ASU Gammage Inner Circle Magazine Volume 27

InnerCircle ASU Gammage

Volume 27 Fall 2020

We need your support to to RETURN Return to thethe ASU Gammage Recovery Fund

our attachment to the university, we were unable to receive PPP dollars. Although ASU Gammage is an important entity to the charter of ASU, in that we take personal responsibility for the cultural and economic vitality of the communities that we serve, the university funding’s first commitment is to students’ safety and success.

Because resources are limited and time is of the essence, we launched our Return to the Stage campaign in September. I was humbled and overwhelmed with the amount of generosity from our donor community. We have raised over 10% of our $1 million goal.

The money raised from Return to the Stage will support the return of live events, new safety measures and protocols, cultural participation programs and the expansion of our ongoing digital programming efforts.

Our theater may be dark, but our mission is not. We will continue to connect with our communities. With each new challenge we will continue to pivot, reimagine, innovate and push harder and harder.

We cannot wait to welcome you back to ASU Gammage.

As many arts institutions like us have echoed­­­— this is just intermission.

Before COVID-19, our 2020–2021 Broadway season was originally planned to kick off in September. Like you, I also miss the shows very much. I miss our lobby buzzing with excitement. I miss the thrill of watching a curtain rise as the journey begins. But above all, I miss you!

In March, we never could have imagined this pandemic would still be disrupting all live events. My team is hard at work maintaining our mission of Connecting Communities™ and keeping our theater ready to go for the moment we can swing those doors wide open and welcome you back. But there is a cost to keep up this momentum, and we need your help now more than ever.

The past seven months of cancelations and postponements of all our in-person programming have dealt ASU Gammage a major financial loss. Although part of Arizona State University, ASU Gammage operates under a self-sustaining business model with 80% of our funding coming from our Broadway series.

Many have asked if we’ve received CARES Act or Paycheck Protection Program (PPP) funds. We have not received any of the CARES Act funding. And because of

ASU Gammage Inner Circle Volume 27 Fall 2020

Please consider supporting what you love with a donation to our Return to the Stage campaign. No gift is too small.

Give knowing your support will have a powerful impact, and we say with deep gratitude — thank you, thank you, thank you. ■

Colleen Jennings-Roggensack ASU Vice President for Cultural Affairs and Executive Director of ASU Gammage

P.S. For more information on how to support the Return to the Stage campaign, turn to page 3. You can cut out the gift slip and mail it in or visit asugammage.com/ returntothestage to make your gift today.

EXECUTIVE EDITOR Colleen Jennings-Roggensack EDITOR IN CHIEF AND PROJECT MANAGER Erica Lin CREATIVE DIRECTOR Allie Gold

@ASUGammage 1

ASU GAMMAGE INNER CIRCLE

MANAGING EDITOR Theresa Dickerson

EDITORIAL TEAM Kari Amarosso; Heather Fuentes; Michelle Johnson, CAP, OM; Arianna Jones; Tim Walling CONTRIBUTING WRITERS Alexis Alabado; Stacey Bailey; Lauren Fountain; David Freeland; Heather Fuentes; Kelly Vaughn

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Contents

Return to the Stage One thousand $1,000 gifts

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Digital Connections recap: AMERICAN DREAMS More than 150 audience members joined ASU Gammage and the AMERICAN DREAMS team to participate in an interactive, digital theater experience

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Behind the lens Award-winning photographer, Tim Trumble, continues to provide photography as part of the ASU Gammage team

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A spotlight on ASU Gammage VIP donors

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Meet the 2020–2021 ASU Gammage Herberger Scholarship recipients

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Two visionaries, one mission

TAP Artist Breona Conrad

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A show for everybody Emphasizing friendship, JERSEY BOYS crosses generations and wins new fans

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Digital masterclasses continue arts education despite pandemic Daily life suddenly shifted online earlier this year, thus, ASU Gammage’s digital masterclasses were born

“The TAP program is so excellent, I highly recommend it to anybody who is interested in teaching and bridging with the arts.”

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Sun Devils on the medical front lines

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Topgolf Live to tee off at Sun Devil Stadium January 28-31, 2021 Fans set to enjoy a safe experience taking aim at glowing Topgolf targets in this iconic playing field

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Building virtual connections to artists and the arts “gather,” “Beams” and Cultural Participation programs gain momentum

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VIP Donor Club listing

(l to r) Michael Milton, Jon Hacker, Eric Chambliss and Corey Greenan Photo by Joan Marcus VOLUME 27 | 2020

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Return to the Stage

Watch the official Return to the Stage campaign video on YouTube.

We need your to support to Return the to RETURN the ASU Gammage Recovery Fund

One thousand $1,000 gifts Although we are apart, we are still connected through the power of the arts. While live performances halted around the globe, you renewed your gifts, participated in our digital programming, donated

The return of live events

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canceled show tickets and shared how much ASU Gammage means to you. You spread hope and have truly shown the importance of the ASU Gammage mission of Connecting CommunitiesTM. Many challenges lie ahead as we imagine what returning to the stage looks like. Your support is what will

New safety measures and protocols

make the difference. Your support is what will allow ASU Gammage to open its doors once again to live events.

Be a champion for the arts and join our campaign to support what you love. Your donation will support:

Cultural Participation programs

Expand ongoing digital programming

How can you support Return to the Stage?

Stage?

Give a gift!

Visit asugammage. com and donate on Pitchfunder.

Prefer to mail your gift? Cut out the donation form below and mail it in with your donation.

Share the Return to the Stage campaign with your family and friends.

To support online, please visit asugammage.com/returntothestage $1,000 $550 $300 $100 Other gift amount $ Check Charge my credit card Make checks payable to ASU Foundation and mail to: ASU Gammage Return to the Stage PO Box 870205 Tempe, AZ 85287-0205

Tune into Digital Connections. Visit asugammage.com/ digitalconnections for the schedule of performances.

If you’re feeling really passionate, consider becoming an ambassador. Learn more by emailing returntothestage@ asugammage.com.

We accept Visa, Mastercard, American Express and Discover Name As It Appears On Card Card Number Billing Address Expiration Date Signature All funds will be deposited with the ASU Foundation for A New American University, a nonprofit organization that exists to support Arizona State University (ASU). Gifts in support of ASU are subject to foundation policies and fees. Your gift may be considered a charitable contribution.

Please consult your tax advisor regarding the deductibility of charitable contributions.

G09364 FD300/CM87647 VOLUME 27 | 2020

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Digital Connections

Digital Connections recap: AMERICAN DREAMS AMERICAN DREAMS premiered on Sept. 26, as part of the Digital Connections series

More than 150 audience members joined ASU Gammage and the AMERICAN DREAMS team to participate in an interactive, digital theater experience

By Lauren Fountain Imagine a world in which the only way to earn citizenship to the United States of America was through a game show decided by audience input. How would you decide who

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was worthy of becoming a citizen, or what that worthiness even means?

This is the concept of AMERICAN DREAMS, an interactive theater experience presented as a game show in which three “acting” contestants are competing for citizenship to “the greatest nation on Earth.”

This interactive, digital performance of the show premiered as a part of ASU Gammage Digital Connections series on Saturday, Sept. 26 at 6 p.m.

Leila Buck, the show’s creator who also stars as one of the two game show hosts, wrote AMERICAN DREAMS in hopes of encouraging those with U.S. citizenship to think about topics like immigration and what it means to be a citizen.

“I wanted to ask people who have opinions one way or the other, or maybe don’t have opinions or think they don’t, to put themselves in the shoes of the person who actually has to decide...whether or not they trust them to come to this country,” Buck said. “What would we do if we were actually the people that had to face another human being and decide whether or not we felt they deserved to come to this country and to be a fellow citizen? And how does that make us reflect on what it means to us to be a citizen, for those of us that have that privilege?”

The interactive audience element is unique from other plays in that audience members influenced the outcome of the show, and ultimately, decided which of the three

though there’s a distance,” Buck said.

“It was exciting to use this new format.

The new setting actually deepened and enriched the experience for those who are engaged with us.”

Even in a remote setting with participants joining from across the country, Buck said the show’s interactive element allowed the audience “to engage with what’s unfolding in a way that is not typical of even live theater always.”

Audience attendees were asked to answer a few questions before entering the digital theater space on Zoom. The show began to unfold with audience being included in polls, questions and even some called on to be a part of the interactive show experience. At the end of the production, the audience voted on which contestant would be the next American citizen.

contestants they believed should win U.S. citizenship. This engagement, Buck said, left audience members contemplating their own choices throughout the play.

“It was exciting to use this new format.

The new setting actually deepened and enriched the experience for those who are engaged with us.”

—Leila Buck, Creator of AMERICAN DREAMS “Along the way the desire is for the journey to really take place, regardless of who everyone ends up voting for,” Buck said. “What

happens when you respond positively to a contestant’s response to something, but your neighbor responds negatively? Maybe that neighbor is your family member or friend, and you go, ‘Wait a minute, we have a different response to that same thing.’ What kind of dialogue does that spark? And how can that help us engage around these issues that can be so polarizing, and are in some ways simple and in some ways, complex, and deeply personal in ways we may not even realize?”

Despite the transition to a digital format due to the coronavirus pandemic, Buck said “there are ways that people can engage almost more intimately.”

“As we all know, those of us who’ve been doing calls on Zoom and these kinds of things, there’s an odd way that it can feel more intimate, even

“That is what I think is what’s unique about it, is that you’re not just sitting and passively watching something, you’re actually engaging in it and you’re excited to do it at various levels of engagement in different ways,” Buck said. “The idea is not to tell people how they should feel about this or what they should think or who they should choose.

But to invite them to engage with themselves, really.” ■ ASU Gammage would like to thank Jenny Norton and Bob Ramsey for supporting AMERICAN DREAMS as well as the Arizona Community Foundation for its additional Beyond Series funding.

Programs like AMERICAN DREAMS allow us to reach beyond the stage, employ artists and make an impact on the communities we serve.

A donation to the Return to the Stage campaign will help more programs like this become possible. To donate, visit asugammage.com/returntothestage VOLUME 27 | 2020

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Donor Profile

Behind the lens

By Heather Fuentes

ASU Music Theatre and Opera production of 35mm: A Musical Exhibition Photo by Tim Trumble

Tim Trumble’s award-winning professional photography career has spanned over 25 years.

He is currently the production photographer for AZ Opera, ASU Gammage, AZ Musicfest, ASU School of Music Dance and Theatre, Grand Canyon College of Fine Arts, Tempe Center for the Arts, Childsplay, and ASU 365 Community Union.

Tim Trumble had an interest in the arts from a very young age. Tim’s mother, Olive, was a music teacher who gave private music lessons in their home. His father, Ron, made sure that even on an English/Drama teacher’s salary, their family of five saw Broadway shows at Fisher Theater in downtown Detroit at least a couple of times a year. “Over the years, I got to see Carol Channing in HELLO DOLLY! and Stacey Keach in BARNUM. I saw the first run of CATS there.” Tim’s father made sure to go beyond the stage, also taking his young family to see iconic artists like Count Basie at the Meadow Brook Music Hall.

Given his first Nikon camera as a high school graduation gift, Tim headed for Michigan State University as a studio art major with an emphasis on photography. “I started working in theater my freshman fall. If I wasn’t in the studio or an art class, I was in the theater building,”

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said Tim, who minored in theater management. “My dad being a drama teacher, I remember many high school productions. My one and only stage credit was as Wally Webb in OUR TOWN at age 10. I was one of those people who enjoyed being backstage more than on stage.” In middle and high school, Tim often ran the light board for productions. “It was a pretty natural progression in college to become an assistant stage manager (ASM) my freshman year. It was the first time Michigan State let a freshman handle an ASM position.”

He worked in theater all through college. “I would bring my camera along to rehearsals so I could take care of photography assignments at the same time. It’s where I learned how to take photos under stage conditions.”

Tim graduated in the summer of 1987, which also happened to be the 150th birthday of the State of Michigan. “At the time, the Smithsonian always had a festival on the mall featuring statehoods.

Michigan’s statehood was in the spring of ’87 and they brought it back to the state late in the summer.”

The event was called the Michigan Festival and was a huge success. “I was offered the opportunity to either manage one of the music stages or photograph the entire thing. In that moment, I decided to go the photography route.” The festival ended up running for over ten years and for the first eight, Tim was their

official photographer. “Over the years, I had the opportunity to photograph people like Ray Charles, Dolly Parton, Huey Lewis, Robert Palmer and The Bangles. My main objective there was to, for example, photograph the Chairman of General Motors with Dolly Parton – but because I was backstage photographing for the festival and concert promoters, I got access to everything. Straight out of college, that was pretty cool.” Back then, photography was much more laborious and you had to get it right the first time. Tim learned quickly and got to know the entertainment industry well. “That was my fork in the road moment – the moment when I decided I was going to be a photographer instead of a stagehand.”

During his years with the Michigan Festival, Tim also managed a photo lab full-time and got married. His first daughter, Samantha, was born in 1992. His wife, Carita, was offered a job in Arizona, and she and Tim decided to move across the country.

“We sold the house in Michigan and moved out to Arizona in 1993. She settled into the job, and I sought a variety of different things. I thought I’d freelance at first. I photographed houses for the MLS. I worked at Moto Photo in their portrait studio.”

In 1995, Tim joined ASU as a staff photographer. “My first day on the job was Homecoming. I was on the field taking photos during the football game where they clinched

their win to go to the Rose Bowl.” As the team readied to take the field in Pasadena, CA, a few weeks later, Tim met ASU President at the time Lattie Coor for the first time. “I took photos for the Rose Bowl and began getting to know most of the university administration. It was an exciting time.”

“I was offered the opportunity to either manage one of the music stages or photograph the entire thing.

In that moment, I decided to go the photography route.”

—Tim Trumble Alex, Tim’s younger daughter, was a dancer and attended Arizona Conservatory for Arts and Academics.

“Once she started dancing and saw CATS for the first time, she was hooked. It’s what started her entire theater experience.” When she was in high school, Tim often brought her along to theater jobs as his assistant. Following the example set by his father, Tim set the same course of cultural influence for his own family. Alex came along to galas and opening night parties at ASU Gammage where many donors fell in love with her and still keep track of

her today. “Alex went through Camp Broadway. The year they did the Macy’s Thanksgiving Day Parade, she auditioned for that.

She made it and we went on our very first trip to New York.” Alex fell in love with the city. She began to research arts-based schools and eventually landed at The American Musical and Dramatic Academy, a college conservatory on the Upper West Side. Tim is quick to credit our own executive director, Colleen Jennings-Roggensack, with some of Alex’s best New York experiences.

“She’s taken her to show openings and events so that she could meet people. Alex went to the opening of HELLO DOLLY! with Colleen and sat next to Joel Gray. Sharing an arm rest with him made her night!” Tim appreciates the experiences he’s had with ASU Gammage, but feels Alex has appreciated it even more.

Although Tim left the employment of the university to operate his own business, he continues to provide photography as part of the ASU Gammage team because of the relationships he has built over the years and the value he places on the importance of the arts. “It comes back down to some of the stuff that my dad instilled in me. It’s one of the easiest ways for me to stay engaged in both my interests, lend my skills and contribute to the live theater art form.” When asked what he is looking forward to when ASU

Gammage once again opens its doors, his immediate answer is the buzz of the building. “It’s exciting when people are in the theater sharing the anticipation of what’s going to happen. Whether they know the show or not, people are already excited about it. That social atmosphere is something you’ll never get watching streaming theater.” As with many artists around the country, the pandemic has greatly affected Tim’s business. “We have been able to survive a lot better than many people, but it did wipe out my three best months of the year. I’ve reached out to many artists I’ve met over the years to make sure they are okay.

We are all holding on and waiting for people to be able to gather again.”

Urban Sol 2019 shined light on the urban artist culture of DJ’s, emcees, aerosoul artists and dancers in the Valley of the Sun Photo by Tim Trumble

Tim’s work can be found online at timtrumblephoto.com. ■

Tim and his daughters Samantha (l) and Alexandra (r) VOLUME 27 | 2020

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Donor Highlight

A spotlight on ASU Gammage VIP donors

Carol Barmore with husband, Phil Hineman Sr.

Carol Barmore Why do you support ASU Gammage?

I support ASU Gammage because I love the programs. I think that ASU Gammage’s staff is great!

What are you most looking forward to when we open our doors for shows again?

The shows! I can’t wait! Gosh, I really miss them! There is no substitute for live theater.

What have you been doing to stay engaged with the arts during this time?

I have been trying to keep up with all of the emails I receive because I belong to several different museums that I support and they all have different online programs that I have been taking part in. This afternoon, I have a Zoom meeting with the Autry Museum.

We are going to be speaking with Michael Scott, whose studio I have visited in Santa Fe and whose work I collect. I collect art as well as enjoy the performing arts! I also support the Scottsdale Artists’ School. I really recommend that to anyone near or far. A majority of our students come from outside the local area because it is very well known and does a great job!

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Mohit (l) and Shannon (r) with Richard Thomas at THE HUMANS Company Party

Mohit Mehta and Shannon Olwine Why do you support ASU Gammage?

Mohit: I received my undergraduate degree from ASU in 2004 and then my MBA at Thunderbird. I came to ASU as an international student in 2000, and it was a very welcoming place for me. I grew up in India and did a lot of theater myself. Theater has always had a close place in my heart.

Shannon: I support ASU due to being a nurse and a longtime Mayo Clinic employee where I work closely with ASU students and recent graduates in the field of nursing.

Mohit: Giving back to ASU and supporting the theater are the two main factors for us supporting ASU Gammage.

What are you most looking forward to when we open our doors for shows again?

Shannon: This will be our sixth year subscribing! We are excited to see

the productions, the opening night festivities, as well as meeting the cast and crew. Mohit is looking forward to a particular show this season…

Mohit: Yes! I am looking forward to seeing TO KILL A MOCKINGBIRD! In high school in India, I was involved in a staged production of TO KILL A MOCKINGBIRD. It is a nice date night as well! We want to get back to all of that and ASU Gammage!

What have you been doing to stay engaged with the arts during this time?

Mohit: With both of our jobs, especially with Shannon being a nurse on the frontlines, it is hard to stay actively engaged. We want to be good citizens and stay at home to remain socially distant. We have watched HAMILTON on Disney+. We have also looked at other theater productions that became movies!

Shannon: We are avid readers, and we have certainly read more these past couple of months. We have gotten back to the books so to speak!

Kalidas and his wife Darlene Martha Zachary

Kalidas Madhavpeddi Why do you support ASU Gammage?

Music tames the beast in all of us.

Music is the core to human evolution in a sense!

What are you most looking forward to when we open our doors for shows again?

I am looking forward to seeing the latest plays, the actors, and a really supportive audience. It (the audience) makes a huge difference to the nourishment of the actors and their art because it is the only feedback.

What have you been doing to stay engaged with the arts during this time?

I am supporting the construction and refurbishment of the dressing rooms at ASU Gammage. When actors from Broadway and other parts of country come to ASU Gammage, it is important they are well taken care of and feel at home: that is the welcoming nature of the people of Arizona.

Since, the theater has been closed, I have watched some digital content and have been playing Broadway Cast Recordings on YouTube. Most recently, it has been THE PHANTOM OF THE OPERA and one of my favorites, ASPECTS OF LOVE, which I saw in London. I also loved DEAR EVAN HANSEN – what a modern story.

Martha Zachary and Family Interview with Steven Zachary, son of Martha.

Why do you support ASU Gammage?

My mother, Martha Zachary, is a winter visitor to Arizona. During one visit, my wife Marla and I took her to see an event at ASU Gammage.

Martha loved the event, the quality of the performance and professionalism of the people who work there. She decided that she wanted to support ASU Gammage.

Since becoming members, we have invited others to go to shows with us hoping that they will have the same response that Martha had. The last show we attended was BEAUTIFUL – The Carole King Musical. One of our guests has been battling cancer for years. Her husband used the occasion as a Valentine’s Day gift and said that after the show she was so happy to go.

We have similar stories of how impactful both WICKED and HAMILTON were on the people we brought with us. Those were oncein-a-lifetime events for people that may not have happened if it wasn’t for ASU Gammage. That is the effect that ASU Gammage has. The ability

to bring joy to people no matter what their situation is.

What are you most looking forward to when we open our doors for shows again?

It has been a real blow to the community to have ASU Gammage closed. At the beginning of the season, we put all the events in the calendar. When the calendar alert came up, it was a reminder of what we were missing. We are looking forward to seeing great performances and looking forward to having something to look forward to.

What have you been doing to stay engaged with the arts during this time?

Marla is an art teacher and an artist.

She continues to engage in her art and teaching. We miss going to events and seeing friends of the arts.

We need your support to Return to the Stage!

Join our VIP Donors by visiting asugammage.com/ returntothestage or contact Tim Walling at Tim.Walling@asu.edu or 480-965-9915 VOLUME 27 | 2020

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Cultural Participation

Steve Rosales

Meet the 2020–2021 ASU Gammage Herberger Scholarship recipients

By Lauren Fountain Each year, ASU Gammage works directly with the Herberger Institute for Design and the Arts to award two outstanding students with the ASU Gammage Herberger Scholarship in the fields of theater and/or dance. The scholarship offers opportunities to recipients including mentoring and career guidance from ASU Gammage staff as well as connecting with touring Broadway and Beyond company members.

Get to know this year’s scholarship recipients, Steve Rosales and Victor Yang.

Steve Rosales Lauren Fountain: Tell us a little bit about yourself.

Steve Rosales: My name is Steve Rosales. I was born in Baldwin Park, California, but I have been living in Avondale, Arizona since I was 4 11

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years old. I’m majoring in Dance while working towards a minor in Communication and a certificate in Energy & Sustainability. I am graduating in the spring of 2021 – wish me luck!

dedication, I was able to snatch a full ride to ASU and officially begin the next four years of my life as a Dance major. I wouldn’t be here if it wasn’t for all the effort I put into myself to earn my awards and financial help.

LF: When did you start dancing?

LF: Why are you so passionate about dance? What excites you about your craft?

SR: I started my dance journey during my sophomore year of high school, but I consider my first year of college as the official start to my professional development as a dancer and choreographer.

LF: What was your path like coming to ASU? SR: My path coming to ASU was rocky. I was trying to check everything off my list of things to submit and prepare to officially enroll as an ASU student. I had to balance my academic development alongside a rigorous conclusion to my time in high school. Through hard work and

SR: What excites me about dance is the seemingly endless possibilities dance makers have to create. There are so many forms of dance and so many methods of approaching dance-making. Through dance you can tell stories, entertain, advocate, create discussion with layered subliminal elements, or simply have fun creating and expressing yourself and your artistry. I haven’t even mentioned all the production elements that add to the endless possibilities of dance creations.

Among all of that, dance also keeps you active and moving! I love it so much, from the generative process

to the feeling of being on stage, I feel so alive!

Victor Yang LF: Tell us a little bit about yourself.

LF: What are your plans post-grad and how do you hope to use your dance education?

SR: I do not have a specific plan yet!

Although, judging by the economic environment most college kids are left in after college, I can best summarize my plans as not being homeless, not going hungry, and being financially stable. The most promising aspiration in my head is to start looking for opportunities and audition for as many dance companies, theater productions, and freelance dance makers as possible – in and out of Arizona, and possibly even the country.

“Through hard work and dedication, I was able to snatch a full ride to ASU . . . I wouldn’t be here if it wasn’t for all the effort I put into myself to earn my awards and financial help.”

—Steve Rosales, ASU Gammage Herberger Scholarship Recipient LF: What does this scholarship mean to you?

SR: The ASU Gammage scholarship means so much to me! It’s affirmation that I’m doing the absolute best that I can with what I’ve got. It means that the work that I do isn’t going unnoticed and that I will earn what I aspire to if I put in the necessary effort. It is also simply amazing to feel seen by the institution and receive their help through my academic journey. I will definitely be putting it to good use with my aspirations for my own evening-length show as part of my senior capstone project and my continuous dance training to come.

Victor Yang: My name is Victor Yang. I’m from Sydney, Australia.

I am majoring in Theater with a concentration in Acting. I graduate ASU spring of 2021.

LF: When did you start doing theater?

VY: I’ve been acting since I was about 7 years old. I used to do mostly film acting before I came to ASU, but here I found a community within theater. I’ve discovered that in film you are expected to be a finished product, a job is waiting to get done.

However, in theater, there is room for growth. You are encouraged to play, to make mistakes and learn from them. When you are in the rehearsal room, you are an unfinished work with infinite potential.

LF: What was your path like coming to ASU? VY: My path coming into ASU was an interesting one. I moved around a lot in my childhood, never really staying in the same spot for more than two to three years. I came to Arizona in 2013 for high school, and this is the first place I’ve really settled down in. Going into college was the first time I realized that I can actually focus on what I really want to do. I gained a sense of freedom for my chosen career that I’ve never really felt before.

LF: Why are you so passionate about theater? What do you love about your craft?

VY: I’m passionate about theater because I have always believed in the power of stories. Theater is a very effective medium for that. When I’m on the stage, I feel like I can be anything and anyone I want, in spite of what society deems fitting. It is a place where the underrepresented can finally find their voice. I know that this art form isn’t perfect. Not as many people can easily access it like they can with film. Many see it as a

dying art that isn’t going to cement its place in our hearts. But I believe theater is beautiful because it doesn’t last. Unlike a painting, a poem, or a film, a piece of theater lives for that moment and that moment only. No other moment afterwards will ever be the same. Nothing in the world quite compares.

LF: What are your plans post-grad and how do you hope to use your theater education?

VY: After graduating from ASU, I plan on auditioning for Juilliard in New York for their graduate program.

I have many peers moving to L.A. or NYC after their graduation in order to jumpstart their careers, and I have considered that route before.

However, I’m a bit of a perfectionist but I also don’t really believe in the idea of perfection. Therefore, what drives me is the constant pursuit. I don’t believe there is a ceiling for our craft so I want to keep getting better and better. A lot of people have asked me about my backup plan, just in case Juilliard doesn’t work out. My answer to that is: I don’t really have one. I know myself pretty well at this point. If I am walking a tightrope, and I know there is a safety net, I know there will be a fraction of myself that will not give it my all. It may sound like a foolish plan for most, but for dreamers like me, there is only highrisk high-reward.

LF: What does this scholarship mean to you?

VY: This scholarship tells me that I am on the right track. My journey as an actor is filled with doubt.

Some from the outside world and some within myself as well. This award is the type of validation and encouragement I need to keep walking down this road. ■

Donate today to the Return to the Stage campaign by visiting asugammage.com/ returntothestage to help these programs continue for ASU students.

VOLUME 27 | 2020

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Staff Profile

Born in Phoenix, Arianna studied nonprofit leadership and management at ASU. Following graduation, she spent a few years working at the Boys and Girls Club before moving on to a marketing role at a foster care agency.

Two visionaries, one mission Arianna at Skydeck Chicago at Willis Tower

By Alexis Alabado ASU Gammage’s Digital Connections series offers a multitude of engaging digital experiences to keep connected with artists and patrons alike. Two of ASU Gammage’s staff members run the behind-the-scenes and are the ultimate dreamers in making virtual arts come alive.

Arianna Jones ASU Gammage Marketing Coordinator In March 2020 when everything began to shut down, Arianna quickly starting reimagining how ASU Gammge would connect with our audiences. From her creative and never-ending drive, Digital Connections was born.

She starts her work-from-home day at her makeshift desk, making sure her laptop is connected to her 200foot ethernet cord since the WiFi loses strength through the cement walls. Cold brew and creamer are an absolute must while scrolling through 13

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never-ending emails and social media notifications. She gets her steps in from traveling to-and-from the bedroom to the living room, checking in on her dog and bothering her fellow “office mate” (her boyfriend).

Whenever she can find a spare moment, she enjoys writing poetry, creating macrame wall art and plant hangers, finding ways to support Black Lives Matter and other important causes, Netflix bingewatching sessions, and having virtual happy hour with friends.

As marketing coordinator, Arianna is the social media guru of all things ASU Gammage. From social media to promotions, she stays up-todate on what other markets and performing arts venues are doing to engage their audiences during these ever-changing times.

“How people consume social media content right now is so different,” she said. “It’s about contemplating how we provide a condensed version of content that is valuable to a user, without taking away from the power behind the arts.”

“I’ve kind of always put myself in positions, professionally, that made me have to be versatile and ready to pivot at any moment,” she said.

Arianna finds inspiration in the community, our patrons and leaders.

Her 2016 meeting with President Barack Obama was especially meaningful, when Arianna traveled to Chicago with the Obama Community Leadership Corps.

Arianna joined ASU Gammage’s marketing team in February 2019.

Creating content during the pandemic, especially with the Digital Connections series, has allowed Arianna to rise to the challenge and pull off outstanding performances.

“If we can provide something that people will watch online — even if they don’t have time to watch the entire thing — at least they know that we are trying to present content to them that is valuable,” she said. “We hope we can make their pandemic lives a little brighter, and that they can have an outlet.”

Jokingly, Arianna tells those close to her that she’s turned into a Facebook Live producer. Virtual events still require tech rehearsals through Zoom software, which she now considers herself to be an expert at.

When ASU Gammage hosted CONTRA-TIEMPO’s “JoyUs JustUs” digital excerpt event on July 16, there were a lot of moving pieces that went into the live show. Arianna received support from ASU Gammage’s tech crew, who normally help with live performances at the theater.

“This was a great opportunity for them to step in and help with the run of the show,” Arianna said. “Without Jeff Rollins (Asst. Director of Operations) and his team learning, it wouldn’t have gone as seamlessly as it did.”

Working with digital content means Arianna is constantly having to learn, evaluate and execute.

“You always have to stay on top of whatever is niche or trending — what can we do differently to make ourselves stand out? That has always been a constant thing for me,” she said.

“For our audience now, I hope we can use our platform to allow them to experience performance without having to physically be in that space,” Arianna said. “The shift in mindset and perspective can allow us to consume some of the amazing artists that have graced our virtual stage.

At this point, we want to do digital programming for the long haul — it’s an equitable source for a lot of people.”

Fernanda Snellings ASU Gammage Artist Liaison & Engagement Manager Fernanda Snellings has always considered herself to be a dreamer.

Since transitioning to working from home full-time, her days are full of Zoom meetings, shifting and maneuvering dates on her dry-erase board, and constantly brainstorming programming ideas. When in need of a creative break, she’ll stretch, meditate, read a few pages of a book, or water the abundance of plants that inhabit her space.

“I love having something in my house that’s growing, besides me,” she said.

A Washington D.C. native, Fernanda grew up with a mom who worked in graphic design and a dad who was an architect. Her parents would take her and her brother to so many different performances that they began putting on shows in their own house, with all the glitz and glamour makeshift costumes could provide.

After obtaining her degree at Sarah Lawrence College, concentrating in poetry and physics, Fernanda landed a role in the music industry. She then received an amazing opportunity at The Shed, a performing arts venue

in New York City. For nearly three years, she worked alongside artists, producers, and programmers to dream-up new programming.

Wanting to change gears from the speed of her life in New York to a future in the Southwest, Fernanda accepted a call to support the opening of The John F. Kennedy Center for the Performing Arts’ THE REACH. This created time for her to envision her move to Arizona. In November of 2019, she became the artist liaison & engagement manager at ASU Gammage.

“For me, my role in programming is thinking about artists who are local,” Fernanda said. “We’re mapping equitable partnerships — and when I say partnerships, I am including artists that we work with — we look at each of our individual missions and see where we overlap and where we can fit together,” Fernanda said.

While settling in Arizona, Fernanda would head to the Burton Barr Central Library every Sunday to learn about the history of Black Southwestern culture. She is a natural researcher and soon realized that it inspired her programming.

think the artists we work with are on time, especially in their craft.

Something that I have learned with digital programming — but I almost think it’s instinctual for all of us — is that the art still comes first.”

With keeping art at the forefront, Fernanda said she hopes the Digital Connections series inspires followers to create their own art. “I don’t think that everyone has to call themselves an artist in order to be artistic,” she said. “I think everyone’s creative no matter what. I think our artistic careers start at home, before the first official writing workshop or official studio class.”

Working alongside ASU Gammage’s Marketing Coordinator Arianna Jones who runs the digital frame in which Fernanda envisions programming, they capture the essence of community at large.

“Maybe it’s because I’m a writer and I’m thinking of it this way, but I really do think that we get a chance to dream together,” she said. ■

Fernanda (l) featured at The Queer Women Writers Bloom panel with poets JP Howard and Nicole Shawan Junior

“I am grateful for the guardian angels who took me around Phoenix to enjoy a variety of artists. It really made me open my eyes to see how the Southwestern culture in Phoenix takes shape differently from that of Texas or Southern California, and witnessing how that identity gathers itself,” she said.

Fernanda enjoyed a leading role in launching three digital programs — ASU Gammage’s “The Local” and “Each Measure,” as well as ASU Kerr’s “gather.”

Fernanda said she is always thinking about ASU Gammage’s narrative as she programs.

“Miles Davis has this quote, ‘It’s not about being avante garde, it’s about being on time.’ He didn’t mean being on time for an appointment, but he meant culturally on time,” she said. “I VOLUME 27 | 2020

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Broadway

A show for

everybody

(l to r) Corey Greenan, Eric Chambliss, Jon Hacker and Michael Milton Photo Joan Marcus

Emphasizing friendship, JERSEY BOYS crosses generations and wins new fans

By David Freeland JERSEY BOYS, the Tony® and Grammy® Award-winning Broadway musical about the spectacular rise of pop icons Frankie Valli & The Four Seasons, has been seen worldwide by over 24 million people, all of them captivated by the dazzling recreations of classic 1960s hits such as “Sherry,” “Big Girls Don’t Cry,” and “Can’t Take My Eyes Off You” – set within a gripping rags-to-riches story. But for many, the show’s most unforgettable moment comes when Frankie Valli, as lead singer, decides to enter into a business partnership with the group’s keyboardist and songwriter, Bob Gaudio.

“So should we have somebody draw

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up a contract?” Gaudio asks. Frankie responds by offering his hand.

“You want a contract? Here – a Jersey contract.” Their handshake becomes a pact, cementing a relationship that has endured for close to 50 years.

“The story of the friendship between Frankie Valli and Bob Gaudio is something that just makes my heart melt every time I think about it,” says Pat Prescott, popular radio host on Los Angeles’ 94.7 The Wave and a longtime JERSEY BOYS fan.

“When I think about that handshake and what it has meant,” Ms. Prescott observes, “how we as a society have so much gotten away from those values of real friendship, of loyalty, of consistency in relationships – it stands out to me tremendously.”

In JERSEY BOYS, with a book by Tony Award® nominees Marshall Brickman and Rick Elice, four young men persevere against incredible odds to fight their way to the peak of stardom. Later, they stand together

through high times and devastating lows. The show’s universal themes of courage, friendship and survival have inspired a diverse legion of new Broadway fans, many of them men.

“This is a man’s show,” asserts Ms. Prescott. “Sometimes when I go to the theater, especially musicals, my boyfriend says, ‘Why don’t you take one of your girlfriends?’ And when I first went to JERSEY BOYS, I did go with a girlfriend. Afterward, I told my boyfriend, ‘You have got to see this show. You’re going to love it.’ And he actually went with me twice.”

Other husbands and boyfriends have become just as enthused.

Before JERSEY BOYS, Dale Skarl was a self-described “Broadway novice.” Now, having seen the show more than 50 times across the U.S. and Canada, he understands why it has earned such a following with “the guys.”

“It’s because of the camaraderie between the four main characters,” Skarl states. “The story is about men

and men’s success and their triumph over failure. Maybe it’s like the team aspect that goes back to sports, or brotherhood and fraternity. It’s a story about not giving up.”

Together Dale and his wife, Susie, administer the JERSEY BOYS fan site and blog. They fell in love with the show around the time it opened on Broadway, in 2005.

“To be honest, I was the one who dragged Dale to JERSEY BOYS,” explains Susie, “because I’ve been a big fan of The Four Seasons forever.

I went just because of loving the music, growing up with it.”

At first, Susie recalls, the experience seemed like “your typical fun night at the theater, people having a nice time.” But then, she says, something unexpected happened.

“When I actually watched the people in the audience, whether they were 60 years old or 22, everybody was bopping in their seats. I don’t know if they had a rough week at work, or else they were going back in time to high school, but you would have thought they didn’t have a care in the world. If they could have gotten up and danced they would have.”

“We’ve noticed this on multiple occasions, with many different audiences,” Dale adds. “You’ll look over to your left or right, and you’ll see someone that’s sobbing because the music takes them back to a place that they remember so well and has meaning for them. In the end everybody’s on their feet and everyone loves the show.”

“You’re thinking you’re going to hear a bunch of great hits, and you do,” says Susie, referring to the Frankie Valli & The Four Seasons classics performed in the show (the music is

by Bob Gaudio with lyrics by Bob Crewe). “But then, the story is so interesting and compelling that you want to come back. It’s a classic story of success that resonates with everybody. You really do get something out of it each time you see it.”

It’s an observation shared by Frankie Valli himself.

“JERSEY BOYS is a true story,” says the legendary singer, whose sterling falsetto has graced dozens of hits, on his own and with The Four Seasons.

“And there are things in the show that, even for me, every time I go back, I pick up on. Some things are like that – you can’t get enough.”

Kara Tremel, who has performed several roles in the national tour of JERSEY BOYS, credits multiple Tony-Award winning director Des McAnuff (BIG RIVER, THE WHO’S TOMMY, THE FARNSWORTH INVENTION) with creating a fastpaced, visually engaging production that attracts theatergoers who were not born when The Four Seasons’ hits dominated the airwaves.

“For young people it’s an exciting type of show to see,” Tremel observes. “The way Des directed it is so quick: the set moves with the actors, lighting shoots over to another side of the stage, and we’re in a totally different scene in a matter of seconds. It’s good for a younger generation that needs that kind of quick pace. And whatever your age, you can’t not like this music.”

Pat Prescott, the radio personality, grew up in a household where music of all kinds was respected and enjoyed. As someone who has loved Broadway ever since her father took her to see the hit musical, PURLIE,

in the early 1970s, she understands how theater has the potential to reach across generational divides.

“This current generation has grown up with a lot of media thrown in their faces,” Prescott remarks. “It may be hard to get them excited about some music from the 1960s or early 70s, but when you put the whole package together – songs and story – into this incredible show, I don’t think anybody can resist it. I noticed every time I went, you would see people of all ages, all races. Everybody was in there.”

The acclaimed 2014 film version of JERSEY BOYS, directed by Clint Eastwood, has grossed nearly $70 million internationally, but it hasn’t stopped fans and first-timers from packing houses on Broadway, on tour, in Las Vegas and around the world.

“There’s so much going on that you need to see it at least two or three times, just so you don’t miss anything,” Prescott believes. “I wish everybody could see it. This show is really, really special.” ■

JERSEY BOYS returns to ASU Gammage in the 2021 Broadway season!

Subscribers and groups of 15+ may purchase tickets now before the general public.

(l to r) Michael Milton, Jon Hacker, Eric Chambliss and Corey Greenan Photo by Joan Marcus VOLUME 27 | 2020

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Digital Connections

Intro to Shakespeare with Breona Conrad

Stepping Inside the Author’s Mind with Natalie Trelstad

The Rhythm Is In You with Keith Johnson

Managing Stress Through Imagination with Taylor Moschetti

Digital masterclasses continue arts education despite pandemic

By Lauren Fountain As much of daily life suddenly shifted online earlier this year, art educators across the world were among the countless groups who transitioned their material – and process – to a digital format.

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working from home, were searching for a way to keep their children engaged during what seemed like a perpetual summer break. Thus, ASU Gammage’s digital masterclasses were born.

“The idea came about pretty quickly after COVID-19 hit,” said Desiree Ong, educational enrichment program manager at ASU Gammage.

“The idea for starting the digital masterclasses was actually to be able to provide resources for families who are now with their kids at home all the time.”

Combining the Molly Blank Fund Teaching Artist Program (TAP) with a need for continuing arts education, these 30 minute seminars streamed via ASU Gammage’s

Facebook Live allow TAP artists to practice the Kennedy Center arts integration method they learned through the program, while engaging students of all ages to learn something new.

“On one hand it’s serving our patrons by offering free, engaging content that they might not otherwise have access to, and it also is a way for us to keep connected with our TAP artists from past cohorts while providing them with opportunities to practice the arts integration method,” Ong said.

Teaching artists who participate in the year-long residency at ASU Gammage learn the arts integration method, combining their art form with another subject and allowing students to grow in both areas.

“The TAP program is so excellent,” said Dr. Cynthia Standley, a TAP artist in the program’s second cohort.

“I highly recommend it to anybody who is interested in teaching and bridging with the arts.”

TAP artist Breona Conrad, for example, combines her art form of theater with different subjects to create curriculum that is fun, but educational.

“I think that it is such a thrilling opportunity because I have the joy of seeing students learn a skill that they don’t even really realize they’re learning,” Conrad said. “To them they’re just playing a game, making art, doing something fun, which isn’t their traditional form of learning a subject matter. But then along the way, I’m sprinkling in science terms and bringing it back to the science discussion. But they’re so enriched with the theatrical aspect of the lesson that they don’t even realize that they’re actually getting that science lesson until I spell it out for them at the end of the lesson.”

Through these digital masterclasses, participants can join live as teaching artists share a piece of their craft.

While the classes are unable to be held in person, the lessons have

been formatted so attendees have the same enriching experience virtually.

“The event is happening in real time and essentially face-to-face, so it gives you a chance to really be there, even in the virtual environment and know that there are real people interested in what you have to say and are learning from you,” Standley said. “The other benefit of Facebook Live is once that video is created, it resides for viewers who missed it. And so, you can continue to still connect with people, even after the event, which I think is really great.”

“The idea for starting the digital masterclasses was actually to be able to provide resources for families who are now with their kids at home all the time.”

TAP artists found support within ASU Gammage to make sure the technology was not a hurdle, but rather an opportunity.

“You know, the folks at ASU Gammage have been very supportive,” Standley said. “They’ve been very supportive in helping you as the teaching artist continue to do what you do in the best way possible.”

Though so much has been shifted virtually for health and safety reasons, the TAP artists know that arts education is just as valuable during this time as social distancing.

“Art is our window to humanity,” Conrad said. “It’s our opportunity to really express what it is to be a human and to navigate difficult subject matters and vulnerable emotions. And the arts more than ever, I think are incredibly important.

Because it’s an opportunity to remind us that we’re all in this together, and we’re all feeling things and we’re all still experiencing things.” ■ ASU Gammage Marketing Director, Theresa Dickerson’s daughter playing along with TAP Artist Keith Johnson

—Desiree Ong, ASU Gammage educational enrichment program manager Though there are technological hurdles to overcome in this digital shift, Standley and her TAP colleagues are able to practice their art in a way that others can still absorb.

“The very exciting thing is having the opportunity to reimagine things that I have already prepared for the classroom,” Conrad said. “So, it’s really given me an opportunity to think even further outside the box and really develop a multi-faceted approach to what I already had prepared.”

Transitioning what would have been a face-to-face seminar to a virtual format was no easy feat, especially due to the personal, sensory-focused nature of the arts. However, the

Our digital masterclasses are made possible by the Abbett Family Foundation and additional funding

by Scottsdale Arts.

Our digital masterclasses are made possible with private funding. Donate today to the Return to the Stage campaign by visiting asugammage. com/returntothestage to help us continue to provide these programs to our communities.

VOLUME 27 | 2020

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ASU

Farah Al Besher (’14 BS, economics), works as a front line coordinator for the COVID-19 National Screening Service DriveThrough project in the United Arab Emirates.

Sun Devils on the medical front lines

By Kelly Vaughn

While scientists and engineers at ASU continue to seek answers about COVID-19, countless alumni work on the front lines of the pandemic — as doctors, nurses and other medical professionals — and even behind the scenes in critical support roles. Although their roles are varied, they all have one thing in common — strong foundations in patient care and compassion, much of which they learned at ASU.

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The emergency flight nurse: Christopher Banks Indeed, compassion is a common theme among alumni health care workers, including Christopher Banks, ‘18 in nursing, a flight nurse and paramedic for Air EMS, Inc. Very early on during the pandemic — in late February — Banks was dispatched to assist in the transport of passengers that had been quarantined aboard the Diamond Princess cruise ship, off the coast of Yokohama, Japan.

“When I reached out my gloved hand, in full PPE, patients couldn’t believe they could touch and shake my hand,” Banks remembers. “This was heart wrenching.”

Air EMS uses a special isolation unit to safely transport people suffering from COVID-19 that ensures that the paramedic crew and pilots aren’t exposed. It looks like a clear rectangular bubble for patients to lay in on top of the gurney. Banks helped test and train personnel on the isolation unit’s use as the pandemic worsened.

“As a base manager of our air medical transport company, I ensured that all of our care staff safely experienced the confined space of our isolation units to build better compassion for the patients.”

The drive-through testing wizard: Farah Al Besher For Farah Al Besher, ‘14 BS in economics, who now works as a front line coordinator with Ambulatory Healthcare Services-SEHA in the United Arab Emirates, early action meant early containment of the virus in her country.

“I am part of the COVID-19 National Screening Service Drive-Through project in the United Arab Emirates,” Al Besher says. “We were the first to open the drive-through testing center in the UAE, and due to its success, we were asked to expand our presence by the Crown Prince of Abu Dhabi and Deputy Supreme Commander of the UAE Armed Forces. We were able to build 12 new drive-through screening centers throughout the seven emirates in 10 days, and today we have 18 fully operational centers. By ensuring early detection of positive cases, we have been able to increase the safety of our people.”

The United Arab Emirates experienced a spike in mid-May, followed by a steady decline in positive cases and a subsequent early-July resurgence. Since, though, the country has seen a sustained reduction in COVID-19 cases.

“Life’s challenges are not supposed to paralyze us,” Al Besher says. “We are all equipped and ready to face any crisis. And remember, you can’t help others without first taking care of yourself. Follow the health guidelines, stay safe and remain positive.”

The compassionate caregiver: Carmen Dominguez

Emergency flight nurse Christopher Banks (’18 BSN, nursing) was dispatched to assist in the transport of passengers that had been quarantined aboard the Diamond Princess cruise ship.

As a certified medical assistant for Abrazo Medical Group, Carmen Dominguez, ‘19 BS in healthcare coordination, works at a small clinic, helping to treat a variety of medical issues. While she acknowledges that COVID-19 has presented a lot of new challenges, she’s grateful that her patients can be seen quickly — and without the stress of having to go to the emergency room.

Certified medical assistant Carmen Dominguez (’19 BS, healthcare coordination) treats a variety of medical issues at an Abrazo Medical Group clinic.

“Day in and day out, I hear patients telling me they are glad the clinic I’m working at is still open and accepting patients,” she says. “Working mainly with elderly patients, it is not an option to head to the emergency room when they feel heart-related symptoms. We are able to welcome them into a smaller setting than a hospital, [where they are able] to be seen and assessed — and possibly triaged — in person. We are glad to be here to help and be of service.”

She adds: “I am so proud of my fellow Sun Devils, those working in hospitals, clinics, urgent cares, etc. Everything makes a difference!

For those who have yet to graduate, please keep going! We need you.”

Looking to the future While a vaccine for COVID-19 remains on the horizon and the world continues to adjust to life in a pandemic, there are a lot of uncertainties. But one thing does seem certain: Current students and researchers, as well as alumni, are working tirelessly — and compassionately — to ensure quality care for a global society. ■ Editor’s note: This story originally appeared in the fall 2020 issue of ASU Thrive magazine.

VOLUME 27 | 2020

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365 Community Union

Topgolf Live to Tee Off at Sun Devil Stadium January 28-31, 2021 Fans set to enjoy a safe experience taking aim at glowing Topgolf targets on this iconic playing field ASU 365 Community Union has partnered with Topgolf Entertainment Group, a global sports and entertainment community, along with Complex Sports and Entertainment, to bring Topgolf Live to Arizona State’s Sun Devil Stadium January 28-31, 2021.

“ASU’s 365-day-a-year vision for Sun Devil Stadium becomes more of a reality through our innovative partnership and pandemic-safe activity with ComplexSE and Topgolf,” says Colleen Jennings-Roggensack, ASU vice president for Cultural Affairs. “We are so excited to tee it up and welcome a whole new fan segment to campus!”

Topgolf Live offers an exclusive experience where players will hit 21

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golf balls from the concourse level of Sun Devil Stadium to on-field, glowing targets placed between 60 and 140 yards from the tee box. Toptracer Range technology will trace the flight path, instantly scoring every shot in an interactive, in-stadium Topgolf game, meant for every experience level.

“We continue to find ways to adjust to the new normal, helping people safely celebrate life with others while sharing the unique Topgolf experience at one of the nation’s most prominent stadiums.”

—YuChiang Cheng, Topgolf Media President

Special safety protocols will be implemented throughout Sun Devil Stadium to ensure Topgolf Live offers a healthy and safe environment for players and event staff.

“We are proud to bring the Topgolf fun and joy to the iconic Sun Devil Stadium in a safe and responsible way,” said Topgolf Media President YuChiang Cheng. “We continue to find ways to adjust to the new normal, helping people safely celebrate life with others while sharing the unique Topgolf experience at one of the nation’s most prominent stadiums this January.”

Tee times for Topgolf Live at Sun Devil Stadium are reserved in onehour increments. General admission, student tickets, and premium tickets are available for purchase through Ticketmaster. Corporate/group packages are also available.

More information about the event, ticketing, and safety protocols can be found at asu365communityunion.com. ■

Angelica Lindsey-Ali

Kerr Korner

Qais Essar

Building virtual connections to artists and the arts “gather,” “Beams” and Cultural Participation programs gain momentum

By Stacey Bailey Since April of 2020, ASU Kerr has taken a deep dive into the world of producing live streaming arts programs.

Starting with “gather,” the venue’s monthly online storytelling series and “Beams,” a weekly live streaming concert series, the staff at ASU Kerr began to create the framework for presenting virtual arts experiences.

The “gather” storytelling series has presented a wide selection of storytellers since its inception.

The belief behind the series – everyone is a storyteller – has brought new storytellers such as Abigail Brammer-Fouts, Director of Compliance at Jewish Family and Children’s Service of Arizona and Kimberly Allen, Associate Director of Programs for Year Up Arizona, into the mix alongside seasoned speakers like comedian Shapel Lacey, actor/ poet/educator Drew Drake, “Village Auntie” Angelica Lindsey-Ali of The Moth Mainstage, Dan Hoen Hull of

The Storyline SLAM and Harold “HB” Branch III of HomeBase Poetry.

The theme changes each month.

Past themes include “Go Back and Get It,” inspired by the Ghanaian term “sankofa,” “Calling It Home,” and “Remember When.”

“Each storyteller’s unique take on the prompt and the connections between the different storytellers’ stories are always fascinating to watch unfold,” said ASU Kerr General Manager Tracey Mason.

On the music side, the “Beams” online concert series has presented an Arizona artist every week in a regular time slot on Thursdays at 7 p.m.

Some shows have been broadcast from the venue; most have been beamed in live from artists’ homes and studios, giving viewers a memorable look inside their spaces.

The shows are one part concert and one part meet and greet, as the engagement between musicians and viewers adds a rare opportunity to connect and converse in ways that are not possible at a traditional inperson concert.

The spectrum of genres and artists presented is vast and has included one-man Brazilian-Chicanx sacred orchestra Porangui, Japanese taiko

star Ken Koshio, South African artist Moabi, electronic rhythm and blues vocalist/producer T R U V O N N E, desert rock musician Brian Lopez, Afghan-American rabab master Qais Essar, Sean Bonnette of well-known folk-punk band AJJ and many more. “[ASU Kerr’s staff members] were awesome to work with and I hope we get to do it again sometime!” said AJJ’s Bonnette.

For more information on how to tune in, please visit asukerr.com.

A special event on Sept. 29, “Tuning Up,” featured a discussion of race and equity issues in classical music with violist/composer Nokuthula Ngwenyama and violinist/composer/ educator Daniel Bernard Roumain.

Ngwenyama debuted a sneak peek of her new concerto.

Two regular in-person annual ASU Kerr Cultural Participation series, Tuesday Morning Music and Tea with ASU School of Music and Coffee at Kerr with Arizona Opera, have been taken online.

“The arts and artists need as much support as possible and our team is so passionate about keeping everyone connected while sustaining creators with paid gigs,” Mason said.

“We hope we are introducing new audiences to ASU Kerr and that we’ll have our online artists and viewers at the venue as soon as we’re back to presenting in-person events.” ■ VOLUME 27 | 2020

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ASU Gammage VIP Donor Club as of October 2020

Member • $120 and above

Contributing Member • $300 and above

Supporting Member • $600 and above

Directors Club • $1,500 and above

Kathryn Gammage Circle • $3,000 and above

Grady Gammage Society • $6,000 and above

Producers Academy • $10,000 and above

Investors Guild • $25,000 and above

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VIP Donor Guidelines: You must maintain your annual VIP Donor contribution at or above the Directors Club level in order to enjoy VIP Donor seating. Special subscription seating is offered to VIP Donors in the Orchestra level in rows 3–20 in the VIP and A price levels. VIP Donor benefits may be available only upon your request, at your expense (if any) and subject to availability. Benefits are effective immediately and are subject to change without notice.

Corporate Foundation Sponsors $100,000+ Desert Financial Credit Union The Molly Blank Fund of the Arthur M. Blank Family Foundation

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$99,999–$75,000 Broadway Across America George Brazil Plumbing and Electrical The Margaret T. Morris Foundation $50,000–$25,000 Abbett Family Foundation APS

$24,999–$10,000 Tim Trumble Photography, Inc. Union Pacific Foundation $9,999–$2,500 Abbot Downing Arizona Business Magazine BOK Financial Scottsdale Arts Shamrock Farms Target

ASU Gammage gratefully acknowledges these individual donors and foundations whose cumulative giving totaled $100,000 or more as of July 2020. The contributions of these generous benefactors, in partnership with those of other visionary patrons, sponsors and volunteers, have incalculably enriched our community.

Abbett Family Foundation Susan and William Ahearn Pat and Bill Andrew Jerry Appell APS Carol Barmore Mr. and Mrs. Douglas Baughman Barbara, Irv and Jeremy Berger Carmen and Michael Blank F. Richard Bloechl Family Lee Bowman George Brazil Plumbing and Electrical Broadway Across America Joan Cremin Cathy Dickey JO Finks Laurie and Chuck Goldstein Joanne and Mark Halberg Ronald H. Harten Patricia Kaufman Patricia Langlin-Brazil The Hugh W. Long, Jr. Family Rae and Richard S. Love Robert Machiz Mr. and Mrs. Michael Manning Kemper and Ethel Marley Foundation Marcia and Andrew Meyer Lesley and Paul Monfardini Margaret T. Morris Foundation Sarah Nolan Jeffrey D. Oliver Jenny Norton and Bob Ramsey Rosenbluth Family Foundation Ticketmaster Mary and Bill Way/Way Family Charitable Foundation

BOLD indicates $50K cumulative giving to ASU Gammage * denotes multi-year commitment

Legacy Susan and William Ahearn Anonymous Carol Barmore Weasley Beckley In Memory of Nan Beyer George and Patricia Brazil Linda Broomhead and Terese Sanchez Marlene Bushard Kim Cahow-Harmon Angela and David Conwell Carl J. Cross Cyndi and Terry DeBoer Leonard and Emily Dudziak Raylan and Beverley Evans JO Finks Mary Flora Marilyn and Jim Foley Phillip Gillies Alan and Anita Handelsman Henry and Mary Hansen Ronald H. Harten Jay and Rojon Hasker Robert and Jeanette Heacock David N. Horowitz Jacqueline Hufford-Jensen and Greg Kroening Donald and June Julen Pat Kaufman Sue Larsen Rae and Richard S. Love Douglas Lowe Larry Mattal Cathy Mazur Ellis and Kiran Means Merrily Metzger Ron and Vickie Neill Clyde C. Parker Jr. Dr. and Mrs. Michael Pollay Russell A. Robbins Dr. Lynn Robershotte Mitchell and Heather Ross Virginia Schantz Margaret Schulz Tamara Scrivner Mr. and Mrs. Russell Smith Ava Spanier Jo and Frank Stockman Bruce C. Thoeny Brinley Thomas Mollie C. Trivers John and Joyce Webb Betty L. and John Whiteman For information on planned giving, please contact us at 480-965-1910.

Investors Guild Susan and William Ahearn* Carmen and Michael Blank* Lee Bowman* Joan Cremin* Dr. and Mrs. Charles Goldstein* Ronald H. Harten* Patricia Langlin-Brazil and James Cord MD*

Producers Academy Anonymous Allen-Heath Memorial Foundation Reginald M. Ballantyne III Mr. and Mrs. Douglas Baughman* Jacqueline Chadwick, MD Janet and Chip Glaser Jay and Rojon Hasker Carol Barmore and Phil Hineman Michelle Jung and Chris Rodriguez* Patricia Kaufman* Gail and John Krueger Kathy and Albert Leffler Hope and Steven Leibsohn Cheryl Mandala Mr. and Mrs. Michael Manning Marcia and Andrew Meyer Jenny Norton and Bob Ramsey* Jeff and Leslie Rich Rosenbluth Family Foundation* Jana and Charles Sample Joanne Schust

Grady Gammage Society Bill and Cindy Abbott* Buffie and Ray Anderson Anonymous Barbara, Irv and Jeremy Berger* Karen and Gary Bethune Shirley F. Brown and Fred L. Brown

Crystal Family Foundation Sophia and Mike Fong For Those Without A Voice Davie Glaser In Loving Memory of David H. Glaser Judy and Herb Gold David N. Horowitz and Damon J. Bolling Brian C. Jones and Vaughn A. Lovell Margot and Dennis Knight John Kras and Timothy Walling Richard S. and Rae Love Kalidas and Darlene Madhavpeddi Foundation Merrily Metzger Lesley and Paul Monfardini Jeffrey D. Oliver Sandie and Hollis Phillips Rod and Julie Rebello* Brenda and Jim Rowland Richard and Christy Schust The Scollick Family Enid and Michael Seiden Lorri and Stephen Smith Mr. and Mrs. Ron Starkman* Tiller Family Foundation Marsha and Charles Van Dam Kristi Vasquez and Jeff Roberts Patrick H. Zanzucchi Barbara and Barry Zemel

Kathryn Gammage Circle AADS Office Solutions Int’l, LLC and Kathleen Cullen Andrew Family Foundation Mariana and Richard Abelson Helene and Marshall Abrahams Lou Anne and Keith Alexander Nancy and Warren Alter Anderson, Chavet and Anderson Inc. Andrew Family Foundation Rhet and Marcia Andrews Anonymous Tran and Glenn Appell Harrison and Laura Bachrach Doug Ball and Connie Stine Lisa and Harley Barnes, Jr. Craig and Barbara Barrett Bassett Family The Julie Bennett Family In Memory of Michael Kristy and David Benton Mr. and Mrs. John Berry Dr. and Mrs. Robert Bickes, Jr.

Corilee and Kevin Bishop Col. Jody Blanchfield The Blunck Family Jon and Jennifer Bohnert Tara and Todd Bookspan Teresa and Mark Borota Dr. Robert and Lorrin Bowser Steve and Belinda Brown In Honor of Debra Burk Elizabeth Burm Pam and Bryan Cadoo Dawna and Dan Calderone Lou and Melissa Caramucci Linda Carneal Matt and Jill Casperson Dawn Cernak Children’s Dental Village Helen Cho Joe and Rose Circello Marilee and David Clarke Dr. and Mrs. Lance Cohen Lee Baumann Cohn and Mike Cohn John H. Cole III M.D. and Patrick T. Boyhan Angela and David Conwell Andrea and Matt Cowley James L. Cramer and Allen C. Kalchik Barbara Crisp and Mark Nemschoff Mindi and Anthony D’Elia Ellen and Andy Dauscher Beth and Ed Dawkins In Memory of Terry DeBoer Mr. and Mrs. Tom DeBonis Bob Demaine Teresa and Michael Dempsey Laurie Dennhardt and Anna de Jesus* Dr. Wendy Dickerson Erika and Russ Dickey Jackie and James Disney Robert Donat Dr. Jane Dowling Michael Drexler Carmen and Mike Duffek David Dyer Cynthia Emmons The Empey Family Daniel Eng Michele and Chris England Virgina and Ron Erhardt Alexa and Scott Erjavic Ardie and Steve Evans Jane and Andrew Evans II Ray and Bettijune Fanning Dr. and Mrs. Steven Farber Mary Farrington-Lorch and Martin Lorch

Bela Patel Fernandez and Miguel Fernandez JO Finks Phyllis and Jack Finney Karen and Grady Gammage Jr. Kyla and Michael Garrison Vicki Gibbons Mrs. Saul Ginsberg Neil G. Giuliano Mark and Sherry Goldberg Ed Grabowski John and Deanne Greco Kimberly and John Grubb Joan and Al Gudriks and Mary and Dan Stamp Gretchen and Jim Haahr Joanne and Mark Halberg* D. Hall, PhD Carl and Patricia Harris Jennifer and Stuart Hetrick Beth and Bill Hicks Tim and Katie Hill Jacki and Charles Hoagland Andrea and Herbert Hodes Jacqueline Hufford-Jensen and Greg Kroening Christine Hughes Mike Hughes and Dr. Kevin Mendivil Tara and Nikhil Iyengar Jaburg and Wilk, P.C. Bonnie and William Jaeger Kim Jameson and Jon Ann Hockersmith Colleen Jennings-Roggensack and Dr. Kurt Roggensack* Dr. Lyndy Jones Peggy R. Joslin and Nicholas Joslin Jeffrey S. Kay, MD and Deborah L. Kay, Arizona Glaucoma Specialists Rosey and Justin Kerchal Veronique and Brad Kerr Norman and Teresa Klein Family Stacy and Alan Klibanoff* Lawrence and Margo Kowal Patricia and Mark Landay Michelle Laiss-Lipner Machrina and Dale Leach* Edward and Emily Lesser Herb and Nancy Lienenbrugger Regan and Rigo Lopez In Memory of Shirley Lowe Evelyn and John Lucking Keli and Kurt Luther Bonnie Maffi, Julia Burke, Nancy Singer and Marci Symington Kristen and Doug Magnuson VOLUME 27 | 2020

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ASU Gammage VIP Donor Club continued Dr. and Mrs. Gerald Mandell Dr. Celia Maneri Marketline Mortgage Carrie Matteson and Michel Gareau Steve and Rhonda Maun Cathy Mazur Leslie McDonnell In Memory of Jack McDonnell Kasia and Patrick McPhilomy Bruce Meyerson and Mary Ellen Simonson Kathleen A. Mickle and Karen B. Roth Paulette and Michael Miller John and Angela Misner Lina and Raymond Mogensen Kathleen and Barry Monheit Larry and Virginia Morrison Teresa and James Mortensen Loraine and Jim Mottern Dawn and John Mulligan Rafael and Mary Munoz Christine and Frank Nechvatal Dick and Jane Neuheisel Karen Nordstrand Diane and Steve Norris Novack Family Linda and Kevin Olson R.G. Olson PhD and Peggy Steele Mr. and Mrs. Enrique Ortega Barbara and Donald Ottosen PRM Association Management Frank and Ginny Palamara Leah Pallin-Hill and Bryan Hill Dr. and Mrs. Donald Patterson Arthur and Linda Pelberg Pat Piazza Jennifer and Noah Plumb MaryLee and Glen Poole Practice Strategies The Prygocki Family Susan and Mike Pucelik Dr. Coral Quiet and Mr. Jerry Weinberg Dr. Carolyn Ragatz and Mr. Phillip Ragatz Juliet Rains Mr. and Mrs. Wayne Rawlings Linda and Chuck Redman Kristina Reese In Memory of Angela Renedo Jeff and Leslie Rich Keri and Steven Richardson Dr. Lynn Robershotte and Bryce Franz John, Dee and Paul Rogers Larry and Lisa Rogoff Mario Trejo Romero and G. Lewis Penrose 25

Mitchell and Heather Ross Dr. Kyle Rowland Norm and Pam Saba Judy and Harold Samloff Bryan and Katherine Sandler and Janis Merrill Ellen and Paul Schifman Ursula and Rick Schultz Jesse and Jennifer Schwarz Tamara Scrivner and Bill and Kathy Aichele Mr. and Mrs. Danny Sharaby/ Tickets Unlimited Michele Shipitofsky and Eric Rosenberg Suzanne and Jay Simon Jeffrey and Deborah Smith Chris and Adela Sommer Spracale Family Frances and Unni Sreekumar Dr. Cheri St. Arnauld Dr. Barry and Judith Stern Morgan Stewart and Barbara Page Alan Stoff Jennifer and Tim Storey Donna and Philip Stover Cheryl Sucato Donald Tapia Brinley Thomas and Charles Bentley Laurie Topping, Janet Rocheleau and Laurie Kaptur Carol Toy Violet Toy and Betsy Toy Yee Mollie C. Trivers Kerry Turner Mark and Lynn Vanderlinde/ VRealty Advisors Veteran Tickets Foundation John and Katie Wahlman Dale and Sheryl Wanek Col. Alexander Warschaw The Way Family Gary and Kristi West Betty L. and John Whiteman Leesa and George Weisz Jana and Mark Wilcke* Todd and Tammy Wilkening Daryl and Karly Williams Karen S. Wood-Nackard Chris Wuerz Greg Yagi and Alan Paulson Ray and Sue York Martha Scales Zachary In Loving Memory of Charlie Zarrelli*

ASU GAMMAGE INNER CIRCLE

Directors Club Brian and Paula Aleksa Howard and Wendy Allenberg Anonymous Felice Appell Louraine Arkfeld Christine and Rocky Armfield Karen and Bob Armknecht Char and Alan Augenstein Cameron and Kevin Axx James and Sandra Bach Jim Barash and Dr. Tamar Gottfried Lory Baraz and Robert Zucker Mary and Scot Benefiel Chris and Dana Benner Catherine and Chris Bergeron Gina and Gregory Berman E.M. Berry Michelle and David Bianchi Scot and Dawn Bingman Suzanne and David Black Kelley, John and Justin Bonowski Melissa and Jonathan Boyd Michael Braun Elna M. Brown Patti and Rick Brown Mr. and Mrs. Steve Byers Cathy and John Calhoun Elaine and Paul Campbell Dr. Caroline Carney and Mr. Nick Adamakis Kent Cattani Dr. David and Mrs. Georgiana Cave Kelly and Sinae Christensen Kathryn A. Christmann Christopher Coffer Heidi Cox and Tracey Bryce Rebecca and Jon Crawford Carl J. Cross Eileen Curtin Marisa and Kerwin Danley Diane and Phil Daspit Dr. and Mrs. Eugene L. De La Cruz Bette DeGraw Drs. Fred and Suzie DePrez Brenda and Gary Deutsch Donna Dichiaro In Memory of Bob Dichiaro Dilemma Hair Salon Michael and Julie Dillon Karen and David Divine Janice Donnelly and John King Matthew and Terra Duke

Cheryl Eames Jim Edmonds Nancy and Dave Edwards Lou and Rick Ender Christine English and Lenard Hailey Jody Epperson Michele and Michael Etheridge Edward Evans Dino and Linda Farfante Dr. Allen W. Flores Sandra J. Fromm Mimi and Sandford Furman Marybeth and Jimmy Garrett Barbara and Gregory Geidel Dr. Philip E. and Roseann M. Geiger Carole and Ronnie Gilbert Dr. and Mrs. Peter Giovan Joe and Helen Goldblatt Vicki Greener Gary and Jacque Griffith Lani and Scott Grone Jill and Jim Gruler Brent M. Gunderson Hunter Hammond and Matthew Scarnecchia Alan and Anita Handelsman Lynlie and Myron Hansen Diane Harrison Monique and Caroline Harrison Dottie and Mark Harshbarger Nora and Tim Hart Marilyn and Paul Harter Col. and Mrs. Paul Harwood Larmon and Linda Haugen Hensley Beverage Company Dr. Maria L. Hesse Jill and Alan Hieb Blake and Kristina Honiotes Christopher and Judy Hossack Dr. Scott Howell and Mr. Sean Smith Teresa and Darrel Huish The Till Hutchison Family Nancy and Jeffrey Jacobs Dr. and Mrs. Ron Jenks Dr. Christopher Johnstad and Ms. Kim Lewis In Memory of Steven R. Jonas Katherine Kaarle Shari and Irwin Kanefsky Elaine Karcher Rona and Allan Kasen Brian and Theresa Katz Casey and Clara Khaleesi Terri and George Kief Jo Krueger Shirley Kruger Mary and Dave Kurrasch

Dr. Robert R. Kuske, Jr. Aaron and Brenda LaTowsky Cheryl Laurent David Ledbetter Susan and Brian Lee Barbara and Don Leffler Patty and Matthew Lernor Sara and Salvatore Lettieri Patricia and Paul Lewis Fuyu Lin and Samuel Anderson Lisa Loo LOWY’s Tax Planning & Accounting, PLLC Sharon Lytle-Breen Suzan Makaus John Martell and Cathy Thuringer Lindsay and Morgan Mathie Marilyn and Mark McCall Celia and Kent McClelland Laurie and James McDonald Robbyn McDowell Karri and Joseph McInerney Dr. Geoffrey McKinzie and Tabitha McKinzie Tamara and Ian McLeod Azar Mehdizadeh and Justin Reynolds John Mertens and Kim Cantor Mary and Kurt Meyer In Memory of J. Eric Miller Ariana and Daniel Mormino Kathryn Morrison Vicki and Neil Motzkin Angela and Jesus Navarro Emily and Cory Nelson Debbie and Jim Nixon Suzanne O’Hara In Memory of Cindy Olstein Shannon Olwine and Mohit Mehta Dr. and Mrs. Donald A. Opila Jill Ormond & Jay Kramer Darcy and Mark Ortiz Pam Peacock – Superior Real Estate Services Maryellen and Mark Pendleton Suzie and David Perkinson Cynthia Pino Hari Puri Carol and Gregory Rath Dean Rennell Rebecca P. Ripley and Tara Ripley Swinehart Sharon and James Robbins Chad Robert Theresa and Rene Romero Dr. Kristine Romine Rosedale Hair Design Mark and Dena Ross

Richard Ross Kent and Mira Rossman Julie and Joseph Russomanno Beth Saiki-Olsen and Morgan Olsen Chloe Saleeby and Kevin Saleeby Jeffrey P. Salomone, M.D. Sherilyn and Joseph Sandor Mark Schiavoni Katherine and Bryan Schlueter Katherine and Randall Schmidt Lyrna and Michael Schoon Janiece and Tom Schubert Martin L. Shultz John Schurz Ken Schutz and Craig Thatcher Christa and Donald Scott Elisa Segal and Max and Molly Mashal Judy Sera-Windell and Robert Windell Nelma and Jim Shearer In Memory of Sylvia Shippy Connie and Darin Shryock Jared and Linzie Smith John and Monica Suriano Toby Teret Taylor Carla and Gary Tenney Karen Thorn Kartika and Eric Thornbrew Dr. Susan Thrasher and Dr. Charles Schwartz Deborah and Wilbur Troutman Zeena Ubogy M.D. and Millard Thaler M.D./Papillon Cosmetic Dermatology Center Steven Urke Dr. Robert and Julia Wacloff Colleen Smith Walters and Dave Walters Doug Walters Phyl Wason Suzanne and Craig Weaver Jolene and Harv Weisblat Dr. Brian and Dawn Williams Doris and Duly Winkler Suanne Woo Brigid Wright and John Patton Christopher Zachar Breann and Stephen Zapytowski, Jr. Joseph Zavislak

Supporting Members Donna and Kirk Anderson Anonymous Ross and Shirley Berg

Janet Bioletto Neva and Jim Bochenek Judy and Charles Boehmer Melanie and Patrick Burm Stephanie and Brad Butler Kim Carroll and Sherri Shimansky Ann Chafoulias Rhonda Elifritz-Rix Patricia Fimbres Shanna Gallo Sarah and Brad Glenn Kimberly and Dale Hopely, Jr. William Hosking Michelle Louise Johnson Karen J. Killoren Survivors Trust Sue Klein Kurt Kleinman Eve and Jim Morse Pam and Gary Passey Valerie and Gregory Patten Timbra and Kevin Peace Marliese and Glen Reeves Ron and Bev Richards Marvin E. Smith Vicki and Tom Taradash Dr. Jerome and Dr. Selma Targovnik Deidra Viberg VIP Tours of New York LLC Linda Kay Wolfkeil Yubeta Family

In Memory of Judith Signeski Raj Sivananthan Jill Skelton Daniel L. Smith Valerie Sorkin-Wells Orin and Mary Svarc Jo Taulbee-Flittie Patricia Taylor Adriana Trigiani and Tim Stephenson Celia Vasfaret Janet Vasiliauskas Mary LaRue Walker Jo and Don Wilson Darcey Winterland and Blake Bulloch ASU Gammage wishes to thank the hundreds of donors who are not listed due to space limitations.

Contributing Members Ted Allmon Teresa Amabisca Pam and Jeff Bell George and Mary Ann Bradbury Mary and Ray Byke Burton Cagen PC Carol Collins Justin Fernstrom Megan Gailey Alyssa Ann Goldstein Maren Hanson Kristine Harnden William and Linda Langer Judith Mente Kris Mietzner Shari Miller Julie and Gregory Mossaud Amanda and James Murphy Ronald Nelson Kathy and Dwight Peters Nathalie Rennell Alison and David Riddiford Virginia Savage VOLUME 27 | 2020

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PO Box 870205 Tempe, AZ 85287-0205 480-965-5062 asugammage.com

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