech sets and props, it takes enormous talent, ingenious stagecraft, the limitless possibilities of imagination—and a trunkload of pixie dust. So it is with Peter and the Starcatcher, the Tony Award®-winning Broadway show based on the 2004 children’s novel by humorist Dave Barry and suspense writer Ridley Pearson.

As the curtain rises, 13-year-old Molly and her father, Lord Aster, set sail for the exotic island of Rundoon with a trunk containing a mysterious and precious cargo. Lord Aster will sail on the Wasp on a perilous secret mission for Queen Victoria to dispose of whatever is in the trunk; for her safety, Molly must travel on a different ship, the Never Land. At sea, pirates led by the outrageous Black Stache (so named for his prominent facial hair) hijack the Wasp; meanwhile, Molly encounters a trio of orphans destined for slavery in Rundoon, then discovers that her father’s precious trunk was mistakenly loaded onto her ship. It is Molly and her new friends who must look after its contents through all the madcap adventures that ensue. Combining elements of Vaudeville, British “Panto,” and oldtimey musical theater, including slapstick comedy, knee-slapping wordplay, tongue twisters, and droll anachronisms, the show careens along at a breakneck pace while a dozen actors portray squadrons of salty sailors, cross-dressing mermaids, ragtag orphans, and restless island natives, and, using simple props and innovative theatrics, summon such magical locations as a tempest-tossed tropical island and the dungeon of a Victorianera frigate. The result is at once hilarious and heartwarming—a visually stunning celebration of imagination that is silly, snarky, and screwball, and yet sincerely, sweetly sentimental, with plenty to please kids (the show is geared toward ages 10 and up) and the kids-who-won’t-grow-up in all of us.

Best Performance by an Actor in a Featured Role in a Play Best Sound Design of a Play / Best Costume Design of a Play Best Scenic Design of a Play / Best Lighting Design of a Play Box Office: (800) 914-SHOW / 494-3933

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See the world through the eyes of a child who can travel like a postcard, find the true potential of our animal friends as homeless animals become circus stars, and experience two timeless children’s stories through the use of puppetry and innovative technology. All family matinees include pre-show activities that are free to all ticketholders!

THE MUSICAL ADVENTURES OF FLAT STANLEY AGES

5+

NOVEMBER 16 / 3PM SUN / LOEB PLAYHOUSE

$10-15

Jeff Brown’s book Flat Stanley celebrates its 50th anniversary as a family classic. The musical stage adaptation by Dallas Children’s Theater has followed in its footsteps, receiving national critical acclaim. “What I love about the show are all the teachable moments that don’t feel like lessons,” says DCT’s guest director Michael Serrecchia. “It’s a fun, Broadwaystyle musical comedy about the value of being different and the importance of family.”

POPOVICH COMEDY PET THEATER ALL AGES

FEBRUARY 8 / 3PM SUN / LOEB PLAYHOUSE

$12-20

The world famous Popovich Comedy Pet Theater is a family-oriented blend of Gregory Popovich’s unique comedy, European-style clowns, and the extraordinary talents of his performing pets. Rescued from animal shelters, each of the show’s 15 cats and 10 dogs once were strays. Now, they love to show off onstage—by performing a variety of stunts and skits!

The Ugly Duckling & The Tortoise and the Hare ALL AGES

FEBRUARY 22 / 3PM SUN / LOEB PLAYHOUSE

$10-15

CORBIAN/Lightwire Theater Hot on the heels

of their breakout performance on America’s Got Talent, Corbian/Lightwire Theater brings new life to a pair of classic tales—Hans Christian Andersen’s The Ugly Duckling and Aesop’s fable The Tortoise and the Hare. Lined with electroluminescent wire, these well-known characters continue the Corbian tradition as they beautifully illuminate the stage and dazzle audiences of all ages.

PRE-SHOW 2PM / Stewart Center West LobbY PRE-SHOW 2PM / Stewart Center West LobbY Make and take home a Flat Stanley cutout

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Visit some furry friends from the Almost Home Humane Society

PRE-SHOW 2PM / Stewart Center West LobbY The Purdue Women in Engineering Program will lead “illuminating” hands-on activities

TOP10 The following list was written by Lisa Phillips, who is an author, blog journalist, arts and leadership educator, and speaker. Phillips wrote the book, The Artistic Edge: 7 Skills Children Need to Succeed in an Increasingly Right Brain World. This appeared on the ARTSblog, a program of Americans for the Arts, and is reprinted with permission.

1. Creativity

Being able to think on your feet, approach tasks from different perspectives, and think “outside of the box” will distinguish your child from others. In an arts program, your child will be asked to recite a monologue in six different ways, create a painting that represents a memory, or compose a new rhythm to enhance a piece of music. If children have practice thinking creatively, it will come naturally to them now and in their future career.

2. Confidence

The skills developed through theatre not only train you how to convincingly deliver a message but also build the confidence you need to take command of the stage. Theatre training gives children practice stepping out of their comfort zone and allows them to make mistakes and learn from them in rehearsal. This process gives children the confidence to perform in front of large audiences.

3. Problem-Solving

Artistic creations are born through the solving of problems. How do I turn this clay into a sculpture? How do I portray a particular emotion through dance? How will my character react in this situation? Without even realizing it, kids that participate in the arts are consistently being challenged to solve problems. All this practice problem-solving develops children’s skills in reasoning and understanding. This will help develop important problem-solving skills necessary for success in any career.

skills children learn from the arts

4. Perseverance

When a child picks up a violin for the first time, she/he knows that playing Bach right away is not an option; however, when that child practices, learns the skills and techniques, and doesn’t give up, that Bach concerto is that much closer. In an increasingly competitive world where people are being asked to continually develop new skills, perseverance is essential to achieving success.

5. Focus

The ability to focus is a key skill developed through ensemble work. Keeping a balance between listening and contributing involves a great deal of concentration and focus. It requires each participant to not only think about their role but how their role contributes to the big picture of what is being created. Recent research has shown that participation in the arts improves children’s abilities to concentrate and focus in other aspects of their lives.

6. NonVerbal Communication

Through experience in theatre and dance education, children learn to break down the mechanics of body language. They experience different ways of moving and how those movements communicate different emotions. They are then coached in performance skills to ensure they are portraying their character effectively to the audience.

7. Receiving Constructive Feedback Receiving constructive feedback about a performance or visual art piece is a regular part of any arts instruction. Children learn that feedback is part of learning and it is not something to be offended by or to be taken personally. It is something helpful. The goal of improvement of skills and evaluation is incorporated at every step of the process. Each arts discipline has built-in parameters to ensure that critique is a valuable experience and greatly contributes to the success of the final piece.

By Lisa Phillips

8. Collaboration

Most arts disciplines are collaborative in nature. Through the arts, children practice working together, sharing responsibility, and compromising with others to accomplish a common goal. When a child has a part to play in a music ensemble, or a theatre or dance production, he/she begins to understand the necessity of a contribution for the success of the group. Through these experiences, children gain confidence and start to learn that their contributions have value even if they don’t have the biggest role.

9. Dedication

When kids get to practice following through with artistic endeavors that result in a finished product or performance, they learn to associate dedication with a feeling of accomplishment. They practice developing healthy work habits of being on time for rehearsals and performances, respecting the contributions of others, and putting effort into the success of the final piece. In the performing arts, the reward for dedication is the warm feeling of an audience’s applause that comes rushing over you, making all your efforts worthwhile.

10. Accountability

When children practice creating something collaboratively, they get used to the idea that their actions affect other people. They learn that other people suffer when they are not prepared or on time. Through the arts, children also learn that it is important to admit that you made a mistake and take responsibility for it. Because mistakes are a regular part of the process of learning in the arts, children begin to see that mistakes happen. We acknowledge them, learn from them, and move on.

To learn more about Lisa’s work, visit www.theartisticedge.ca Pictured: The Ugly Duckling Box Office: (800) 914-SHOW / 494-3933 63

Dawn or doom:

The New Technology Explosion 64 LEARN MORE AT CONVOCATIONS.ORG

We are in the midst of an explosion of technology and knowledge. Google CEO

Eric Schmidt famously said that we now create as much information in two days as humans did from the beginning of history to 2003. Technologies such as artificial intelligence, nanotechnology, genetic engineering, and data science promise to bring a new dawn of discoveries to improve society— while others are concerned about unforeseen consequences or malicious uses. Just the speed at which information is developed and used to convert disruptive technologies and businesses raises questions, such as: • •

Is technology moving too fast for effective governmental legislation? What are the risks and benefits associated with technologies such as genetic engineering, nanotechnology, and artificial intelligence, and do we know enough about each science to provide adequate answers? Will corporations replace universities and governments as the organizing platform for innovation and progress? If so, what does this mean for citizens?

To investigate these questions, Purdue will host a one-day seminar on the benefits and risks surrounding some of the technologies that are both the most disruptive to current practices and being adopted the fastest. It will be held in conjunction with a Presidential Lecture Series event featuring author James Barrat (see page 69). This seminar will present interdisciplinary discussions examining the research, opportunities, challenges, and questions brought about by the increasingly rapid rate of technological change.

A collection of Purdue faculty experts from all colleges will showcase their many perspectives related to this technology explosion, explore conditions that will foster innovation and investment into the next generation, and address the big-picture issues where both optimism and pessimism are warranted. Additionally, this conference will examine ideas presented in Barrat’s book Our Final Invention, which asks, “Are ‘thinking’ computers the dawn of a bright future or the harbingers of doom for the human race?” The question of “Dawn or Doom?” will be applied to all areas of study at Purdue, and lectures will examine the question as it relates to such topics as machine intelligence exceeding human intelligence, the growth of nanotechnology, intelligent robotics, and emerging biotechnology.

Dawn or Doom speakers include: • • • •

James Barrat, author of Our Final Invention and documentary filmmaker Jennifer Neville, Associate Professor of Computer Science and Statistics David Hummels, Professor of Economics Eight to 12 additional Purdue faculty members, to be announced

In conjunction with Purdue University Press, a collection of essays and proceedings from the summit will be published as part of the Purdue Studies in Public Policy series as a resource for study and discourse. Visit convocations.org/summit to see the full listing of speakers and activities for the summit.

Purdue Convocations and

The Office of the Provost present

DAWN OR DOOM: The New Technology Explosion

A SUMMIT CURATED BY THE Office of the System Chief Information Officer (OSCIO)

SEPTEMBER 18

THURS / LOEB PLAYHOUSE General admission seating ADMISSION FREE With support from

Office of the System Chief Information Officer College of Engineering College of Science Discovery Lecture Series And additional support from

The College of Liberal Arts Purdue Libraries Distinguished Lecture Series

Box Office: (800) 914-SHOW / 494-3933

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BRIAN GREENE 66 LEARN MORE AT CONVOCATIONS.ORG

“ …the single best explainer of abstruse concepts in the world today.” —The Washington Post

String theorist and author Brian Greene is one of the world’s leading theoretical physicists and a brilliant, entertaining communicator of cutting-edge scientific concepts. So when it comes to explaining the recent breakthroughs in our understanding of gravitational waves and inflation, Greene is perfectly poised to set it all in context. Greene’s national bestseller The Elegant Universe, which recounts the theories of general relativity and quantum mechanics, transformed our understanding of the universe and introduced string theory, a concept that might be the key to a unified theory of the universe. The book sold over a million copies and became an TM TM Emmy - and Peabody Award-winning Nova special that Greene hosted. His second book, The Fabric of the Cosmos, spent six months on The New York Times Best

Seller list and was adapted into a Nova miniseries on PBS. Greene’s latest bestseller, The Hidden Reality: Parallel Universes and the Deep Laws of the Cosmos, was published in January 2011. Working to bring scientific knowledge to the masses, Greene co-founded the World Science Festival in 2008 and this year launched World Science U, a series of free online courses. A Harvard graduate and a Rhodes Scholar at Oxford, Greene is a professor in physics and mathematics at Columbia University. His work has been published in Wired and The New York Times, and he appeared as himself in a 2011 episode of CBS’s The Big Bang Theory. He has also been a guest on Charlie Rose, Nightline, Late Show with David Letterman, and The Colbert Report. * Beginning September 2, seating passes available for pickup at the Stewart Center box office or by calling the box office at (765) 494-3933. Limit two seating passes per person.

Purdue Convocations and

The Office of the Provost present

BRIAN GREENE NOVEMBER 6 / 7PM

THURS / ELLIOTT HALL

General admission seating Free seating pass required for entry* With support from

Office of the System Chief Information Officer College of Engineering College of Science Discovery Lecture Series And additional support from

The College of Liberal Arts Purdue Libraries Distinguished Lecture Series

Box Office: (800) 914-SHOW / 494-3933

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TEDxPurdueU APRIL 11

SAT / LOEB PLAYHOUSE

$15-25 Purdue Convocations is among the proud sponsors of TEDxPurdueU.

Did you know?

TEDxPurdueU events are licensed, organized, and implemented by an all-volunteer team of over 50 impassioned students, faculty, staff, and community members!

TEDxPurdueU, an independently organized TED (Technology, Entertainment, Design) event, uses storytelling to nurture a culture of innovation through sharing ideas developed by Purdue students, faculty, alumni, and community members with the global TED community. At TEDxPurdueU, several live speakers from diverse fields and schools of thought, such as history, science, education, the arts, engineering, business, and technology, will combine to spark deep discussion and interconnection among our community of lifelong learners. With the introduction of an expanded, daylong format this season, attendees will receive even more engaging programming, exquisite conference gifts, and exclusive networking opportunities than ever before. In addition to their annual flagship conference, TEDxPurdueU hosts multiple breakout sessions year-round, fostering an environment for collaborative, interdisciplinary progress around the unique and thought-provoking stories in the Purdue and Greater Lafayette community.

For more information:

For a complete 2014-15 TEDxPurdueU series of events, please visit TEDxPurdueU.com.

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of scholars “ Alikecommunity ours cannot have too rich

or varied a flow of interesting and illuminating visitors. I hope this new series will augment the intellectual traffic already coming through campus in a way that enhances its breadth of content as well as its frequency and reach among our students and faculty.” —Mitch Daniels, President, Purdue University Launched in spring 2014, the Presidential Lecture Series is a diverse series of lectures that examines policy, leadership, culture, and society. Engagements for this year’s series include an investigation of the social and philosophical questions surrounding artificial intelligence in a lecture featuring author and documentary filmmaker James Barrat, which will be a component of Dawn or Doom: The New Technology Explosion (see right and on page 64) and rescheduled date for the No. 1 New York Times bestselling author Harlan Coben (whose original date was postponed due to inclement weather in February 2014). An important facet of this series is that speakers will be added throughout the year. “This series provides the Purdue community with yet another opportunity to encounter thought-provoking discourse in a wide variety of topics, especially with the series’ capacity to respond to current events and considerations by inviting newsmakers and commentators on an ongoing basis,” says Todd Wetzel, director of Purdue Convocations, which is assisting the Office of the President with the series.

JAMES BARRAT SEPTEMBER 18

THURS / LOEB PLAYHOUSE Presented as part of Dawn or Doom: The New Technology Explosion (pg. 64) Free admission / no ticket required Author and documentary filmmaker James Barrat has investigated the pervasive rise of artificial intelligence in science and society today in his book, Our Final Invention: Artificial Intelligence and the End of the Human Era. Barrat, in examining the point where machine intelligence surpasses human intelligence, raises somber questions about the future of humanity and civilization as we know it. As a part of the Dawn or Doom summit, Barrat will present his thoughtprovoking vantage point and interact with Purdue faculty experts in a rich discourse.

HARLAN COBEN DATE TBD Author Harlan Coben will discuss “The Rules of Writing and When to Break Them.” With his last seven novels, including his most recent book, Missing You, debuting at No. 1 on The New York Times Best Seller list, and more than 50 million books in print in 42 languages, Coben will share writing tips, inspiration, how-tos— and the insecurities that plague all writers.

All lectures are free and open to the general public. Box Office: (800) 914-SHOW / 494-3933

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STUDENT DISCOUNTS & OPPORTUNITIES

Interns, volunteers, promotional assistants, office assistants, advocates, Friends of Convocations, audience members— these are just a few ways that Purdue students can connect and get involved with Purdue Convocations!

PICK5

PICK5

Choose five shows or more and save an average of 15% off single-ticket prices! convocations.org/pick-5-and-save

Single tickets

Purdue and Ivy Tech Lafayette students can purchase discounted tickets to most Convocations performances. convocations.org/tickets

Group Sales

Groups of 10 or more can purchase tickets together! convocations.org/group-sales

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$

10

$

15

$10/$15 tickets

Encourage your professors to integrate a Purdue Convocations performance into the classroom and gain access to $10 and $15 tickets! convocations.org/collegiate

Purdue Convocations internships provide experience to students who have an interest in the related fields of arts administration, graphic design, marketing, and production. Interns receive valuable experience and contacts in many fields of the performing arts and tickets to most Purdue Convocations performances!

STUDENT

PERSPECTIVE with CLAIRE

Established in 1975, the Student Concert Committee (SCC) accepts eight students each year for a two-year term. Undergoing the equivalent of an internship in the music business, SCC members help select, market, and work SCC-sponsored concerts. They get real-life experience in the concert business, and several have gone on to work in the industry. But more importantly, they learn business and life skills that will serve them in whatever profession they choose. purdue.edu/scc

Founded in 1985, Convocations Voice Network (CVN) is a student group that helps support and promote Convocations performing arts events. More than 300 students strong, this group ushers and helps in many others ways with performances and other Friends of Convocations and outreach events. In exchange, members can stay and see the show for free, not to mention make a lot of new friends. They have become an essential and important volunteer group that has also given generously to support our P-12 outreach program. purduecvn.com

BOURDON

I could say the best part of being on the CVN E-Board is the wonderful friends I’ve made or the leadership experience I’ve gained, but after some consideration, I decided on something far more personal.

There is nothing more beautiful than standing in an empty theatre before the patrons arrive. The rows of seats are folded, waiting, and the air is a little bit too cold, chilled in preparation for the warm bodies waiting to flood inside. The stage is already prepared for the night’s performance; set pieces are descriptive enough to carry the theme of whatever play or concert is about to take place, but abstract enough that one is free to speculate about the sort of scenes or songs that will take place around each. It is quiet except for the voices of sound technicians and stagehands making last-minute examinations. Their voices cannot begin to fill a space designed to contain the roar of a symphony, so their chatter only accentuates how high above the ceiling really is. Lights flare, dim, then flare again in gentle strobes of white, red, green, and blue across the dark wood of the stage. Final checks are completed. Soon, someone will give a signal and doors will open. Patrons will enter—first a trickle, then a flood, then a trickle again. They will fill the vastness of the hall with their conversations and the rustle of their clothing until the whole theater hums with life. House lights will dim, and dark outlines of heads will bob in a black sea of seats. The performance will begin and later end in an explosion of light and sound, and it will be grand indeed. However, the true magic lies in those few minutes before...when the theatre is still quiet, the horizon of possibility stretches as far as one cares to imagine, and the seats are still folded, waiting.

Box Office: (800) 914-SHOW / 494-3933

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WHY WE BELONG

EMILY & ROB BLUE FRiendS since 2011

“It’s not just about going to a show. It’s bigger than that.” Why do you belong? We belong because we want to support the cultural enrichment of our community; to provide opportunities for not just ourselves, but for others—like with the outreach you do with schools or when the performers do talks before shows. If we can help Purdue provide these experiences for others, then it’s not just about going to a show. It’s bigger than that. What do you like most about Convos? It’s a fantastic date night! We get so excited as soon as the schedule is released. Last year, we went to eat together and brought the schedule so we could plan our shows. We each picked a few and it was really fun. It is nice to pre-plan; we know we’re going to have those special nights out to enjoy dinner and a show. We went with a PICK5 because we always find five shows we like. We add to it, too, when the special shows are added later. It’s a good base for us to commit to and support, and to know at least we have scheduled nights out and things to look forward to.

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We also see a lot of people that we know at the shows. It’s neat to have conversations about the shows with them later through social media or in person. It’s fun to look at people in the audience as they are coming into shows as we’re waiting, looking for who’s here and saying hello to people we know. We text people, “Where are your seats?” and things like that.

How has belonging to the Friends enriched your life?

What was your first experience with Convos?

Also, going to a show enriches your life long before and afterwards. For example, we planned a trip to Memphis before Million Dollar Quartet. As we were planning the trip, we realized Sun Studio was there, and Graceland! We didn’t grow up as Elvis fans, so this was sort of unbeknownst to us—but we wanted to go to all these things. Then, as we were taking a tour of Sun Studio, we said, “Wait, Million Dollar Quartet? We’re seeing that show in two weeks!” It made the show experience so much more meaningful because we were there, at the actual studio, two weeks earlier! Then after the show, we downloaded the soundtrack and had it playing all the time. The shows really stay with you much longer than just the two hours in the theatre. That’s what we really love about it. You want that experience to mean something, or otherwise, what’s the point?

We first came to a Convos show because my parents gifted us Young Frankenstein tickets for Christmas one year. That was before we became Friends, and it was a great reminder of the really cool shows that are here that we should take advantage of. That’s when we decided that if we became Friends, we could help support Convos and get better seats. If we’re going to plan on doing this every year, we might as well “join the club,” so to speak, to start earning the rewards and meeting people. Our contribution isn’t much, but we hope that we can continue our support and it can be even more in the future.

It feels good to be able to support an organization that brings so much to the community. We get something out of it, the students get something out of it, everyone benefits from it. It makes this one of the great places to live.

YOU BELONG

HERE Friends are loyal, enthusiastic patrons of the arts. Their gifts support diverse shows. They help bring kids to the theatre for free. They help college students connect ideas to their lives. And you belong here. We’re saving a seat for you.

Friends enjoy a special preview concert by Martha Redbone.

Check out these exciting perks! Patron Level ($50+) Receive show notices and buy tickets before the general public, plus earn Priority Points for seating Sponsor Level ($100+) Program book recognition at every regular-season performance Benefactor Level ($250+) Intermission Club invitation

NEW!

Don’t forget! Friends earn Priority Points for things like loyalty, PICK5 purchases, and contributions. To learn more, visit convocations.org/prioritypoints.

Founder Level ($500+) Parking pass for preferred lot at Elliott Hall performances Director’s Council ($1000+) Soirée Dinner with exclusive Festival preview performance Ambassador Level ($2500+) Invitation to artist reception Collaborator Level ($5000+) Invitation to Director’s event

READY TO JOIN? To join Friends or learn more about how Friends gifts support Convocations programming, visit convocations.org/support or call (765) 494-9712. Box Office: (800) 914-SHOW / 494-3933

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Master class with MOMIX

ARTS IMPACT IN THE CLASSROOM Providing interaction between students and artists both in and beyond the theatre is an important part of our mission. The Purdue Convocations Curricular Connections program offers opportunities for preschool through grade 12 (P-12) and college-level students to experience performances and learn more about the artists in the classroom. Annually, more than $25,000 in gifts from the Friends of Convocations and Corporate Partners provide major support for these outreach activities.

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Snarky Puppy at Purdue Jazz Festival

“I teach an introductory composition course, and as part of our curriculum, we consider how all sorts of different things—such as theatre, music, dance, spaces, and visual arts—can count as “texts” in the sense that they have something particular to communicate to their audiences; in short, these texts have intentions. One of the main reasons we attend Convocations events is so my students can learn to interpret these multimedia texts and, simultaneously, discover how to build written arguments of analysis expressing those interpretations. I like the Convocations programs in particular for the range of shows that come through and for their consistent professionalism, entertainment value, and thought-provoking messages—and for the fact that I highly enjoy attending them myself.” — Helen Knight, English Composition, Purdue University

“… an average student who never spoke up in class gave me a handwritten letter after taking her final exam to tell me that because of class (and because of using Convocations vouchers), she attended performances she never would have. Because of it, she was selling her Lady Gaga tickets to pay for an entire series of Convocations tickets.” — Jennifer Hund, Music Appreciation, Purdue University

Hugo Wolf Quartett at Frankfort High School

Charlotte’s Web Pre-Show

STREB parkour class

Preschool through grade 12 activities last season:

College-level activities include:

• 7 weekday student matinees on the Purdue campus or in local theatres

• Subsidized ticket vouchers for as little as $10 when a faculty member connects a performance to curriculum

• 5,000 students attended • 1,500 scholarships provided • $7,500 in ticket scholarships and $1,800 in transportation scholarships was distributed thanks to generous individual donors and corporations. • More than 2,000 students attended artist residencies in area schools. • Over 200 middle school students had the opportunity to tour Purdue’s campus and to attend a live performance in Elliott Hall of Music.

FRIENDS SUPPORT FROM:

• On-campus artist residencies • Master classes on special topics

CURRICULAR CONNECTIONS You can help create these wonderful opportunities for students and teachers by donating to the Purdue Convocations Curricular Connections program. For more information about these educational programs or to make a gift, visit convocations.org or call (765) 494-9712. Box Office: (800) 914-SHOW / 494-3933

75

HOW TO BUY ONLINE Order without fees online at convocations.org/tickets

IN PERSON CAMPUS BOX OFFICES

STEWART CENTER (M—F 10 am—6 pm) Summer Hours (M—F 10 am—4 pm) Box office is also open two hours before each performance.

ELLIOTT HALL OF MUSIC Please note: Box office is now only open two hours before each performance.

PHONE (765) 494-3933 or (800) 914-SHOW

Image:

ETHAN LIPTON AND HIS ORCHESTRA pg. 40

FRIENDS OF CONVOCATIONS PRIORITY SEATING DEADLINE: JUNE 13, 2014 Friends of Convocations are seated by the Priority Point System. Orders must be received by June 13, 2014, in order to qualify for priority seating.

76 LEARN MORE AT CONVOCATIONS.ORG

Not a Friend of Convocations? Become one today and get priority seating. Go to convocations.org/donate to join today!

BUYING SCHEDULE May 22-June 13: FRIENDS OF CONVOCATIONS PRESALE Friends of Convocations are

NOT A FRIEND OF CONVOCATIONS?

seated before the general public with the Priority Point System. Orders must be received by June 13, 2014, for both PICK5 and single tickets.

Donations of $50 or more qualify for priority seating and other perks. Visit convocations.org/donate to join today!

FRIENDS PRESALE ORDER OPTIONS: PHONE: (765) 494-3933 ONLINE: convocations.org/tickets ORDER FORM: If you’d prefer to submit an order form, please call us at (765) 494-9712 to request one.

July 1-11: PICK5 PresalE* Buy early, get the best seats, and save money with a PICK5 order! If you’re not a Friend of Convocations, you can place your PICK5 order beginning on July 1 at 10 am. *See pg. 79 to learn about PICK5.

*New this year! Choose your exact seat location at the time of your order: convocations.org/tickets

PICK5 pricing details can be found at: convocations.org/pick-5-and-save

PICK5 ORDER OPTIONS: PHONE: 765-494-3933 ONLINE: convocations.org/tickets ORDER FORM: If you’d prefer to submit an order form, please call us at (765) 494-9712 to request one.

July 14 at 10 AM: All Tickets ON SALE If you’re not a Friend of Convocations or a PICK5 buyer, you can place your single-ticket order beginning on July 14 at 10 am.

*New this year! Choose your exact seat location at the time of your order: convocations.org/tickets

SINGLE-TICKET ORDER OPTIONS: PHONE: (765) 494-3933 ONLINE: convocations.org/tickets

Box Office: (800) 914-SHOW / 494-3933

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GROUP SALES

President’s Council members wave hello before the Joffrey Ballet in February 2013.

MEET UP. HAVE FUN. SAVE MONEY.

Group benefits available upon request:

Groups of all kinds and sizes

• Bus drop-off and pick-up access (as well as parking!)

• Group orders require a 10% non-refundable deposit, and final payment is due four weeks before the performance.

• Planning packet with local attractions, restaurants, and parking information

• You will receive one complimentary ticket per 10 or 20 tickets purchased.

• Promotional material and/or background information to assist you in publicizing the event to your group

• Tickets may be purchased via cash, MasterCard, Visa, Discover, or check made payable to Purdue University.

are welcome at Convocations performances—and if you have 10 or more in your group, you'll receive a discount on your tickets as well as bonus tickets for tour organizers, chaperones, or bus drivers (for qualifying performances only).

QUESTIONS? Group Sales Manager (765) 496-1977 convocations.org/group-sales

78 LEARN MORE AT CONVOCATIONS.ORG

• Step-on guide to greet your bus group and orient them to the facility and to key information about the performance

Please note that group tickets are not available for all Convocations events.

GROUP TICKET POLICIES • Contact the Purdue box office at (765) 496-1977 for ticket reservation and payment information.

• No refunds or exchanges are given once tickets are purchased.

SAVE SOME DOUGH WITH A

FISTFUL

OF TICKETS PICK5

Did you know that if you buy five shows or more, you save an average of 15% off singleticket prices? Experience the flexibility of designing your own package!

PICK5!

Here’s an example of how much you can save with Regular PICK5 You Save Mamma Mia! $52 $44 $8 Disney’s Beauty and the Beast $52 $44 $8 Peter and the Starcatcher $52 $44 $8 Academy of St. Martin $45 $38 $7 in the Fields Sister Act $52 $44 $8 (Example based on Zone A prices) Save $39!

Box Office: (800) 914-SHOW / 494-3933

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SEATING MAPS HAVE A SEAT!

Our friendly box office team is happy to help you find the perfect seat!

LOEB PLAYHOUSE MAIN FLOOR

ELLIOTT HALL OF MUSIC MAIN FLOOR

LOEB PLAYHOUSE

MAIN FLOOR

STAGE 111 109 107 105 103 101 7 6 5 4 111 109 107 105 103 101 8 7 6 5 111 109 107 105 103 101 8 7 6 5 113 111 109 107 105 103 101 113 111 8 7 6 5 109 107 105 103 101 9 8 7 6 5 113 111 109 107 105 103 101 115 113 9 8 7 6 5 111 109 107 105 103 101 115 113 9 8 7 6 5 111 109 107 105 103 101 115 113 10 9 8 7 6 111 109 107 105 103 101 115 113 10 9 8 7 6 111 109 107 105 103 101 117 115 10 9 8 7 6 113 111 109 107 105 103 117 115 101 11 10 9 8 7 6 113 111 109 107 105 103 117 115 101 11 10 9 8 7 6 113 111 109 107 105 103 117 115 101 113 111 11 10 9 8 7 6 109 107 105 103 119 117 101 115 113 11 10 9 8 7 6 111 109 107 105 119 117 103 101 115 113 12 11 10 9 8 7 111 109 107 105 121 119 103 101 117 115 12 11 10 9 8 7 113

A

B

1

B

4

3

2

1

C

4

3

2

1

D

3

2

1

F

4

3

2

1

G

4

3

F G

1

2

H

5

4

3

2

J

5

4

3

2

K

5

4

3

2

H

1

J

1

K

1

4

3

2

1

M

5

4

3

2

1

4

3

2

5

O

P

Q

12

11 10

9

8

4

3

2

6

5

4

3

2

8

7

6

5

13 12 11 10

9

8

7

6

5

O

4

3

2

3

2

4

R

S

1

3

T

1

U V W

118 114 116 110 112 106 108 102 104 118 114 116 110 112 106 108 102 104 118 114 116 110 112 106 108 102 104 114 116 110 112 106 108 102 104

X

X

Y

Y

Z

Z

AIS LE 3

AIS LE 2

115 113 111 109 107 105 103 101 115 113 111 109 107 105 103 101

NY

Q

1

2

4

BA LCO

P

1

2

3

4

5

6

7

9

AISLE 1

N

1

5

114 110 112 106 108 102 104 116 112 114 108 110 102 104 106 114 116 110 112 106 108 102 104 116 112 114 110 106 108 102 104 116 112 114 108 110 102 104 106 118 114 116 112 108 110 102 104 106 118 116 112 114 108 110 102 104 106 116 118 112 114 110 106 108 102 104 118 116 114 110 112 106 108 102 104 118 120 114 116 110 112 106 108 102 104 118 120 116 114 110 112 106 108 102 104 120 122 116 118 112 114 108 110 102 104 106 118 120 114 116 110 112 108 106 120 102 104 116 118 114 110 112 106 108 102 104

M

1

6

13 12 11 10

L

1

2

3

4

5

114 110 112 106 108 102 104 114 110 112 106 108 102 104

E

4

5

119 117 R 115 113 111 109 107 105 119 117 103 101 S 115 113 111 109 107 105 103 101 117 115 T 113 111 109 107 105 103 117 115 101 U 113 111 109 107 105 103 101 117 115 V 113 111 109 107 105 103 101 115 113 W 111 109 107 105 103 101

110 112 106 108 102 104

C

N

111 109 107 105 103 101

2

L

AISLE 4

NY

3

D

E

BA LCO

110 112 106 108 102 104 110 112 106 108 102 104

A

1

2

3 4

102

104

114 116 110 112

114 116 110 112

LOEB PLAYHOUSE A IS 125

125

BALCONY

LE 4

123

123

121 119

117

115

A IS

AIS LE 3

113

111 109 107 105 103 101 117 127 115 125 113 111 109 123 121 107 105 119 103 101 117 127 115 113 125 111 109 123 121 107 105 119 103 101 117 125 115 113 123 111 121 109 107 119 105 103 117 101 115 125 113 123 111 109 121 107 105 119 117 103 101 115 113 111 109 107 105 113 103 101 111 109 107 105 103 101 111 109 107 105 103 101 111 109 107 105 103 101 111 109 107 105 103 101 111 109 107 105 103 101 107 105 103 101 113 111 109 107 105 103 101

121 119

AA

6

5

4

3

8

7

6

5

4

3

2

1

8

7

6

5

4

3

2

1

9

BB

CC

12

11

10

9

8

7

6

5

4

3

2

1

EE

14 13

12

11

10

9

8

7

6

5

4

3

2

1

11

10

9

8

7

6

5

4

3

2

1

HH JJ

KK

NN

7

9

9

14 13

GG

LL

AA

1

2

8

11 10

11 10

DD

FF

MM

14 13 12 11 10

14 13 12

14 13 12

BB CC

14

13

LE 1

6 4 12 2 12 0 12 118 12 6 114 116 4 12 110 112 2 12 0 12 106 108 102 104 118 12 8 116 114 6 12 4 12 110 112 2 12 106 108 120 12 102 104 8 116 118 6 12 112 114 4 12 110 12 2 106 108 120 12 102 104 6 116 118 12 114 4 2 12 110 112 0 12 106 108 102 104 118 12 6 114 116 4 12 2 12 110 112 12 108 0 106 102 104 118 12 114 116 110 112 106 108 114 102 104 110 112 106 108 102 104

AIS LE 2

12

11 10

9

11 10

9

12 11 10

12 11

10

8

8 9

9

14 12 11 10

7 8

7

9

6 7

6

8

7

6

4

5

5

3

2

3

4

4

3

2

FF

JJ

1 1

KK LL

110 112 106 108 102 104 110 112 106 108 102 104 110 112 106 108 104 102 110 112 106 108 102 104

MM

1

2

EE

HH

1

2

3

4

5

6

5

DD

1

GG

1

2

3

4

5

2

3

4

5

6

3

4

5

6

7

8 9

8

6

7

8

9

13 12 11 10

10

7

2

1

NN

106 108 102 104 110 112 106 108 102 104

114

GENERAL ADMISSION VENUES INCLUDE: LAFAYETTE THEATER CARNAHAN HALL FOUR POINTS BY SHERATON BALLROOM

ZONE A

ZONE B

80 LEARN MORE AT CONVOCATIONS.ORG

ZONE C

ZONE D

Questions ABOUT SEATING? Call (765) 494-3933

GETTING HERE CAMPUS LOCATIONS LOEB 128 Memorial Mall West Lafayette, IN 47907

ELLIOTT 712 Third St. West Lafayette, IN 47907

IOTT

Campus maps are also available at http://www.purdue.edu/campus_map/

ELL

LAFAYETTE LOCATIONS LAFAYETTE THEATER 600 Main St. Lafayette, IN 47901

LONG CENTER 111 N. 6th St. Lafayette, IN 47901

LOEB

CARNAHAN HALL 800 Main St. Lafayette, IN 47901

WEST LAFAYETTE LOCATIONS FOUR POINTS BY SHERATON 1600 Cumberland Ave. West Lafayette, IN 47906

DIRECTIONS TO CAMPUS From the North • Take I-65 South to State Road 43 South (Exit 178) • Follow State Road 43 South to State Road 26 West (State St.) • Follow State Road 26 West (State St.) to campus From the South • Take I-65 North to State Road 26 West (Exit 172) • Take State Road 26 West through Lafayette to campus

Campus PARKING Parking is free in campus garages on weekends and after 5 pm on weeknights. Campus garages are available for general campus use and can fill quickly. Parking is also free in A, B, and C areas after 5 pm on weekdays and all day on weekends, unless otherwise posted.

Directions to Downtown Lafayette From the North or South • Take I-65 to State Road 26 West • Follow State Road 26 West to downtown Lafayette • See convocations.org

In addition to the wheelchairaccessible parking noted on this map, handicap spaces are available in the parking garages. Box Office: (800) 914-SHOW / 494-3933

81

INFO TO Know CHILDREN

While we encourage early introduction to the arts, we also wish to provide the best environment for all of our patrons. Our child policy is as follows:

• We request that children under

6 years of age not be brought to shows, except those that list an age recommendation for children in our brochure or on our website.

• Infants on laps are only permitted at shows recommended for children. All patrons, including infants on laps, must have a ticket due to fire marshal requirements.

CONTENT DISCLAIMERS

If you have questions about show content or age appropriateness, see our website, convocations.org, for additional information, including audio and video samples for most shows. Staff members can provide more information; however, you are ultimately responsible for deciding whether a show’s content is appropriate for you and your family.

GIFT CARDS

Gift cards are available in any denomination and are valid for all Convocations and Student Concert Committee shows. Gift cards can be purchased at campus box offices or by calling (765) 494-3933.

CONTACT:

STUDENT TICKET DISCOUNTS

Discounted student tickets (pg. 68) are available for Purdue and Ivy Tech Lafayette students. Each person using a student ticket must be a student and be able to present a current student ID.

TICKET FEES

Regular-season shows in this book include a service fee; all listed prices are the final price. Tickets purchased through Ticketmaster are subject to additional fees.

REFUNDS & EXCHANGES

We are unable to issue refunds or exchange tickets. If you are unable to attend a show, consider one of the following options:

• Give or sell your ticket to someone else.

• Return your ticket to the box office any time prior to the show and it will be offered to a student free of charge.

• If you have a PICK5 ticket, return it to the box office 48 hours prior to the show and receive credit for a tax-deductible donation.

Purdue Convocations 128 Memorial Mall, STEW 194 West Lafayette, IN 47907-2034

DOORS

Doors generally open 30 minutes prior to showtime. Late arrivals might not be seated immediately.

ACCESSIBLE SEATING

Wheelchair seating is available in all venues with companion seating nearby. Extra-wide seats are available in Zone A in Elliott Hall of Music. Please inform the box office of special seating needs when ordering.

AUDIO ENHANCEMENT

Audio enhancement is available. See an usher for the easy-to-use earphone system. Sign language interpretation is available with sufficient advance notice and conditional upon the availability of qualified service providers. Please request this service at least 60 days prior to the performance.

LARGE-PRINT PROGRAMS

Large-print programs are available upon request. See an usher for a copy.

SERVICE ANIMALS

Service animals are welcome. Special seating is required. When ordering, request an aisle seat and please inform the box office that a service animal will be with you.

Campus Box Offices Stewart Center–Loeb Playhouse (M–F 10 am–6 pm) Please note: The Elliott Hall box office is now only open two hours before a performance in Elliott Hall of Music.

(765) 494-3933 | (800) 914-SHOW (765) 494-9712 | Fax: (765) 494-0540 convocations@purdue.edu TDD Relay: (765) 496-1343

82 LEARN MORE AT CONVOCATIONS.ORG

CORPORATE

LEAD PARTNERS

PartneRSHIP

JOIN US! A partnership with Purdue Convocations can provide your company great visibility, a meaningful connection to the community, and access to tickets and preferred seating. Call us at (765) 494-9712 or visit convocations.org to download our Corporate Partnership brochure.

“Nanshan has chosen to support Purdue Convocations so that members of the Greater Lafayette community, Purdue students, and faculty can be offered the opportunity to attend professional artistic performances of a broad and diverse nature right here in our community.” —David Kummer, Human Resources Nanshan America Advanced Aluminum Technologies, LLC

Thank you for your support!

We applaud our LEAD PARTNERS, who have generously contributed the highest level of corporate support for the 2014-15 performance season. Box Office: (800) 914-SHOW / 494-3933

83

84 LEARN MORE AT CONVOCATIONS.ORG

convocations.org (800) 914-SHOW

Learn more:

convocations.org/SUPPORT

Join the Friends of Convocations:

convocations.org/SURVEY

Tell us how we’re doing:

PurdueConvocationsIN

@Convocations

Join in the conversation:

128 Memorial Mall, STEW 194 West Lafayette, IN 47907-2034

PAID

PURDUE UNIVERSITY

NON-PROFIT ORGANIZATION POSTAGE


2014-15 Convos Brochure