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COVER

2016-17 CULTURE&IDEAS GUIDE


2016 2017

CONTENTS

MISSION Purdue Convocations catalyzes the curriculum, energizes the community, and distinguishes Purdue through powerful performances, illuminating discourse, and extraordinary learning encounters. HISTORY Purdue University has a rich history of bringing concerts, lectures, and performances to campus. In 1902, the “Lecture and Concert Course” was first offered, creating the earliest evidence of what is now Purdue Convocations. Over the years, the names and formats have changed, but one thing has remained constant: the desire to expand the Purdue experience beyond the classroom. FRONT COVER IMAGE: ASHLEY BATHGATE pg. 30 THIS PAGE: SHIMON ROBOT AND FRIENDS pg. 38


CALENDAR

Dancing SEPT16-1710 Dirty Global Fest

OCT NOV DEC JAN

FEB

16 17 22 23

Pat Thomas & the Kwashibu Area Band The Triplets of Belleville Ken Burns: The American Experience The Revenge of Prince Zi Dan (Hamlet)

3-4 Dawn or Doom 2016 18-19 L.A. Theatre Works’ Judgment at Nuremberg 22 Sullivan Fortner & Friends 4 11 13 17

Mavis Staples Jenny Scheinman’s Kannapolis ArcAttack: Energy and Electricity Inon Barnatan, piano

EVENTS 114th SEASON

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

IN DEPTH MOVING IMAGES

A collection of thought-provoking lectures and performances.

GLOBAL FEST

This community festival is now even bigger.

HOW TO GET POWER

A closer look at The Seldoms’ Power Goes.

10 Ashley Bathgate: Bach Unwound

HUANG YI & KUKA RESIDENCY 2015

20 Arturo O’Farrill and the Afro Latin Jazz Orchestra:   Purdue Jazz Festival 27 Safety Last! with the Long Center Theatre Organ Society 29 Erth’s Dinosaur Zoo Live 31 Calmus: All the World’s a Stage: Shakespeare A Cappella

ELEMENTARY STUDENTS LEARN TO DANCE

18 23 24 26

Shimon Robot and Friends The Seldoms: Power Goes Mamma Mia! Pete the Cat

MAR

2 St. Petersburg Philharmonic 22 Taj Express 25 TEDxPurdueU 29 Rent 30 tenThing

APR

6 Donny McCaslin Quartet 15 Pippin 23 Verona String Quartet and Daniel Hsu, piano

Animating new opportunities for Purdue students.

Dance Kaleidoscope surprises Lincoln Elementary.

STUDENT INTERN Q&A

Convos interns build professional skills.

INFO FRIENDS

OF CONVOCATIONS

TICKET ORDER FORM STUDENT OPPORTUNITIES INFO TO KNOW

Purdue Convocations is proud to be in the Division of Student Life.


“WE HAVE ESTABLISHED AN AMBITIOUS PERSPECTIVE ON OUR ROLE TO PRESENT, CONVENE, AND CREATE DISCOURSE AT AN INSTITUTION DRIVEN BY DISCOVERY, LEARNING, AND ENGAGEMENT.”

DIRECTOR’S NOTE Todd Wetzel

When the house lights dim and the curtain rises, you have great expectations for the experience that’s about to happen. At Purdue Convocations, we share that anticipation, as well, but our expectations extend beyond stagehouse. We have established an ambitious perspective on our role to present, convene, and create discourse at an institution driven by discovery, learning, and engagement. Completed assignments and experiments are hardly the sole outcomes of the work accomplished in classrooms and laboratories. Similarly, we know what transpires on our stages is but one vital component of the cultural ecology we cultivate.

This makes our endeavors as stimulating and exciting for us as they are for you, and we welcome you to help us continue our growth as that ambitious organization you’ve come to know and love. You can learn more about the Convocations vision—and opportunities for you to support it—on page 43. For our 2016-17 season, we again offer an incredibly diverse array of platforms and partnerships—ranging from our Innovator-In-Residence, Professor Gil Weinberg from Georgia Tech, who brings the artificial intelligence-driven improvising robots of Shimon Robot and Friends, to a conversation about the composition and character of the American ideal as seen through the eyes of renowned documentary filmmaker Ken Burns. Our Moving Images platform itself includes a compelling investigation of powerful images and ideas that have shaped culture and society. Other key partnerships include: • •

Process matters. Discourse enlightens. This is why Purdue Convocations continues to curate richly textured seasons filled not only with extraordinary performances and expressions, but also in-depth investigations of the artistic process, opportunities to gather and discuss, and powerful alliances with our valued partners on campus and in the community. Together, this renders what we do ever more interesting and exciting beyond the considerable pleasures of pure performance. The simple definition of our vision for selecting events goes like this: • • •

Catalyze the curriculum Energize the community Distinguish the institution

PARTNER LIST ACKERMAN CENTER FOR DEMOCRATIC CITIZENSHIP COLLEGE OF ENGINEERING COLLEGE OF LIBERAL ARTS COLLEGE OF SCIENCE

CONFUCIUS INSTITUTE AT PURDUE ELLIOTT HALL OF MUSIC HONORS COLLEGE INDIANA SPACE GRANT CONSORTIUM INTERNATIONAL CENTER

4 LEARN MORE AT CONVOCATIONS.ORG

The Confucius Institute at Purdue, with whom we’ll host the Shanghai Jingyu Theatre Company for a Peking Opera-style reimagination of William Shakespeare’s Hamlet, titled The Revenge of Prince Zi Dan. Information Technology at Purdue (ITaP) for the third edition of the engrossing Dawn or Doom symposium. It features a keynote from celebrated author Dave Eggers, whose acclaimed 2013 novel The Circle addressed the anxieties of advancing technology. The cast, crew, and creative braintrust for the touring Broadway production of Dirty Dancing, who will establish a two-week technical residency at Purdue as they launch this year’s North American tour of the show from the Elliott Hall of Music.

From world-class artists to immersive learning experiences, all of this work is made possible by the generous support of the Friends of Convocations and our corporate, campus, and community partners. It may perhaps surprise you to learn that ticket sales cover only 60% of expenses incurred to present our powerful and engaging work. We could simply raise prices or program only offerings with maximum commercial viability. But we would then eliminate the comprehensive impact Purdue Convocations makes on our shared living and learning community. To those of you already in our valued circle of support, I again offer you our sincere thanks and appreciation. To those of you inspired by our vision and scope of service, it would be our honor to welcome your new or enhanced support to lift us to even greater heights. Welcome to our 2016-17 season…and our creative community! KRANNERT SCHOOL OF MANAGEMENT LONG CENTER THEATRE ORGAN SOCIETY OFFICE OF THE PRESIDENT OFFICE OF THE PROVOST/ CHIEF DIVERSITY OFFICER

OFFICE OF THE SYSTEM CHIEF INFORMATION OFFICER/ITaP PURDUE ASIAN-AMERICAN AND ASIAN RESOURCE AND CULTURAL CENTER PURDUE BANDS AND ORCHESTRAS

PURDUE BLACK CULTURAL CENTER PURDUE INTERNATIONAL PROGRAMS PURDUE NATIVE AMERICAN EDUCATIONAL AND CULTURAL CENTER

PURDUE POLYTECHNIC INSTITUTE WEST LAFAYETTE PARKS & RECREATION/MORTON CENTER WEST LAFAYETTE PUBLIC LIBRARY


ENGAGE

Meklit Residency February 2015

Todd Wetzel EXECUTIVE DIRECTOR Laura Clavio ASSISTANT DIRECTOR/SCC ADVISOR MARKETING

BECOME AN

Abby Eddy DIRECTOR OF MARKETING

INSTANT EXPERT

PRE- AND POST-SHOW DISCUSSIONS: For those who like to dig deeper into the arts, Convocations offers pre- and post-show discussions throughout the season. Free to ticket holders.

PAT THOMAS

SEPT 16 / 7PM PMU BALLROOM

The AfroRoyále Dance Troupe will give a highlife dance demonstration and give a dance lesson prior to the big dance! Show ticket required.

THE REVENGE OF PRINCE ZI DAN

PRE-SHOW DISCUSSION SEPT 23 / 7PM

A member of the artistic staff will discuss Peking Opera history and performance practices.

JUDGMENT AT NUREMBERG

PRE-SHOW DISCUSSION OCT 18 / 6:30PM STEW 206

Faculty experts will discuss the social, historical, and political questions surrounding the Nuremberg trials.

SULLIVAN FORTNER & FRIENDS

PRE-SHOW DISCUSSION OCT 22 / 7PM / STEW 206

Join composer, jazz pianist, and music educator Judd Danby and Don Seybold, host of WBAA’s Inside Jazz, for a discussion about the evening’s performance.

MAVIS STAPLES

PRE-SHOW DISCUSSION NOV 4 / 7PM / STEW 202 James Dekle, Purdue Black Cultural Center Artist-inResidence, will discuss Mavis Staples and her influence on gospel music and civil rights.

ARCATTACK

PRE-SHOW ACTIVITY NOV 13 / 2PM STEW WEST FOYER

Purdue’s Women in Engineering Program (WIEP) will offer fun demonstrations about electricity.

ARTURO O’FARRILL

PRE-SHOW DISCUSSION JAN 20 / 7 PM / STEW 310

Join composer, jazz pianist, and music educator Judd Danby and Don Seybold, host of WBAA’s Inside Jazz, for a discussion about the evening’s performance.

SAFETY LAST!

PRE-SHOW DISCUSSION JAN 27 / 6:30PM LONG CENTER

Suzanne Lloyd, granddaughter of Harold Lloyd, will discuss the filmmaker and the film.

ERTH’S DINOSAUR ZOO LIVE PRE-SHOW ACTIVITY JAN 29 / 2PM STEW WEST FOYER Have fun learning more about dinosaurs!

SHIMON ROBOT AND FRIENDS

PRE-SHOW DISCUSSION FEB 18 / 7PM STEW 214 Faculty experts will discuss the human and technological issues of robotics and artificial intelligence.

POST-SHOW DISCUSSION

after the performance with our visiting researchers.

THE SELDOMS

PRE-SHOW DISCUSSION FEB 23 / 6:30PM PMU LAFAYETTE ROOM

Northwestern University Professor Michael J. Kramer, Ph.D., will discuss the history of the Seldoms dance company and the Power Goes project.

POST-SHOW DISCUSSION

in Loeb Playhouse with Professor Kramer and the Seldoms dance company immediately following the performance.

PETE THE CAT

PRE-SHOW ACTIVITIES FEB 26 / 2PM STEW WEST FOYER

Get your picture taken with Pete the Cat and enjoy Pete the Cat activities! The Student Chapter of the American Association of Feline Practitioners will present cat-related activities.

ST. PETERSBURG PHILHARMONIC

MARCH 2 PRE-SHOW / 6:30PM

Joshua Lowe GRAPHIC DESIGNER Pauline Lamboley GRADUATE ASSISTANT FOR STUDENT ORGANIZATIONS/CVN ADVISOR Samantha Ayres SOCIAL MEDIA INTERN Alex Bolten MARKETING INTERN Matthew Jordan MARKETING INTERN Stephanie Morales GRAPHIC DESIGN INTERN Amber Kite MARKETING COURIER EDUCATION Amanda Mayes MANAGER OF EDUCATION DEVELOPMENT Amanda Dunkle DIRECTOR OF DEVELOPMENT Kate Spanke DEVELOPMENT ASSOCIATE

Nick Palmer, Music Director and Conductor of the Lafayette Symphony Orchestra, will discuss the evening’s program.

Diane Carlson ADMINISTRATIVE ASSISTANT FOR DEVELOPMENT AND EDUCATION

TAJ EXPRESS

Kathy Dietz DIRECTOR OF ARTIST RELATIONS AND OPERATIONS

PRE-SHOW DISCUSSION MARCH 22 / 6:30PM

A member of the artistic staff will discuss the performance and the Bollywood movie and dance tradition.

DONNY McCASLIN QUARTET

PRE-SHOW DISCUSSION APR 6 / 6:30PM PMU LAFAYETTE ROOM

Join composer, jazz pianist, and music educator Judd Danby and Don Seybold, host of WBAA’s Inside Jazz, for a discussion about the evening’s performance.

GET THE INSIDE SCOOP ON THIS SEASON’S ARTISTS Visit convocations.org for updates on discounts, news, and publications, to join our mailing list, and to sign up for our e-mail newsletter!

James Britton MARKETING ASSOCIATE

PRODUCTION

David LaVanne PRODUCTION & EDUCATION ASSISTANT BUSINESS Debbie Siciliano ASSISTANT DIRECTOR OF FINANCIAL AFFAIRS, VPSL Marietta Taylor BUSINESS MANAGER Jamie Vanderipe BUSINESS ASSISTANT CONTRIBUTORS Nick Rogers COPY EDITOR/WRITER Stacey Mickelbart WRITER Sam Watermeier WRITER STUDENT GROUPS Evan Bishop CVN PRESIDENT Paige Pope SCC PRESIDENT Christopher Soverns TEDxPurdueU DIRECTOR


WHY I BELONG

KIM & JOHN REISMAN FRIENDS SINCE 2008

“There’s an energy that is different in a live environment that is hard to duplicate.” 6 LEARN MORE AT CONVOCATIONS.ORG


WHY DID YOU JOIN THE FRIENDS OF CONVOS? We’ve been going to Purdue Convos events for a long, long time. But aside from an annual donation, we were never actively involved in the Friends organization. After our kids went to college, we began looking more seriously at what was offered with our newfound free time! We were interested in supporting it because it is such a crucial piece to the overall life of the community. We have always liked the choices, and then our life changed and we could pay more attention. It’s a really important piece to the body of life in our town. The arts have grown in the community, and Convos has really led the way with that. There’s a different flavor now to the community that we find valuable. And we’ve been really excited about Convos’ integrated approach to the curriculum to make it a holistic process with the University. There’s so much potential when you can connect more dots that way. Purdue really does have a lot to offer the wider community. People that aren’t involved with Purdue could potentially even benefit the most if they knew about it. DO YOU ATTEND PERFORMANCES WITH FRIENDS? We go with friends, and if something does come up we’re able to share tickets, too. We have lots of friends that are regular attendees. We’ll meet for dinner ahead of time and then go to a show. With The Strange Undoing of Prudencia Hart, since we offered additional support for the performance as a member of the “Pru Crew,” we got a lot of added benefits and experiences with that event, which was wonderful. The bagpipe procession from Lafayette Brewing Company to Duncan Hall was so fun. We have had the opportunity to do some really fun things. WHAT MIGHT YOU TELL OTHER PEOPLE ABOUT YOUR EXPERIENCES WITH CONVOS? Several folks have asked about it! First, generally speaking, there is something for everyone. There is such a wide variety of performances. If you pay attention to the choices, you’re going to find something that interests you. And then with the Friends of Convos specifically, you get a more intimate and in-depth view. I think it’s a really special treat. That time we met Garrison Keillor was just so special. So, involvement with the Friends enables you to get a different perspective on the talent and productions that come, which is really eye-opening and a wonderful experience. WHAT ARE YOUR FAVORITE TYPES OF PERFORMANCES?

IS THERE ANYTHING THERE A SPECIFIC EXPERIENCE THAT STANDS OUT ABOVE THE REST?

Prudencia Hart; that was the most enjoyable performance we’ve gone to. We also really loved Fatoumata Diawara, Potted Potter and Circus Oz. There have been too many to name, really. COULD YOU SPEAK TO WHY YOU LIKE TO WATCH SOMETHING LIVE ON STAGE? IS THERE SOMETHING ABOUT THAT EXPERIENCE THAT IS EMOTIONAL? When you get to see live music, you can spend your time concentrating on different musicians, and pulling their part of the music out and seeing them make that music. We love being in a place where you can see music being made and how they do it and the interaction between the band. There’s an energy that is different in a live environment that is hard to duplicate. I don’t know any other way to describe it. You really do feel something. There’s a connection that’s made between the performer—whether it’s a musician, actor, or speaker—and the audience. Experiencing things as a group is powerful, too, to be a part of a crowd and experience it together. IS THERE ANYTHING ELSE THAT YOU’D LIKE TO SHARE? I think it’s really been exciting to watch the direction in which Convos has been evolving the last several years. It’s really great to be able to have access to these things.

We love world music and jazz. The quality is always outstanding. Other memorable performances include: The Strange Undoing of Prudencia Hart, A Prairie Home Companion and we loved LEO! BOX OFFICE: (800) 914-SHOW / 494-3933

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MOVING IMAGES

RG, PRODUCING DIRECTOR

GMENT AT Images are powerful. And we see countless images every day. Some are moments in time captured centuries ago—or perhaps just seconds ago. Whether through photos, newsreels, animation, film, TV, paintings, or even selfies, we collect countless images every day in our memories—and on our phones—discriminately and indiscriminately.

EMBERG But all images are created with the intent to communicate, and each of us views an image with eyes informed by the lives we’ve lived.

MOVING IMAGES is a collection of experiences focused on the complementary power of image-making and imageviewing. With a roving lens pointed at the historical and the contemporary, these incredible artists and creators have created powerful images for us to witness, contemplate, enjoy, and discuss.

MANN

JUDGMENT AT NUREMBERG L.A. THEATRE WORKS

PAGE 20

A gripping radio-theatre adaptation of Abby Mann’s iconic post-WWII film with stars of stage and screen.

8 LEARN MORE AT CONVOCATIONS.ORG

THE TRIPLETS OF BELLEVILLE

FEATURING LE TERRIBLE ORCHESTRE DE BELLEVILLE WITH COMPOSER BENOÎT CHAREST

PAGE 16

Sylvain Chomet’s visionary, Oscar-nominated animated film adventure with live Le Jazz Hot musical accompaniment.

JENNY SCHEINMAN:

KANNAPOLIS: A MOVING PORTRAIT A glowing and tender portrait of 1930s America through historic film and live roots/folk music.

PAGE 26


KEN BURNS

LECTURE: THE AMERICAN EXPERIENCE

PAGE 73

One of our nation’s greatest documentary filmmakers discusses his works and the American ideal.

POWER GOES THE SELDOMS

PAGE 46

Civil rights, LBJ’s Great Society, and social unrest of the ’60s power the visionary and athletic dance of this Chicago-based company.

SAFETY LAST!

STARRING HAROLD LLOYD

WITH CLARK WILSON AT THE MIGHTY WURLITZER

PAGE 34

A screening of the iconic 1923 romantic comedy with live theatre organ accompaniment.

TAJ EXPRESS

THE BOLLYWOOD MUSICAL REVUE

PAGE 54

A large-scale dance, film, and theatre spectacular celebrating India’s glorious Bollywood film tradition.

BOX OFFICE: (800) 914-SHOW / 494-3933

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10 LEARN MORE AT CONVOCATIONS.ORG


Dirty Dancing brings the classic story to the stage in an unprecedented live experience exploding with heartpounding music, passionate romance, and sensational dancing. Enjoyed by millions across the globe, this worldwide smash hit features the

SEPTEMBER 10 / 8PM

SAT / ELLIOTT HALL OF MUSIC TICKETS: $26-57 PICK5/GROUP SALE: $26-49

DIRTY DANCING RESIDENCY:

The production will be in residence for two weeks at Purdue as it prepares to launch its North American tour from Elliott Hall of Music.

FIRST PERFORMANCE November 18, 2004, Theatre Royal, Sydney, Australia

hit songs “Hungry Eyes,” “Hey Baby,” “Do You Love Me?” and the heart-stopping “(I’ve Had) The Time of My Life.” London’s Sunday Express says, “This crowd-pleasing stage adaptation hits the jackpot!” It’s the summer of 1963, and 17-year-old Frances “Baby” Houseman is on vacation at a resort in New York’s Catskill Mountains with her older sister and parents. Baby discovers her own entertainment when she stumbles upon the staff quarters where an all-night dance party is in full swing. Mesmerized by the saucy dance moves and the pounding rhythms, Baby can’t wait to be part of the scene, especially when she catches sight of Johnny Castle, the resort’s dance instructor. Baby’s life is about to change forever as she is thrown in at the deep end as Johnny’s leading lady—both onstage and off—with breathtaking consequences. Don’t miss your chance to see this record-breaking and adventurous theatre sensation. You’ll have the time of your life!

DID YOU KNOW?

Musical direction for the show was by Chong Lim, one of the composers for the 2000 Summer Olympics in Sydney. SIMILAR MUSICALS

Grease, Flashdance, Footloose, Hairspray, Mamma Mia!

SUPPORT FROM:


THE CITY OF WEST LAFAYETTE and WEST LAFAYETTE PARKS & RECREATION with THE MORTON COMMUNITY CENTER THE WEST LAFAYETTE PUBLIC LIBRARY THE INTERNATIONAL CENTER PURDUE INTERNATIONAL PROGRAMS PURDUE CONVOCATIONS present the 21st Annual

Join us for Global Fest 2016 on September 16-17. This year, Global Fest will become a street festival with Columbia and Chauncey Streets as the destination for the celebration! Enjoy and explore world cultures through music, dance, crafts, displays, and international food. Continuous stage entertainment, cultural displays, and children’s activities are among the free activities. Building on Global Fest’s past success, the celebration now has expanded with new partners for 2016!


FRIDAY, SEPTEMBER 16 NATURALIZATION CEREMONY / 3PM BURTSFIELD GYM, 1800 N. SALISBURY ST. / FREE The naturalization ceremony is a pivotal milestone in the naturalization process where soon-to-be citizens swear an oath to the United States and receive their official certificate. The ceremony will feature special guests and a performance by the Purduettes.

OPENING NIGHT DANCE PARTY PAT THOMAS & THE KWASHIBU AREA BAND 8PM / PMU BALLROOM / TICKETS REQUIRED (see page 14) Highlife has been Ghana’s soundtrack to propaganda and protest, a symbol of unity and division. But like any music, it ultimately belongs to the people. Join us at Global Fest to experience the exuberant poetry of this pulsating African groove.

SATURDAY, SEPTEMBER 17 GLOBAL FEST MAIN STAGE / 11AM-7PM COLUMBIA ST. AND CHAUNCEY AVE. / FREE Join us for events that celebrate our diverse community and world cultures through music, dance, crafts, displays, and international food.

INTERSECTIONS / 6:30PM / LONG CENTER / FREE Intersections is a collaborative project among the Sabrina Lastman Quartet, the Black Voices of Inspiration from Purdue’s Black Cultural Center, and the Purdue Jazz Band to honor the importance of African heritage in the musical traditions of North and South America.

THE TRIPLETS OF BELLEVILLE / 8PM LOEB PLAYHOUSE / TICKETS REQUIRED (See page 16) FEATURING LE TERRIBLE ORCHESTRE DE BELLEVILLE WITH COMPOSER BENOÎT CHAREST Sylvain Chomet’s lauded and visionary animated film adventure with live Le Jazz Hot music.

BOX OFFICE: (800) 914-SHOW / 494-3933

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2016 GLOBAL FEST OPENING DANCE PARTY

PAT THOMAS & THE KWASHIBU AREA BAND Borne by booming horns, guitar arpeggios, and syncopated drums, highlife is Ghana’s musical soul. Although coined in the 1920s to reference music at colonial upper-

SEPTEMBER 16 / 8PM

FRI / PMU BALLROOM TICKETS: $15-20 GENERAL ADMISSION doors open at 7pm. ALL AGES. CASH BAR AVAILABLE. PRE-SHOW / 7PM / PMU BALLROOM

The AfroRoyále Dance Troupe will give a highlife dance demonstration and give a dance lesson prior to the big dance! Show ticket required. This performance is a Purdue Convocations contribution to the expanded 2016 Global Fest lineup. See full details on page 12.

14 LEARN MORE AT CONVOCATIONS.ORG

class parties, highlife is rooted in 19th-century Accra—Ghana’s melting-pot capital where Gold Coast instrumentation met imported Cuban rhythms. Later infused with Western influences amid Ghana’s 1950s independence, highlife’s folkloric funk ruled West African dance floors. Once exclusively elite, highlife now belongs to an entire region. For over 50 years, Pat Thomas—often called “Africa’s golden voice”—has pioneered highlife’s sonic ambition and international success. After cutting his teeth with his uncle, the great Ghanaian guitarist King Onyina, Thomas formed the Sweet Beans—who recorded the iconic highlife single “Asawa Do”—and forged a fruitful musical partnership with the revered highlife guitarist Ebo Taylor that remains today. His 1985 album Asanteman is credited with helping popularize highlife across Europe and North America. Named for its band, Thomas’s latest album is his first in over a decade, and the global tour to support it includes the 2016 edition of the famed U.K. WOMAD (World of Music, Arts, and Dance) Festival. Today, anchored by Thomas’s soulful croon, the music charts highlife’s long legacy and newest horizons that contain nods to Caribbean bustle, Philadelphia soul, and even post-bop jazz. Highlife has been Ghana’s soundtrack to propaganda and protest, a symbol of unity and division. But like any music, it ultimately belongs to the people. Join us at this Global Fest Opening Night Dance Party to experience the exuberant poetry of this pulsating African groove.


FROM Accra, Ghana

DID YOU KNOW?

The Cuban bell pattern clave is indigenous to Ghana and Nigeria, and is used in highlife. Clave Beat:

SUPPORT FROM:


THE TRIPLETS OF BELLEVILLE

A film adventure with live music featuring Le Terrible Orchestre de Belleville with composer Benoît Charest Drawing for Disney sounds like the dream of any aspiring animator. But iconoclastic French illustrator Sylvain Chomet’s dispiriting tenure there taught him more about commercial compromise than artistic creativity. In 2003, five years after leaving Disney, Chomet delivered his radically visionary feature-film debut with The Triplets of Belleville, an Oscar nominee for Best Animated Feature Film and Best Original Song. Critics and audiences worldwide delighted at Chomet’s kaleidoscopic swirl of unconventional images, outsized comic caricatures, and sly cultural satire—underscored by the scintillating Le Jazz Hot sounds of Roaring Twenties Paris. Under the baton of Oscar-nominated composer/conductor Benoît Charest, The Triplets of Belleville now explodes to life onstage in a one-of-a-kind “cine-concert.” Developed as a special presentation for the Montreal Jazz Festival, the film is accompanied by live music from the nine-piece Le Terrible Orchestre de Belleville (including Oscar-nominated song “Belleville Rendez-Vous”), as well as onstage singing, dancing, and sound effects. In this richly animated adventure with live music, Madame Souza seeks her grandson, Champion—a Tour de France cyclist kidnapped by gangsters—in the teeming metropolis of Belleville, a funhousemirror image of 1960s Manhattan. Amid Belleville’s bluster, the titular jazz-era divas become Madame Souza’s unexpected allies. Virtually devoid of dialogue, stuffed with surreal characters, and powered by madcap momentum, The Triplets of Belleville cuts against the grain of contemporary animated cinema—suffused with Django Reinhardt’s sound and Jacques Tati’s soul. Immerse yourself in its inventive, idiosyncratic world and be swept away to the spirited scene of Parisian jazz.

SEPTEMBER 17 / 8PM

SAT / LOEB PLAYHOUSE TICKETS: $22-28 PICK5/GROUP SALE: $19-24

16 LEARN MORE AT CONVOCATIONS.ORG

A TOUR DE FORCE OF INK-WASHED, “CROSSHATCHED MISCHIEF AND UNLIKELY SUBLIMITY” — The New York Times


D,

FROM Montreal, Quebec, Canada

DID YOU KNOW?

In 2003, the film was nominated for two Academy Awards: for Best Animated Feature and for Best Original Song (by Benoît Charest and Sylvain Chomet).

This film is a Purdue Convocations contribution to the expanded 2016 Global Fest lineup. See full details on page 12.


SHANGHAI JINGJU THEATRE COMPANY

THE REVENGE OF

PRINCE ZI DAN (HAMLET)

SEPTEMBER 23 / 8PM

FRI / LOEB PLAYHOUSE TICKETS: $25-36 PICK5/GROUP SALE: $22-31 PRE-SHOW / 7PM / LOCATION TBD A member of the artistic staff will discuss Peking Opera history and performance practices.

“AN EVENING THAT MAKES YOU SIT UP, LOOK AND LISTEN AFRESH AT A FAMILIAR STORY.” — The Guardian (UK)

Also known as Jingju, Peking Opera is a treasured Chinese tradition originating in the 18th century and renowned for ornate costumes, symbolic movement, elaborate masks, compelling music, and stunning choreography. By introducing Western stories into this tradition, Shanghai Jingju has broadened its mesmerizing reach to global audiences, including a celebrated run at 2011’s Edinburgh International Festival. Their blend of spectacle and subtlety pairs perfectly with Shakespeare’s feudal rivalries and fatal betrayals. With gossamer delicacy and gargantuan power, The Revenge of Prince Zi Dan builds a monument to the Bard’s monologues using movement and music—retaining this tragedy’s rich tapestry for all times and ages.

No matter our heritage, the appeal of epic tales endures. We recoil at outsized villains and root for conflicted heroes. Through solemn tragedies, comic twists, and rich allegory, dramatic devices bind us together across cultures and continents. Working within this classical ideal, the Shanghai Jingju (Peking Opera) has been among China’s most influential art troupes and cultural ambassadors since its 1985 inception. With The Revenge of Prince Zi Dan—a reimagining of William Shakespeare’s Hamlet—the troupe transforms memorable meter into its own unforgettable poetry of motion, music, mime, dance, and acrobatics. Within the Realm of the Red City, a disillusioned prince swears vengeance upon his uncle, who has killed his father and seduced his mother. By playing up physical expressions of ethics and existentialism inherent to Peking Opera productions, the audience senses these characters are but puppets pulled by fateful strings of fear and madness.

FROM Shanghai, China

DID YOU KNOW? Peking Opera is the English term for the art form; the term entered the Oxford English Dictionary in 1953. Beijing Opera is a more recent equivalent.

SUPPORT FROM:

CONFUCIUS INSTITUTE AT PURDUE


BOX OFFICE: (800) 914-SHOW / 494-3933

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SUSAN ALBERT LOEWENBERG, PRODUCING DIRECTOR SUSAN ALBERT LOEWENBERG, PRODUCING DIRECTOR

P R E SP ER EN S TE S N

T S

JUDGMENT AT JUDGMENT AT

NUREMBERG

NUREMBERG by ABBY MANN

by ABBY MANN L.A. THEATRE WORKS is America’s Premiere radio theatre company, bringing great theatre to audiences nationwide and beyond through our live performances series in Los Angeles and National Tours, national weekly Public Radio series, Audio Theatre Collection available in libraries and to the public and national educational outreach programs.

Visit LATW.org to find out more about L.A. Theatre Works L.A. THEATRE WORKS is America’s Premiere radio theatre company, bringing great theatre to audiences nationwide and beyond through our live performances series in Los Angeles and National Tours, national weekly Public Radio series, Audio Theatre Collection available in libraries and to the public and national educational outreach programs.

Visit LATW.org to find out more about L.A. Theatre Works

20 LEARN MORE AT CONVOCATIONS.ORG


T

G

Judges sitting in Nuremberg, from left to right: Volchkov, Nikitchenko, Birkett, Sir Geoffrey Lawrence, Biddle, Parker, Donnedieu de Vabres, and Falco

On the heels of World War II, the Allied powers conducted military tribunals to prosecute those accused of committing crimes against humanity under the Nazi regime. These tribunals were a necessary salve for the

OCTOBER 18 & 19 / 7:30PM

TUES & WED / LOEB PLAYHOUSE TICKETS: $22-30 PICK5/GROUP SALE: $19-26 PRE-SHOW (TUES ONLY) 6:30PM / STEW 206

Faculty experts will discuss the social, historical, and political questions surrounding the Nuremberg trials.

FROM Los Angeles, California

wounds of war...or at least that was the intent, as the immediate rise of the Cold War challenged the political landscape surrounding the trials. Judgment at Nuremberg captures this very moment as American Judge Dan Haywood leads the trial of four German judges. Haywood resolutely pursues justice all while navigating intimations that meting out harsh sentences might alienate the sentiment of the German people precisely when the U.S. cannot afford a German switch in allegiance to the Soviets. One of the last century’s most intense, surprising, and shocking courtroom dramas, Judgment at Nuremberg was originally a teleplay and later an Oscar-winning film written by Abby Mann that featured a who’s who of such legendary actors as Spencer Tracy, Maximilian Schell (in an Oscar-winning performance), Montgomery Clift, Judy Garland, and many more. Now, with a stage production based on Mann’s Oscar-winning script, L.A. Theatre Works breathes new life into this story. Judgment at Nuremberg is the latest in the company’s repertoire of powerful, thought-provoking historical fiction. This absorbing production boasts a star-studded cast of stage and screen luminaries (to be announced this fall) that will join the ranks of Edward Asner, John Heard, Gregory Harrison, Shannon Cochran, John De Lancie, and others who have graced the Loeb Playhouse stage. Pitting unforgettable characters and ideologies against each other, Judgment at Nuremberg is an absorbing probe of the ethics of personal responsibility versus public duty.

DID YOU KNOW? The L.A. Theatre Works weekly public radio show is heard by seven million listeners annually in over 80 markets in the U.S. and is available on demand and free of charge through L.A. Theatre Works’ streaming site at www.latw.org

SUPPORT FROM:


FEATURES

JANET & JOHN NINE STEINWAY

OCTOBER 22 / 8PM

SAT / LOEB PLAYHOUSE TICKETS: $15-20 With

SULLIVAN FORTNER piano JOEL TUCKER guitar NICK TUCKER bass KENNY PHELPS drums PRE-SHOW / 7PM / STEW 206

Join composer, jazz pianist, and music educator Judd Danby and Don Seybold, host of WBAA’s Inside Jazz, for a discussion about the evening’s performance.

22 LEARN MORE AT CONVOCATIONS.ORG

Pianists face tough odds…specifically 88 to 10. That’s what jazz luminary Larry Willis once told Sullivan Fortner, a New Orleans native and rising jazz-piano star. Equally adept as a sideman or shot-caller, and not yet 30, Fortner has played those odds with big payoffs—culminating with the American Pianists Association’s (APA) 2015 Cole Porter Fellowship in Jazz. Joined by three of the hottest players on the Indy scene, Fortner will give the inaugural jazz performance in Purdue Convocations’ continuing

presentation of APA winners on the recently gifted Steinway D (dedicated in 2015 by fellow APA winners Eric Zuber and Sean Chen). Inspired by an organist at his church, Fortner began playing by ear at age 7. By 13, he was attending the New Orleans Center for Creative Arts and prestigious summer jazz programs at Vail and Skidmore en route to respective bachelor’s and master’s degrees in jazz performance from the Oberlin Conservatory of Music and the Manhattan School of Music. After studying and performing with the Marsalis family, Stefon Harris, Roy Hargrove, and many others, Fortner formed his own quartet and released Aria in 2015 on Impulse! Records. Fortner assembled the album and his associates with the inclusive dynamic


SULLIVAN

FORTNER & FRIENDS

that defines the harmonic and rhythmic invention of post-bop. From there, it was nothing but an explosion of influences spanning European classical, Kern-Hammerstein songbook melodies, lively Afro-Cubanism, the Creole jazz of his native Crescent City, and the explosiveness of Thelonious Monk— whose “I Mean You” Fortner performed en route to the APA honor, among the field’s most prestigious, lucrative, and coveted. With sophistication and style that belie his youth, Fortner is ushering in a new era of post-bop piano.

FROM New Orleans, Louisiana

“(FORTNER’S) FUNDAMENTALS AS A PLAYER COULD HARDLY BE STRONGER, AND HIS INSTINCTS AS A COMPOSER AND BANDLEADER ARE ALMOST STARTLINGLY MATURE.”

DID YOU KNOW? Other APA Cole Porter Fellows in Jazz include Aaron Diehl, who performed in the Philip Glass: The Complete Piano Etudes project (Feb 2016) and Adam Birnbaum who performed with Cécile McLorin Salvant (Oct 2015).

— The New York Times

SUPPORT FROM:


24 LEARN MORE AT CONVOCATIONS.ORG


STAPLES LIVIN’ ON A HIGH NOTE From the beginning, there was her voice—uncannily mature and effortlessly sliding between gospel, blues, soul, and R&B. Alongside her sisters and father, gospel luminary Roebuck

NOVEMBER 4 / 8PM

FRI / LOEB PLAYHOUSE TICKETS: $25-44 PICK5/GROUP SALE: $21-38

PRE-SHOW / 7PM / STEW 202

James Dekle, Purdue Black Cultural Center Artist-in-Residence, will discuss Mavis Staples and her influence on gospel music and civil rights.

FROM Chicago, Illinois

“Pops” Staples, Mavis Staples propelled the Staple Singers to their first hit before she even graduated from high school. A 1963 meeting with the Rev. Dr. Martin Luther King Jr. inspired them to advance the Civil Rights Movement through resilient, rallying anthems like “Freedom’s Highway” and “Why (Am I Treated So Bad)?” and spread, as Pops said, “a ray of light on the world.” Even on the Stax/Volt label, the Staples maintained positive messages in 1970s crossover hits like “I’ll Take You There” and “Respect Yourself.” In her enduring solo career, Mavis has collaborated with Bob Dylan and Prince and continues to earn accolades. Mavis won her first-ever Grammy® for 2010’s You Are Not Alone, and her latest album, Livin’ on a High Note, features songs written specifically for her by acclaimed artists and acolytes like Neko Case, Aloe Blacc, M. Ward, Nick Cave, and Ben Harper. “I know I don’t have as much time on this Earth as I’ve already had, but I see it as saying, ‘Mavis has been here, y’all,’ ” Staples says. “Before I move on, I just want to leave some Mavis with you that you’re not used to hearing. I want to leave you with some joy and love, and some don’t-forget-me songs.” As if anyone could ever forget this American treasure’s indomitable enthusiasm and larger-than-life voice.

DID YOU KNOW? In the late 1960s, Bob Dylan proposed marriage to Mavis Staples. Although they had dated for seven years, she turned him down. Dylan has referred to Staples ever since as “the love that I lost.”

SUPPORT FROM:

AND


KANNAPOLIS: A MOVING PORTRAIT MUSIC BY JENNY SCHEINMAN FILM BY FINN TAYLOR ALL FOOTAGE SHOT BY H. LEE WATERS

JENNY SCHEINMAN

NOVEMBER 11, 2016 / 8PM

GUITAR, BANJO, VOCALS

FRI / LOEB PLAYHOUSE TICKETS: $18-25 PICK5/GROUP SALE: $15-22

ALL FOOTAGE SHOT BETWEEN 1936 AND 1942 BY H. LEE WATERS

26 LEARN MORE AT CONVOCATIONS.ORG

COMPOSER, ARRANGER, VIOLIN, VOCALS

ROBBIE FULKS

ROBBIE GJERSOE

RESONATOR GUITAR, BARITONE ELECTRIC GUITAR, VOCALS

FINN TAYLOR FILM DIRECTOR RICK LECOMPTE FILM EDITOR TREVOR JOLLY SOUND DESIGNER

Laid low by the Great Depression, portrait photographer H. Lee Waters invested in a movie camera. From 1936 to 1942, he filmed Movies of Local People—a collection of silent vignettes showcasing everyday life across 118 towns in Tennessee, Virginia, and the Carolinas. Waters then screened his footage at local theaters, his subjects sharing silver screens with their matinee idols. In a corner of America largely unaware of what it meant to be filmed, people regarded Waters’ camera guilelessly and truthfully with gazes of hardship and despair, but also joy and determination. Kannapolis: A Moving Portrait finds acclaimed composer, vocalist,


SCHEINMAN HAS A DISTINCTIVE VISION OF AMERICAN MUSIC, SUFFUSED WITH PLAINSPOKEN BEAUTY AND FORTIFIED ALL AT ONCE BY COUNTRY, GOSPEL, AND MELTING-POT FOLK, ALONG WITH JAZZ AND THE BLUES.” —The New York Times

and violinist Jenny Scheinman further exploring their inner thoughts through music. Scheinman’s original score of folk songs and field sounds is performed live over Waters’ footage, masterfully reassembled by film director Finn Taylor (Cherish). Cut to match the performance, the film’s subjects seemingly move to the music played by Scheinman, multi-instrumentalist Robbie Gjersoe, and Midwest folk-scene statesman

FROM Petrolia, California

Robbie Fulks (who has played numerous Friends of Bob shows in Lafayette). Complementing her stellar solo career, Scheinman has collaborated with Bono, Lou Reed, Ani DiFranco, and Aretha Franklin. She also performed alongside Bill Frisell at Purdue in 2010 for Frisell’s Disfarmer Project, a roots-music response to images of America’s past. Kannapolis similarly eschews nostalgic sentiment for realistic resonance of human resilience

DID YOU KNOW? Jenny Scheinman is the granddaughter of Telford Taylor, chief prosecutor at the United States war trials at Nuremberg. Taylor inspired the character of Tad Lawson in L.A. Theatre Works’ Judgment at Nuremberg, to be presented by Purdue Convocations on Oct. 18-19, 2016.

and triumph, however minimal or momentary. Waters’ rich artifact of American cinema and Scheinman’s musical ingenuity embody the City of Looms, a nickname for the titular North Carolina city. Kannapolis presents Depression-era America as an intricate assembly of different fabrics woven into a beautiful pattern of personalities, passions, and perspectives.

SIMILAR ARTISTS Jayme Stone, Brittany Haas, Harpeth Rising, Carolina Chocolate Drops COLLABORATORS Bill Frisell, Lucinda Williams, Lou Reed, Ani Difranco


FEATURES

JANET & JOHN NINE STEINWAY

“FULL OF CHARACTER AND INDIVIDUALITY, INON’S PERFORMANCE WAS MAGICAL.” —The New York Times

NOVEMBER 17 / 7:30PM

THURS / LOEB PLAYHOUSE TICKETS: $22-28 PICK5/GROUP SALE:$19-24 FULL PROGRAM AVAILABLE ONLINE

FROM Tel Aviv, Israel

Hailed by the London Evening Standard as “a true poet of the keyboard, refined, searching (and) unfailingly communicative,” Israeli pianist Inon Barnatan performs with sincerity and sensitivity that complement his superior technical mastery. A pianist since the age of 3, Barnatan has studied alongside some of the 20th century’s most illustrious instructors, including Leon Fleisher and Maria Curcio. Barnatan recently became the New York Philharmonic’s first Artist-in-Association—an unprecedented three-season appointment highlighted by multiple concerto and chamber collaborations with the orchestra. Equally commanding in recital, the Avery Fisher Career Grant recipient’s recent Kennedy Center solo debut prompted The Washington Post to marvel: “Although there was firecracker technique on display, it was Barnatan’s intelligence, musicality, and story-telling ability that most impressed.” BBC Music Magazine hailed Barnatan’s 2013 recording of Franz Schubert’s late sonatas as a “near perfect equilibrium” of musicianship, insight, and elegance while The New York Times designated his solo album, Darknesse Visible, as one of the “Best of 2012.” His program includes Schubert’s serene “Fantasie” sonata, the last he published during his lifetime; Johannes Brahms’ timeless transcription of J.S. Bach’s powerful Chaconne; György Ligeti’s 11-movement precursor to his more experimental works; and the Baroque ornamentation of George Frideric Handel’s variations by Brahms. As the Pianist magazine confirms, “Barnatan is one of the finest musicians. … You don’t notice his fingerwork, you simply immerse yourself in the sound he produces…and you know that there are no technical limits to what he can do.”

DID YOU KNOW? Barnatan began playing at age 3 when his parents discovered he had perfect pitch. He toured twice as conductor and soloist with Academy of St. Martin-in-the-Fields.

SUPPORT FROM:

ROBERT B. & PATRICIA PEYTON

TRUITT PIANO PERFORMANCE ENDOWMENT


INON

BARNATAN

BOX OFFICE: (800) 914-SHOW / 494-3933

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30 LEARN MORE AT CONVOCATIONS.ORG


BACH UNWOUND

“SITTING BEFORE US, SHE HELD HER CELLO WITH EASE, SMILED, AND EXPLODED...READING MUSIC FROM AN iPAD AND OCCASIONALLY TURNING TO HER LAPTOP, BATHGATE BECAME MORE THAN ONE INSTRUMENT.” — Charleston City Paper, Spoleto Festival 2015

ASHLEY BATHGATE: BACH UNWOUND

Conceived and performed by

ASHLEY BATHGATE Music composed by

SLEEPING GIANT

DECEMBER 10 / 8PM

SAT / LOEB PLAYHOUSE TICKETS: $15-20

Johann Sebastian Bach’s unaccompanied Cello Suites are arguably the most recognizable, and revered, works ever written for the instrument—essential pieces that embody elegant composition and existential contemplation. In Bach Unwound, Ashley Bathgate, a rising star in cello, will perform these peerless pieces and stunning reinterpretations in an all-new recital experience that includes amplification, electronics, and multimedia. Like Pablo Casals, Mstislav Rostropovich, and Yo-Yo Ma, Bathgate found creative liberation in the pieces’ lack of prescribed dynamics—rediscovering and recalibrating this repertoire. Bach Unwound came from a threeyear collaboration with Sleeping Giant—a six-composer Brooklyn collective that includes Timo Andres (who performed at Purdue with Philip Glass in 2016). Expressing both Bach’s genius and their own compositional response, each member of Sleeping Giant created one movement in Bach Unwound loosely based on corresponding movements in Bach’s originals, works that together create a comprehensive and coherent whole. Hailed by The New York Times as “an eloquent new music interpreter,” Bathgate creates a dynamic energy exchange with her audiences and builds upon that chemistry for a singular, organic performance. Her vibrant sound and technique transport the cello into uncharted sonic territory—recognizably human but thrillingly new, employing “bittersweet lyricism along with ferocious chops” (New York Magazine). She is also as comfortable with rock ‘n’ roll as chamber ensembles, having worked with Questlove and members of the Arcade Fire, the National, and Sonic Youth. Uniting past and present at a nexus of experimentation and interpretation, Bach Unwound radically reimagines the familiar and reminds us of the power of transformation.

FROM Saratoga Springs, New York

DID YOU KNOW? Bathgate premiered Bach Unwound in January 2016.

COLLABORATORS Kate Moore, Bang on a Can All-Stars, Steve Reich, Ornette Coleman, Glenn Kotche (Wilco), Lee Ranaldo (Sonic Youth), DJ Spooky


“ONE OF THE BEST JAZZ ORCHESTRAS IN EXISTENCE, A POWERHOUSE OUTFIT WHOSE PRECISE SECTION WORK IS ENHANCED BY THRILLING SOLOISTS.” —The New Yorker

ARTURO O’FARRILL

AND THE AFRO LATIN JAZZ ORCHESTRA PURDUE JAZZ FESTIVAL JANUARY 20 / 8PM FRI / LOEB PLAYHOUSE TICKETS: $24-34 PICK5/GROUP SALE: $21-30

32 LEARN MORE AT CONVOCATIONS.ORG

With ideological and economic isolation implemented amid the Cold War, Cuba has often seemed farther than 90 miles from the U.S. But Cuban culture flourished stateside nevertheless, especially in its influence on American jazz. Cubop began when conga legend Chano Pozo joined Dizzy Gillespie onstage in 1947, and proliferated through Cuban expats like Machito, Celia Cruz, and bandleader Chico O’Farrill. A Birdland regular with his Afro-Cuban Jazz Orchestra, Chico’s 1950 “Afro-Cuban Jazz Suite” (featuring Charlie “Bird” Parker) became a standard of the Cubop sound. After Fidel Castro rose to power in 1959, Chico never returned to Cuba. Although Chico died in 2001, his spirit and sound live on thanks to his son, pianist and composer Arturo O’Farrill. A longtime soloist for Gillespie, Wynton Marsalis, and Harry Belafonte, Arturo has led the ensemble (rechristened the Afro Latin Jazz Orchestra) since 1995, performing worldwide and earning two Grammy® awards. Arturo also directs jazz studies at Brooklyn College and heads the nonprofit Afro Latin Jazz Alliance to promote Latin Jazz. In 2014, O’Farrill and his orchestra were in Havana, Cuba, to record when news broke of plans to normalize U.S.-Cuban relations. Uniting composers from both countries, O’Farrill’s Grammy®-nominated album Cuba: The Conversation Continues offers a buoyant, multicultural carnival that hops borders and genres. The heat of “The Triumphant Journey” celebrates the newly thawed tension, “Vaca Frita” bounces saxophone solos off turntable scratches, “Afro Latin Jazz Suite” complements Chico’s seminal composition, and the remainder runs a gamut of guajira, post-bop, salsa, highlife, progressive jazz, cha cha, Yoruban folk, changüí, and funk. Though deferred nearly a century, Arturo O’Farrill and the Afro Latin Jazz Orchestra are helping fulfill Dizzy’s, and Chico’s, dream of creating “universal music.”


FEATURES

JANET & JOHN NINE STEINWAY

FROM New York, New York

DID YOU KNOW? Cuba: The Conversation Continues was recorded in Havana only days before the normalization of relations between Cuba and the United States. Arturo O’Farrill’s father, Chico, arranged several songs on Black Tie, White Noise—David Bowie’s 1993 album.

SUPPORT FROM:


34 LEARN MORE AT CONVOCATIONS.ORG


PURDUE CONVOCATIONS AND

THE LONG CENTER THEATRE ORGAN SOCIETY PRESENT

SAFETY LAST! HAROLD LLOYD

STARRING DIRECTED BY FRED C. NEWMEYER AND SAM TAYLOR FEATURING CLARK WILSON AT THE LONG CENTER THEATRE ORGAN

FRI, JANUARY 27 / 8PM LONG CENTER FOR THE PERFORMING ARTS TICKETS: $12-18 PICK5/GROUP SALE: $10-16 ALL AGES. GENERAL ADMISSION SEATING. CASH BAR AVAILABLE. PRE-SHOW / 6:30PM / LONG CENTER

Suzanne Lloyd, grandaughter of Harold Lloyd, will discuss the filmmaker and the film.

Silent film icon Harold Lloyd used physical humor to create awe-inspiring spectacles—truly treacherous feats of derringdo for him and his stuntmen that left audiences gasping in nervous delight. But Lloyd also understood the perils of unrealized potential and the

deadliness in disappointing loved ones who so deeply believe in you. So goes the winningly romantic conceit of his 1923 classic Safety Last!, which will be screened at the Long Center for the Performing Arts with live accompaniment from theatre-organist extraordinaire Clark Wilson on the center’s ornate Mighty Wurlitzer organ. In the film, Lloyd plays a lowly department store clerk trying to make a splash in the big city and impress his girlfriend back home. His solution? A deathdefying stunt to draw huge crowds to the store, for which his boss promises to pay a $1,000 bonus. The catch? He’ll have to perform the dangerous stunt himself. The scheme culminates in one of cinema’s most indelible images—Lloyd hanging from the hands of a clock high above the streets of Los Angeles. Featured on the National Film Registry of the Library of Congress, Safety Last! is an indispensable treasure of the silent-film era and motion picture history. Don’t miss your chance to see this equally hilarious and thrilling marvel of movie magic as it should be seen—on a big screen, accompanied by one of the finest performers on one of the finest theatre organs in the Midwest!

FROM Burchard, Nebraska (Harold Lloyd)

DID YOU KNOW? Harold Lloyd made nearly 200 comedy films– silent and “talkies.”

SUPPORT FROM:


“THE GROUP HELD THE AUDIENCE… SPELLBOUND WITH ITS ARTISTRY. …IN MATTERS OF PITCH, DICTION AND MUSICAL SHAPING, I’VE NEVER HEARD FINER ENSEMBLE SINGING.” —The Washington Post

36 LEARN MORE AT CONVOCATIONS.ORG


CALMUS ALL THE WORLD’S A STAGE: SHAKESPEARE A CAPPELLA JANUARY 31 / 7:30PM / TUES

ST. THOMAS AQUINAS TICKETS: $22-28 PICK5/GROUP SALE: $19-24

FULL PROGRAM AVAILABLE ONLINE

If music be the food of love, play on. Duke Orsino’s plea in William Shakespeare’s Twelfth Night has also inspired All the World’s a Stage: Shakespeare A Cappella—the latest playfully imaginative program from Calmus, one of Germany’s most successful vocal groups. With arrangements spanning the Baroque era to the 20th century, Calmus pairs its perfect blend of precision, lightness, and wit to the Bard’s mellifluous monologues, sweet sonnets, and dramatic declarations. Selections have been inspired by Twelfth Night, A Midsummer Night’s Dream, Cymbeline, Othello, and The Tempest and interpreted by such legendary composers as Henry Purcell, Ralph Vaughan Williams, John Taverner and Jaakko Mäntyjärvi. Calmus returns to Purdue and the reverberant warmth of the St. Thomas Aquinas Catholic Center following its 2010 performance as winners of the Concert Artist Guild International competition. Formed in 1999 by five former members of Leipzig’s St. Thomas Boys Choir, Calmus added a female soprano in 2001, broadening its sonic color and musical range. Hailing from Bach’s home, Calmus is a natural fit for Baroque music, as well as that of the Renaissance and Romantic eras. But this ECHO Klassik awardwinning group also passionately promotes music of the modern era—from chansons and songbook standards to contemporary commissioned pieces. This open-arms repertoire has thrilled listeners across Europe, South America, and North America— including an acclaimed performance at Carnegie Hall. Join us for this evening of vocal music that will surely come o’er your ear like a sweet sound.

FROM Leipzig, Germany

DID YOU KNOW? Calmus revels in singing pop, folk, and jazz, as well as chansons and golden oldies from the 1920s.

SIMILAR ARTISTS Chanticleer, The King’s Singers, Cantus


+ FRIENDS

SHIMON ROBOT

38 LEARN MORE AT CONVOCATIONS.ORG


2016-2017 Innovator-In-Residence PURDUE CONVOCATIONS, COLLEGE OF SCIENCE, INDIANA SPACE GRANT CONSORTIUM, COLLEGE OF ENGINEERING, COLLEGE OF LIBERAL ARTS, PURDUE POLYTECHNIC INSTITUTE WITH

FLORA ROBERTS BEQUEST PRESENT

SHIMON ROBOT AND FRIENDS

MUSICAL ROBOTS AND CYBORGS FROM ROOM 100

FEBRUARY 18 / 8PM

SAT / LOEB PLAYHOUSE ADMISSION FREE NO TICKET REQUIRED ALL AGES

PRE-SHOW DISCUSSION 7PM / STEW 214

Faculty experts will discuss the human and technological issues of robotics and artificial intelligence.

The topic of improvisation immediately calls to mind the powerful and singular vision of many great artists. Thelonius Monk’s angular chords and spacious riffs, John Coltrane’s flurried “sheets of sound,” or Joshua Bell’s powerfully melodic cadenzas are ready examples. Regardless of the genre, an improviser uses the ability to simultaneously listen, create, and respond inside an agreed-upon aesthetic. Like any musician, marimba artist Shimon Robot also taps into this world with remarkable self-expression, and creates inspiring interactions with fellow bandmates. But unlike any other, Shimon is, indeed, a robot—investigating jazz using artificial intelligence, creativity algorithms, four arms, and emotive, tai chi-inspired movement. In Musical Robots and Cyborgs from Room 100, Shimon Robot and Friends present original compositions influenced by jazz and hip-hop. Building off ideas and collaborating equally, Shimon listens to bandmates live onstage—such as Gil Weinberg, Shimon’s creator and founding director of the Georgia Tech Center for Music Technology, and Jason “the Cyborg Drummer” Barnes, who lost his right hand but performs using a prosthesis powered by muscular electricity. Joining them will be local musicians, as well as Shimi robots—ersatz backup dancers bobbing “heads” and tapping “toes” in time to the music. Shimon Robot and Friends have been featured in TED Talks, on Mashable, The Colbert Report, and TODAY, and at the Kennedy Center for the Performing Arts. Building off of our investigation of human-machine interaction from 2015’s performance with Huang Yi & KUKA, the question now turns to the nature of the intelligence involved in improvisation. Shimon means “to hear or be heard.” Is that not the essence of the music-making impulse, whether flesh and blood or zeroes and ones?

POST-SHOW DISCUSSION

after the performance with our visiting researchers.

FROM Atlanta, Georgia

DID YOU KNOW? Jason Barnes, “the cyborg drummer,” uses an electromechanical device that utilizes electromyography (EMG) sensors attached to his arm to recreate bounce capability based on his muscle flexes.


PICK5 ANDSAVE!

DID YOU KNOW THAT IF YOU BUY FIVE SHOWS OR MORE, YOU SAVE AN AVERAGE OF 15% OFF SINGLE-TICKET PRICES? EXPERIENCE THE FLEXIBILITY OF DESIGNING YOUR OWN PACKAGE!

CONSIDER CREATING YOUR OWN

BROADWAY AT PURDUE PACKAGE! Rent

Mamma Mia! Pippin Taj Express

2 ways to save

Dirty Dancing

Photo credit: Chris Costidakis

• • •

group and orient them to the facility and to key information about the performance Bus drop-off and pick-up access (as well as parking!) Planning packet with local attractions, restaurants, and parking information Promotional material and/or background information to assist you in publicizing the event to your group

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

• Contact the Purdue box office

• •

at (765) 494-3933 for ticket reservation and payment information. Group orders require a 10% nonrefundable deposit, and final payment is due four weeks before the performance. You will receive one complimentary ticket per 10 or 20 tickets purchased. Tickets may be purchased via cash, MasterCard, Visa, Discover, or check made payable to Purdue University. No refunds or exchanges are given once tickets are purchased.

QUESTIONS? Group Sales Manager / (765) 494-3933 / convocations.org/group-sales 40 LEARN MORE AT CONVOCATIONS.ORG

Save $38!

GROUP TICKET POLICIES

• Step-on guide to greet your bus Les Violons du Roy with Alexandre Tharaud, pg. 60

of all kinds and sizes 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. (Qualifying performances vary. Call for details.)

PICK5 You Save $49 $8 $49 $8 $49 $8 $32 $6 $49 $8

(Example based on Zone A prices)

GROUP BENEFITS AVAILABLE UPON REQUEST:

GROUPS

Regular $57 $57 $57 $38 $57


BUYING SCHEDULE JUNE 17-JULY 1:

FRIENDS OF CONVOCATIONS PRESALE

Friends of Convocations are seated before the general public using the Priority Points System. Orders must be received by JULY 1, 2016, for both PICK5 and single tickets. NOT A FRIEND OF CONVOCATIONS? Donations of $50 or more qualify for priority seating and other perks, and provide crucial support for performances, education, outreach, and special programs. Add a gift with your ticket order or visit convocations.org/donate to join today! FRIENDS PRESALE ORDER OPTIONS: PHONE: (765) 494-3933 ONLINE: convocations.org/tickets ORDER FORM: See page 44 and return to the Stewart Center Box Office at 128 Memorial Mall Drive, West Lafayette, IN.

JULY 25-29: PICK5 PRESALE

Buy early, get the best seats, and save money with a PICK5 order! 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: See page 44 and return to the Stewart Center Box Office at 128 Memorial Mall Drive, West Lafayette, IN.

Inon Barnatan, pg. 28

HOW TO BUY ONLINE

Order without fees online at convocations.org/tickets

IN PERSON

CAMPUS BOX OFFICES

AUGUST 1 AT 10AM:

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.

If you’re not a Friend of Convocations or a PICK5 buyer, you can place your single-ticket order beginning on August 1 at 10 am.

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

ALL TICKETS ON SALE

SINGLE-TICKET ORDER OPTIONS: PHONE: (765) 494-3933 ONLINE: convocations.org/tickets ORDER FORM: See page 44 and return to the Stewart Center Box Office at 128 Memorial Mall Drive, West Lafayette, IN.

PHONE:

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

BOX OFFICE: (800) 914-SHOW / 494-3933

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DO YOU REMEMBER THE FIRST PERFORMANCE YOU ATTENDED? WHAT “STUCK” FOR YOU AND MADE CONVOS A PART OF YOUR LIFE FOR GOOD? The first performance I went to was Joseph and the Amazing Technicolor Dreamcoat. It was truly an “amazing” production and the first time I’d seen a Broadway musical live. But the best part is I took my then 6-year-old daughter and she was wowed! She is now 26 and that production, as well as many others Convos has presented, helped to foster a passion for musicals and theater in her! We went again when it was performed recently and loved it! Only this time she got all the jokes!

WHY I BELONG

LINDA EALES FRIEND SINCE 1997

FRIENDS SINCE 2007

HOW LONG HAVE YOU BEEN A FRIEND OF CONVOS AND/OR HOW LONG HAVE YOU BEEN GOING TO CONVOS EVENTS? We have lived in town for 15 years, and we’ve been attending shows and supporting Convos as long as we can remember.

42 LEARN MORE AT CONVOCATIONS.ORG

HAVE YOU EVER CRIED AT A PERFORMANCE? I have cried at so many performances, I can’t count them. I have a friend who makes fun of me when I cry, but she is a hard-hearted Hannah in my opinion!

A group of us attend the Party of the Season (well named, by the way!) and afterward we retire to “the Porch” to pick out what we want to see that year.

There are too many memorable performances to think of just one. We enjoy a wide variety of things…Broadway, chamber music, theatre.

SURESH & KAY RAO

Convos is one of the first things I tell anyone about who is thinking about moving to West Lafayette. To me, it is one of the things that makes living here great!

DO YOU OFTEN BRING FRIENDS AND GROUPS TO THE PERFORMANCES?

DO YOU REMEMBER THE FIRST PERFORMANCE YOU ATTENDED?

WHY I BELONG

CAN YOU EXPLAIN THE EMOTIONAL CONNECTION YOU HAVE TO CONVOS?

DO YOU OFTEN BRING FRIENDS AND GROUPS TO THE PERFORMANCES? Yes, we do bring students or colleagues who are visiting from out of town, as well as colleagues here in town. Sometimes we purchase tickets and invite them to join us, and sometimes they already have tickets so we meet at the theater.

WHAT MIGHT YOU TELL OTHERS ABOUT THE FRIENDS? It’s their social obligation if they can afford it! (laughs) People make different choices. We’ve redirected some of our giving to be more selective, and we’re giving to fewer areas but more focused on our priorities. We support Convos, NPR and other areas because otherwise they disappear, and then you’re sorry!

HOW DO OUR PROGRAMS COMPARE TO THOSE IN BIGGER CITIES/OTHER ORGANIZATIONS? When you compare worldwide travel to seeing it here, it’s a no-brainer. The diversity is really important to us…international vs. domestic shows. I know you need both, and I don’t know what the best ratio is, but we definitely want to see more performances coming from overseas. But seeing it here really is a no-brainer since we don’t live in New York to see Broadway shows all the time.

HAVE YOU ATTENDED ANY FRIENDS EVENTS OR OTHER CONVOS EVENTS? We’ve never taken advantage of invitations to go backstage or gone to other special things because we just don’t have much time to hang out. We are so glad you do those things, though, because it’s important for people to meet the artists—especially students because they need good mentors. The work you do to connect the performances to local schools and students is tremendous. It’s really impressive.

IS THERE ANYTHING ELSE YOU’D LIKE TO ADD? The bottom line is that this community deserves [Convos]. And we in turn need to support you. Without it, it would be pretty empty.


OBJECTIVE

OBJECTIVES INCLUDE

Looking toward the future, our

organization aims to provide even more expansive service to the curriculum of Purdue and local area schools, to increase its offerings of impressive performances that provide artistic and intrinsic value to our audiences, and to develop highly innovative and collaborative projects at Purdue that are far-reaching and deeply impactful. As a participant in Ever True: The Campaign for Purdue University, Convocations has identified its own unique fundraising objectives to support the elevation and expansion of our important work. Every gift to the Friends of Convocations through June 30, 2019 will make a meaningful difference and help us meet our campaign goal of $3.5 million. One-time gifts, multi-year pledges, and deferred gifts are all significant ways to provide support and gain great benefits in return.

IMAGINE THE POSSIBILITIES!

Your engagement directly impacts our success. Visit convocations.org/EverTrue for more information about our needs and a full list of giving opportunities or call the Director of Development at (765) 494-9712.

OBJECTIVE

Since 1902, Purdue Convocations has offered powerful and important performing arts experiences in your community.

VISION: Create transformative learning experiences for students at Purdue and in the preschool-to-grade-12 systems. Through powerful curricular and co-curricular engagement, students have the opportunity to discover, expand, synthesize, and apply knowledge within and across disciplines, with respect to cultural, societal, and global issues.

2 ENERGIZE THE COMMUNITY

VISION: Present a compelling, world-class, globally informed, and immensely rich platform of performances, discourse, and experiences that honor artistry and accomplishments of the highest order, celebrate exceptional traditions and new explorations, and pursue innovative thought and the expansion of creative possibilities. As a cultural nexus for the Purdue, Greater Lafayette, and Indiana community, we must serve as a vital cultural destination by maintaining and expanding inclusiveness, accessibility, and affordability. OBJECTIVE

ARTS ELEVATED CULTURE AMPLIFIED IDEAS REALIZED

1 CATALYZE THE CURRICULUM

3 DISTINGUISH THE INSTITUTION

VISION: Define Purdue University as a place where dynamic, inventive performing arts and discourse curation plays a leadership role in the institution’s comprehensive identity, service, and learning environment. We must create national and international recognition of Purdue Convocations’ robust integrative approach, investment in and presentation of new and important creative works, and development of its curatorial strength through high-visibility relationships, collaborations, initiatives, and training.

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THE SELDOMS POWER GOES

“Power is where power goes.” These five words were an ethos for

FEBRUARY 23 / 7:30PM

THURS / LOEB PLAYHOUSE TICKETS: $22-30 PICK5/GROUP SALE: $19-26

PRE-SHOW / 6:30PM PMU LAFAYETTE ROOM (2ND FLOOR) Northwestern University Professor Michael J. Kramer, Ph.D. will discuss the history of the Seldoms dance company and the Power Goes project.

POST-SHOW DISCUSSION

In Loeb Playhouse with Professor Kramer and the Seldoms dance company immediately following the performance.

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Lyndon B. Johnson—one of America’s most contentious presidents but also a champion of progressive change for the public good. Those five words are also a springboard for Power Goes, a dynamic project from Chicago-based dance company the Seldoms that explores power within LBJ’s presidency and among those he governed. Dance theatre and LBJ seem like strange bedfellows until considering how LBJ maneuvered his towering physique to gain or wield power—cajoling and controlling through firm clasps and comforting touches. (Incidentally, LBJ also loved to dance.) Combining precision, humor, and athleticism, Power Goes showcases physical expressions of power by activists, soldiers, politicians, and the proletariat, augmented by spoken word, soundscapes, and visual installations. Founded in 2001, the Seldoms create “intelligent, visually rich dance theatre driven by inquiry”—a natural fit for inspiration from America’s transformative Civil Rights Movement, the nation’s escalating involvement in Vietnam, LBJ’s Great Society legislation, and LBJ’s legacy in today’s sociopolitical arena. In naming choreographer Carrie Hanson its 2015 “Chicagoan of the Year in Dance,” the Chicago Tribune praised her “hard-hitting looks at charged issues from as many perspectives as possible … (creating) some of the liveliest, most entertaining dance theater around.” Power Goes is no exception, combining the Great Society and great moves to examine timeless issues—power’s tremendous benefits and tragic costs, how power relations play out in backrooms and backyards, and how politics itself FOR PERFORM constitutes a performance of ideology, physicality, and choreography.

“BODIESON THEGEARS” WORKSHOP

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Power Goes is not only a performance but also a platform for thought and discussion. Each engagement includes a “Bodies on the Gears” workshop that invites students and community participants to explore questions raised by the piece, including issues of power, politics, negotiation, conflict, cooperation, justice, civil rights, and social change. The workshop draws inspiration from New P O W E R G O E S Left icon Mario Savio’s call to put one’s body on the gears of the “machine” of power in protest against injustice and dehumanization. It uses dance and movement as avenues into both the history and continued relevance of how bodies assemble, move, resist, protest, change, and struggle. The workshop culminates in the onstage inclusion of workshop participants and the material they have created in a section of Power Goes.

INTERESTED? Participants can signup for the workshop through convocations.org/PowerGoes SUPPORT FROM:

The presentation of The Seldoms was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts.

FROM Chicago, Illinois

DID YOU KNOW? Artistic director Carrie Hanson has tackled environmental issues in Monument (2006), economic crises with Stupormarket (2011), and environmental debates in Exit Disclaimer (2012).


- Chicago Tribune


HOW TO GET POWER By Michael J. Kramer

WHAT I BELIEVE IS ALWAYS TRUE ABOUT POWER IS THAT POWER ALWAYS REVEALS. —Robert Caro, Lyndon Baines Johnson biographer

Lyndon Baines Johnson was an imposing man. Six foot three, with a lust for domination and control that was legendary, he rose from the destitute but beautiful Hill Country region of Texas to Senate Majority Leader in 1955, to the vice presidency in 1960, and, finally, upon the assassination of John F. Kennedy in 1963, to the presidency. Johnson’s career was tainted by controversy, questionable ethics, and backroom deals that epitomized the worst of insider Washington politics and corruption. Nonetheless, when he took office, Johnson also oversaw the passage and implementation of transformative civil rights legislation and social welfare initiatives with his Great Society programs. A man obsessed with accruing individual power, he sought to wield it in service of the collective good.

JOHNSON’S LARGER-THAN-LIFE PERSONA AND THE SWIRLING TUMULT OF THE 1960S SERVE AS THE STARTING POINT FOR THE SELDOMS’ POWER GOES. 48 LEARN MORE AT CONVOCATIONS.ORG

This multimedia dance work is not merely a biographical study of LBJ, however. It uses Johnson to explore the concept of power and social change in American life from a much wider angle. It may seem unlikely to use dance to consider this issue, but the ways in which power and social change relate to the body, how physical movements parallel social movements, and the subtle and not-so-subtle effects of motion, stance, positioning, space, duration, performance, and interaction on public life—they all reveal dance to be one of the best forms for addressing this topic. LBJ’s political prowess and ability to make change was itself linked to his physical presence. He famously employed the “Johnson Treatment,” leaning into other politicians when seeking to intimidate, control, or cajole them. He also knew how to stay still; according to his celebrated biographer, Robert Caro, when LBJ first came to Washington, he often sat silently in the chambers of Congress for long periods of time, taking in legislative protocols and rules.

HE WAS A MASTER OF THE TACTILE IN ALL ITS DIMENSIONS, WHETHER IN THE CLOAKROOMS OF INSIDER POLITICS OR ON THE CAMPAIGN TRAIL. INCIDENTALLY, HE ALSO LOVED TO DANCE.


Johnson was not the only one interested in power during his presidency. He was pushed to action by grassroots struggles, by civil rights freedom fighters, and others (the question of who deserves credit for the political breakthroughs of the 1960s remains contested, as demonstrated by the controversies over representations of Johnson in the film Selma). LBJ’s success in getting Congress to adopt his policies also helped to power the rise of the New Right, with its reactionary conservatism often rooted in a visceral loathing of Johnson’s Great Society programs. Far more tragically, LBJ chose to escalate American involvement in the Vietnam War, a trauma so damaging to his reputation that he did not run for reelection in 1968 even though he won his 1964 presidency by a landslide. As Caro contends, Johnson’s story sheds light on broader questions of power. “I don’t think of my books as being biographies,” Caro explained in a 2012 interview. “My interest is in power. How power works.” It is this larger issue of power and how it works that pulsates through Power Goes. Choreographer Carrie Hanson’s reading of Caro’s LBJ biography during 2012, an election year that saw Americans frustrated by what felt like the partisanship and stalemate of national politics in the United States, inspired the questions in Power Goes: How is power wielded for social change—or for the blockage of substantive social transformation? What is power, exactly, and how does it course through our culture, our institutions, our interactions, our belongings, our very bodies? At the center of Power Goes is movement. In some sections, Hanson’s dancers work against each other in duets and group pieces of opposition, manipulation, and conflict. In others, they organize into a cooperative

assembly, marching in solidarity. Often, as in life, the dance mixes the two: contentiousness and concord mingle, with issues of control, intransigence, and change at stake. In all cases, the body—both individually and collectively, as a social entity—is the essential medium in Power Goes. Probing the relationship of power to persistence, hindrance, impasse, stamina, alteration, surprise, and transformation with dance allows the Seldoms to access levels of information and meaning that language cannot reach. “Put your body on the line!” That is what protesters insisted had to be done to oppose or change the policies of public figures like LBJ during the 1960s. Power Goes asks us to think about how embodiment mattered then, and continues to matter, to the workings of power. Looking back to the past to try to make sense of the present, the Seldoms put themselves on the line. They dance where history, giving us the Johnson Treatment, looms over our own time. Michael J. Kramer is a historian, writer, critic, teacher, dramaturg, and editor. He is the author of The Republic of Rock: Music and Citizenship in the Sixties Counterculture (Oxford University Press, 2013) and is at work on a multimedia project and book about the folk music revival and technology, as well as a set of essays about intellectuals and the counterculture. He teaches history, American studies, civic engagement, and digital humanities at Northwestern University, where he is the co-founder of NUDHL, the Northwestern University Digital Humanities Laboratory. He blogs about digital topics at Issues in Digital History. He has served as dramaturg for The Seldoms and is involved with Dancing on the Third Coast: The Chicago Dance History Project. He has written for numerous publications and blogs about art, history, politics, and more at Culture Rover.

Professor Michael J. Kramer will lead a pre- and post-show discussion for the Seldoms’ production of Power Goes. (See pp. 46-47)

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49


FAREWELL TOUR

MAMMA MIA! 10TH ANNIVERSARY TOUR FEBRUARY 24 / 8PM

FRI / ELLIOTT HALL OF MUSIC TICKETS: $26-57 PICK5/GROUP SALE: $26-49

SUPPORT FROM:

Mamma Mia! is the ultimate feel-good show that has audiences coming back again and again to relive the thrill. On this 10th anniversary tour, it’s your turn to have the time of your life at this smash-hit musical that combines ABBA’S greatest hits, including “Dancing Queen,” “S.O.S.,” “Super Trouper,” “Take a Chance on Me,” and “The Winner Takes it All,” with an enchanting tale of love, laughter, and friendship. Whether it’s your first visit or your fourteenth, see the show that has the whole world coming back for more, because every time feels like the first time at Mamma Mia!

FIRST PERFORMANCE Prince Edward Theatre, West End, London, United Kingdom

DID YOU KNOW? Mamma Mia! has been seen by 60 million people worldwide in 49 productions in 16 different languages.

SIMILAR MUSICALS Dirty Dancing, Grease, Flashdance, Footloose, Hairspray


So I sat on the floor of my apartment listening to ABBA late into the night. I may have driven my neighbours to despair, but as time passed I became more and more certain of my idea. In 1995, my tenacity finally paid off. Björn said, “If you can find the right writer and story, well, let’s see what happens.” A year later, I was on location with a film I was producing when the director mentioned Catherine Johnson. I was aware of her work as a playwright and, even better, I knew her agent. We met in January 1997 and soon I was confidently telling Björn that we had found our writer and that my co-producer, Richard East, and I had commissioned her to write the story. My brief to Catherine was that no lyrics could change, the story should be a contemporary, ironic, romantic comedy, and that if she listened carefully to ABBA’s songs, she’d notice how they fell into two different generations: the slightly younger, playful songs like “Honey, Honey” and “Dancing Queen,” and the more mature, emotional songs such as “The Winner Takes It All” and “Knowing Me, Knowing You”...and so the idea of a crossgenerational love story was devised.

Mamma Mia!’s creator, Judy Craymer, tells how this magnificent record-breaking musical first triumphed in London and then conquered the world...

of all time. But it was another of their songs, “The Winner Takes It All,” that first suggested to me the potential of an original musical using Benny and Björn’s classic compositions. The lyrics revealed a roller-coaster story of love and loss that struck me as extraordinarily theatrical, but how was I to bring this to life?

As Creative Producer of Mamma Mia!, my job started long before any script First I had to approach Benny and Björn, had been written. The story begins who were understandably a little unsure more than 25 years ago when I first met of my intentions. I explained that the Björn Ulvaeus and Benny Andersson, project I had in mind would focus on a the songwriting geniuses behind ABBA. I new and exciting story; it wouldn’t be a was working for Sir Tim Rice at the time, tribute show, or the “ABBA Story,” but who was collaboratingMammaMiaOnTour.com with Benny and a truly original “book” musical. They Björn on his musical Chess, and I was weren’t 100% convinced at the time, but immediately smitten. After all, these they didn’t absolutely close the door, so I were the men who had written “Dancing took hope. Queen,” one of the greatest pop songs

FAREWELL TOUR

It was unusual, if not unheard of, for three women to be the collaborative creative force behind what was to become such a commercial success. From a personal point of view, I think it readdressed the balance and had a great nurturing effect on the production. We were all happy to jump in and make the tea. Appropriately, Mamma Mia! features three strong women in the story. © LITTLESTAR

A TRULY ORIGINAL MUSICAL

By the end of that year, Catherine had finished the first draft of Mamma Mia!’s script, and I persuaded Phyllida Lloyd to come on board as our director. Her background was serious, legit theatre and opera, and her secret weapon was her “dry martini wit.” We discovered we all shared the same birth year and soon firmly bonded.

READ MORE AT

CONVOCATIONS.ORG/MAMMAMIA TM

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51


FEATURES

JANET & JOHN NINE STEINWAY

ST.

PETERSBURG PHILHARMONIC ORCHESTRA

THE ST. PETERSBURG PHILHARMONIC ORCHESTRA IS RUSSIA’S LONGEST-RUNNING ORCHESTRA AND A GLOBAL AMBASSADOR FOR ITS RICH TAPESTRY OF SYMPHONIC TREASURES.

52 LEARN MORE AT CONVOCATIONS.ORG


THE ST. PETERSBURG PHILHARMONIC ORCHESTRA SPILLED FORTH MUSIC IN THE PUREST FORM POSSIBLE—STRAIGHT FROM EACH SCORE’S SOUL AND INTO THE HEARTS OF LISTENERS.”

Lugansky

MARCH 2 / 7:30PM THURS / ELLIOTT HALL TICKETS: $20-46 PICK5/GROUP SALE: $17-39 YURI TEMIRKANOV

Music Director & Principal Conductor

NIKOLAI ALEXEEV Conductor

NIKOLAI LUGANSKY Piano

PRE-SHOW / 6:30PM LOCATION TBD

Nick Palmer, Music Director and Conductor of the Lafayette Symphony Orchestra, will discuss the evening’s program.

FROM St. Petersburg, Russia

–The Washington Post

Alexeev

The St. Petersburg Philharmonic Orchestra is Russia’s longestrunning orchestra and a global ambassador for its rich tapestry of symphonic treasures. Originally commissioned as a private ensemble in 1882 by Alexander III, the St. Petersburg Philharmonic Orchestra has flourished into a showcase for such esteemed Russian soloists as Sergei Prokofiev, a haven for fiery conductors like Richard Strauss, and the preferred performers of world premieres from such legendary composers as Pyotr Ilyich Tchaikovsky and Dmitri Shostakovich. After its towering debut performance here in 2013, the orchestra makes its return to Purdue. Joining the orchestra onstage for this electrifying evening is Nikolai Lugansky, who has been among Russia’s most preeminent pianists for nearly 30 years. Lugansky is a three-time winner of Germany’s ECHO Klassik Award and, in 2013, earned a People’s Artist of Russia award. Lugansky will perform Johannes Brahms’ Piano Concerto No. 1, one of Brahms’ most beloved and one in which soloist and orchestra stand as equals in the music’s thematic development. The program will also feature Shostakovich’s Symphony No. 5 in D Minor, a 1937 work of stunning complexity and beauty in which the composer attempted to reconcile personal and political crises following his first denunciation.

DID YOU KNOW? Initially known as the “Imperial Music Choir,” this Russian cultural treasure made its Purdue debut on February 21, 2013 in Elliott Hall of Music.

SUPPORT FROM:


A kaleidoscopic, high-energy fusion of film, dance, and music, Taj Express brings the colorful costumes and boisterous beats of Bollywood to life before your eyes. MARCH 22 / 7:30PM

WED / ELLIOTT HALL OF MUSIC TICKETS: $22-38 PICK5/GROUP SALE: $19-32 PRE-SHOW / 6:30PM / LOCATION TBD A member of the artistic staff will discuss the evening’s performance and the Bollywood movie and dance tradition.

“ RIOTOUS. EXOTIC. GRACEFUL.” — The Times of India

Having entertained billions worldwide for decades, India’s Bollywood film industry is among the most prolific and profitable production hubs of global cinema. The dazzling sights and sounds of Taj Express take you on a live cinematic journey of India—evoking Bollywood’s rollicking, contemporary energy while respectfully representing centuries of Indian culture. Having earned enthusiastic praise from such Bollywood icons as Salman Khan, Abhishek Bachchan, Rani Mukerji, and Katrina Kaif, Taj Express is the brainchild of sisters Vaibhavi and Shruti Merchant—whose grandfather is considered a founding father of Bollywood. From the Oscar-nominated Lagaan to the box-office blockbuster Dhoom 3, the sisters’ choreography has captivated audiences for several generations. In this internationally

FROM Mumbai, India

DID YOU KNOW? In 2011, Bollywood films outsold Hollywood, racking up $3.5 billion in global ticket sales.

acclaimed stage production, they weave an intoxicating tale of Varsha, an Indian journalist living in Europe. After traveling home to write a story about Bollywood and discover “The Greatest Indian Love Story Ever Told,” Varsha is swept up in a glittery, joyful musical extravaganza all of her own. Taj Express is loaded with action, romance, comedy, a royal wedding Bollywood-style, and larger-than-life dance numbers set to India’s latest pop hits and its folk-music classics. When you hop aboard the Taj Express, you’ll embark on an exotic adventure that will have your feet moving, your hands clapping, and your heart soaring.

SIMILAR WORKS The Darjeeling Limited, Charulata (The Lonely Wife), Qurbani, Kabhie Kabhie, Hare Rama Hare Krishna


MARCH 29 / 7:30PM

WED / ELLIOTT HALL OF MUSIC TICKETS: $26-57 PICK5/GROUP SALE: $26-49

In 1996, an original rock musical by a little-known composer opened on Broadway…and forever changed the landscape of American theatre.

Two decades later, Jonathan Larson’s Rent continues to speak loudly and defiantly to audiences across generations and all over the world. And now, this Pulitzer Prize and Tony Award®-winning masterpiece returns to the stage in a vibrant 20th-anniversary touring production. A re-imagining of Puccini’s La Bohème, RENT follows an unforgettable year in the lives of seven artists struggling to follow their dreams without selling out. With its inspiring message of joy and hope in the face of fear, this timeless celebration of friendship and creativity reminds us to measure our lives with the only thing that truly matters—love.

SUPPORT FROM:

FIRST PERFORMANCE April 29, 1996, Nederlander Theatre, New York, New York

DID YOU KNOW? Rent is loosely based on Giacomo Puccini’s opera La Bohème and was first seen off-Broadway at the New York Theatre Workshop in 1993.

SIMILAR MUSICALS Hair, Hedwig and the Angry Inch, Spring Awakening, Rock of Ages, American Idiot


ry Rock

BOX OFFICE: (800) 914-SHOW / 494-3933

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T E N T HI Rewriting centuries’ worth of rules in brass repertoire seems a revolutionary undertaking. But the boundless and boisterous

tenThing MARCH 30 / 7:30PM

THURS / LOEB PLAYHOUSE TICKETS: $22-28 PICK5/GROUP SALE: $19-24

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stylistic explorations of tenThing, coupled with impeccable tone, technique, and versatility, have transformed this all-female Norwegian brass ensemble into an international sensation. The ensemble takes its name from its erstwhile leader, Norwegian trumpet virtuoso Tine Thing Helseth (pronounced TEE-na Ting HEL-set), whom the BBC dubbed a “Superstar of Tomorrow.” In forming the ensemble with four friends in 2007, Helseth rounded up six more of the finest brass players in Norway. tenThing has delighted its native audience with an opening number at the 2011 Norwegian Grammy® Awards, enjoyed international festival plays in Germany, China, and Italy, and contributed a enthusiastically acclaimed performance to the BBC Chamber Proms series. On its endearingly eclectic album 10, tenThing blends original works from Dutch composer Jan Koetsier with transcriptions of traditional works for piano, guitar, and orchestra— the pomp of Georges Bizet, the pluck of Ástor Piazzolla, and the playfulness of Kurt Weill. And yet for all the force tenThing brings to tearing down conventions, this ensemble embraces the unparalleled warmth, tenderness, and playfulness of the classical sound—lithe and nimble, lively and lovely. Through its adventurous adaptability, tenThing illustrates the importance of discovering your voice in whatever instrument may call to you.


N

NG

“ INFECTIOUS IN THEIR ENTHUSIASM AND ENERGY, AND THEIR INTIMACY” – The Guardian (UK)

FROM Oslo, Norway

DID YOU KNOW? In addition to tenThing, Tine Thing Helseth formed TTHQ, a “jazz/ tango fusion quartet.”

SIMILAR ARTISTS Tine Thing Helseth, London Brass, Arve Henriksen, Thomas Tellefsen, Ole Edvard Antonsen, Grex Vocalis, Georges Bizet, Ástor Piazzolla, Kurt Weill, Jan Koetsier

SUPPORT FROM:


DONNY C M CASLIN QUARTET

“...IT GATHERED A ROLLING FERVOR WITH A TENOR SOLO THAT FELT BOTH TEMPESTUOUS AND PRAYERFUL.” —The New York Times

APRIL 6 / 8PM

THURS / LOEB PLAYHOUSE TICKETS: $20-26 PICK5/GROUP SALE: $17-22 With

JASON LINDNER keyboards NATE WOOD bass MARK GUILIANA drums PRE-SHOW / 7PM / LOCATION TBD

Join composer, jazz pianist, and music educator Judd Danby and Don Seybold, host of WBAA’s Inside Jazz, for a discussion about the evening’s performance.

SUPPORT FROM:

Donny McCaslin and his group surged onto the mainstream’s radar in early 2016 with the surprise release of Blackstar—David Bowie’s brilliant, shape-shifting, and sonically mercurial final album, released just two days before his death. After showing up unannounced to hear McCaslin and his quartet play a set, Bowie handpicked them as his backing band for the Blackstar sessions. By turns seductive, somber, and slinky, the Quartet’s music evolves into as deep a symbol of raucous, ruminative transfiguration on Blackstar as Bowie’s evocative lyrics. But the jazz world had long known and celebrated the work of this three-time Grammy® nominee, given that McCaslin had staked his claim as a unique fixture of New York’s jazz scene for over 20 years. After coming of age in his vibraphonist father’s ensemble at age 12, McCaslin went on to tour with Gary Burton and jazz-fusion outfit Steps Ahead. He has also played beside such diverse, genre-straddling artists as Danilo Pérez, John Medeski, Gil Evans, Maria Schneider, and Dave Douglas, while Purdue Jazz Festival audiences will know him from his 2014 appearance as a guest soloist with the Purdue Jazz Band. In 1998, McCaslin released Exile and Discovery, his first of 11 albums as a bandleader and hasn’t stopped since. His latest, 2015’s Fast Future, features McCaslin’s vision of today’s electro-acoustic jazz sound—a combustible live-wire collection of propulsive rhythms, polyphonic patterns, electronic flourishes, and elasticity into sounds of reggae and even EDM all driven forward by electronic keyboards, electric bass, and drums. Affirming Bowie’s intuitive choice for the Blackstar sessions, producer Tony Visconti called the Donny McCaslin Quartet “some of the best musicians I’ve ever worked with in my life.”

FROM New York, New York

DID YOU KNOW? McCaslin formed his own band at Aptos High School in California and was selected to play in the Monterey Jazz Festival 3 years in a row.

SIMILAR ARTISTS David Bowie, SFJAZZ Collective, Chris Potter, Miguel Zenón, Lionel Loueke, Danilo Pérez


BOX OFFICE: (800) 914-SHOW / 494-3933

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T H E

B R O A DWAY

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M U S I C A L


GRADE: A. AMAZING AND ” EYE-POPPING!

–Entertainment Weekly

APRIL 15 / 7:30PM

SAT / ELLIOTT HALL OF MUSIC TICKETS: $26-57 PICK5/GROUP SALE: $26-49

Book by

ROGER O. HIRSON Music and lyrics by

STEPHEN SCHWARTZ

FIRST PERFORMANCE October 23, 1972, Imperial Theater, New York, New York

SIMILAR MUSICALS

WINNER – BEST MUSICAL REVIVAL! The enchanting musical Pippin will swing into Elliott Hall of Music with a dazzling new production based on the revival originally directed by Diane Paulus (Waitress, Hair, Porgy and Bess). Pippin won four Drama Desk Awards® and four Tony Awards® in 2013, including Best Revival of a Musical. This is Pippin like you’ve never seen it before. The show incorporates choreography in the style of Bob Fosse and exciting circus acrobatics. The big top set and high-flying acrobats add to the spectacle, along with the knife throwing, hula hooping and gravitydefying balancing acts.

The magical score from Oscar® and Grammy®-winning songwriter Stephen Schwartz (Godspell, Wicked), which includes such hits as “Magic to Do,” “Corner of the Sky,” “Morning Glow” and “No Time at All.”, brings the enchanted story of Pippin to life in this tale of a young prince’s search for passion, adventure and the meaning of life.

SUPPORT FROM: DID YOU KNOW? Pippin and his father, Charlemagne, are characters derived from two real-life individuals of the early Middle Ages. Jesus Christ Superstar, Godspell, The Wiz, Grease, Dreamgirls


VERONA STRING QUARTET + DANIEL HSU, PIANO

APRIL 23 / 3PM

SUN / LOEB PLAYHOUSE TICKETS: $15-20

JONATHAN ONG violin DOROTHY RO violin ABIGAIL ROJANSKY viola WARREN HAGERTY cello

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Discipline in digression may sound counterintuitive, but it’s certainly audible in the driving energy of the Verona String Quartet and the poetic exploration of pianist Daniel Hsu—statement-making musicians who follow expression and emotion wherever they lead. Convocations proudly presents these 2015 Concert Artists Guild Victor Elmaleh Competition winners for an evening that unites them for César Franck’s Quintette in F Minor— an urgent work with one emotional height after another. Formed at Indiana University in 2013, the Verona String Quartet has become one of chamber music’s most compelling young acts with “sensational, powerhouse performance” (Classical Voice America). Currently the Graduate Resident String Quartet at the Juilliard School, Verona made its Lincoln Center debut in May 2016, has appeared on National Public Radio, and performed on

four continents. This summer, Verona joins the faculty of the Indiana University Summer String Academy as Quartet-in-Residence. On the program, the quartet also will perform one of Ludwig van Beethoven’s Russian-tinged “Razumovsky” quartets. Hsu is a fast-rising 18-year-old pianist who “(peers) into corners … with his bright, large sound” (Philadelphia Inquirer). Named a 2016 Gilmore Young Artist, Hsu also earned first prize at the San Francisco Chopin Competition and has soloed with the Tokyo Symphony Orchestra. A San Francisco Bay Area native, Hsu studies at Philadelphia’s prestigious Curtis Institute of Music. Hsu will also perform Beethoven’s Piano Sonata No. 31, heralded for rendering counterpoint and fugue foundational to a composition’s drama. Don’t miss a chamber-music journey as organic and thoughtful as it is fearless.


FEATURES

JANET & JOHN NINE STEINWAY

PROGRAM

BEETHOVEN: SONATA IN A-FLAT MAJOR, NO. 31, OP. 110

BEETHOVEN: STRING QUARTET IN F MAJOR, NO. 59, OP. 1 “RAZUMOVSKY”

DANIEL HSU, PIANO

VERONA QUARTET

FROM USA, Canada, Singapore

DID YOU KNOW? Daniel Hsu is also an accomplished computer programmer, having contributed to Workflow—an Apple Design Awardwinning app that improves the mobile-device experience for visually impaired users.

SUPPORT FROM:

CÉSAR FRANCK: QUINTETTE IN F MINOR VERONA QUARTET + DANIEL HSU, PIANO


CORPORATE PARTNERSHIP The income provided by corporate partners is essential to presenting a comprehensive and accessible Convocations season. These generous community partners serve as a foundation of support that we rely on year after year. Partnerships help subsidize the costs of presenting performances and educational programming. We are grateful to all of our community partners for their generosity and involvement. We applaud our GOLD-LEVEL partners this year who have contributed the highest level of corporate support for the 2016-17 season:

SPRING 2016 ARTIST-IN-RESIDENCE MEKLIT

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US!

A corporate partnership with Purdue Convocations will help your business gain great visibility and offers a wide array of access to tickets, priority seating, and more! Packages are available all year long at every giving level and are customizable to your business needs.

Benefits of partnership include: • • • • • • •

Extensive name and logo placement Pre-sales and priority seating Discounted tickets for employees Event invitations, plus access to special receptions and parking Customized marketing and networking opportunities Enhanced relationship with the arts community And so much more!

Call (765) 494-9712 to speak to the Director of Development today! Learn more at convocations.org/partnership.

IN MO YANG PERFORMS FOR P-12 STUDENTS IN NOVEMBER 2015.

BOX OFFICE: (800) 914-SHOW / 494-3933

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FAMILY MATINEES Bring the whole family and join in the fun at Purdue Convocations Family Matinee performances. Come early to participate in hands-on pre-show activities!

Families participate in pre-show activities for The Lightning Thief in November 2015.

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ARCATTACK:

ENERGY AND ELECTRICITY NOVEMBER 13 / 3PM

SUN / LOEB PLAYHOUSE TICKETS: $10-15

AGES +

8

PRE-SHOW / 2PM STEW WEST LOBBY

Purdue’s Women in Engineering Program (WIEP) will offer fun demonstrations about electricity.

Blending rock-concert energy and scientific derring-do, ArcAttack delivers high-tech wizardry and super-charged spectacle! As seen on America’s Got Talent and National Geographic’s Known Universe, ArcAttack is a band that loves science as much as music, and the group unveils the fascinating factors that propel its one-of-a-kind performance. Through a stage show as interactive as it is inventive, ArcAttack makes music while exploring concepts of electricity, voltage and current, magnetism, robotics, and what happens when lightning strikes. Meet King Beat, ArcAttack’s trusty, completely automated drummer, whose brightly colored, high-power LEDs flash on the stroke of each mechanically actuated stick. Marvel at the variety of scientifically influenced musical instruments onstage, including ArcAttack’s signature Singing Tesla Coils. These custom-engineered, hand-built machines throw electrical arcs up to 12 feet long and pulse with a sleek sound reminiscent of early synthesizers. Witness ArcAttack literally walk through lightning, and then take the stage yourself to join them in a supercharged Faraday cage dance-off. It’s an “electrifying” performance you’ll never forget!

FROM Austin, Texas

SUPPORT FROM:

FAMILY MATINEES


DINOSAUR ZOO LIVE

ERTH VISUAL AND PHYSICAL INC. JANUARY 29 / 3PM SUN / LOEB PLAYHOUSE TICKETS: $12-20

ALL AGES

PRE-SHOW / 2PM / STEW WEST LOBBY Have fun learning more about dinosaurs!

GET READY FOR THE ULTIMATE PLAYDATE

—65 million years in the making! Erth’s DINOSAUR ZOO LIVE guides audiences on a breathtaking tour through prehistoric Australia. Meet, and interact with, an eye-popping array of astonishingly lifelike dinosaurs and creatures, presented in a theatrical performance guaranteed to thrill and entertain kids while stimulating their imaginations in ways that deepen their connection to the world. Brought to life by a troupe of skilled performers and puppeteers, and designed with help from professional paleontologists, the puppets of Erth’s DINOSAUR ZOO LIVE are so extraordinarily realistic that you may feel the urge to run and hide. But don’t! You won’t want to miss a minute of this unique, entertaining, and educational live show created by Erth Visual & Physical of Sydney, Australia. Erth’s DINOSAUR ZOO LIVE may indeed have been 65 million years in the making, but we’re sure you’ll agree: It’s well worth the wait!

FAMILY MATINEES

FROM Sydney, Australia

DID YOU KNOW? Megalosaurus bucklandii was the first genus of dinosaur to be named in 1824 after being discovered in Oxfordshire, England.

SUPPORT FROM:


PETE THE CAT THEATREWORKS USA FEBRUARY 26 / 3PM

SUN / LOEB PLAYHOUSE TICKETS: $10-15

AGES +

8

PRE-SHOW / 2PM / STEW WEST LOBBY

Get your picture taken with Pete the Cat and enjoy Pete the Cat activities! The Student Chapter of the American Association of Feline Practitioners will present cat-related activities. SUPPORT FROM:

Jimmy Biddle never strays from his routine...that is until the groovy, blue Pete the Cat moves in with the Biddles for the summer. Can cat and boy ever be friends? When Jimmy draws a blank during art class, Pete—who never loses his cool—proves the perfect pal to lead a mission to help Jimmy find his inspiration. Join Jimmy and Pete for a fun, fast-paced musical adventure of friendship, all the way to Paris and back again in a VW Bus!

DID YOU KNOW? Artist James Dean’s self-published book got the attention of HaperCollins when they noticed a YouTube video meme of two sisters reading and singing along to “I Love My White Shoes.”

FAMILY MATINEES


DAWN DOOM OR

2 0 1 6 OCTOBER 3-4 KEYNOTE SPEAKERS: DAVE EGGERS

DAWN OR DOOM ’16

IS TECHNOLOGY MOVING FASTER THAN OUR ABILITY TO UNDERSTAND? OCTOBER 3 & 4 / MON & TUES

PURDUE UNIVERSITY’S STEWART CENTER

TECHNOLOGY CONFERENCE FREE & OPEN TO THE PUBLIC REGISTER NOW

TO RECEIVE EVENT UPDATES: purdue.edu/dawnordoom/register

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PLANNED DAWN OR DOOM ’16 TRACKS INCLUDE: Virtual Reality Artificial Intelligence and Robotics Technology Policy Social Media Food and Water Contamination

Acclaimed writer, publisher, and philanthropist who was named one of Time’s 100 Most Influential People. Author of The Circle, a technology-driven thriller/ drama soon to be a major motion picture starring Tom Hanks and Emma Watson.

• • • • •

MARCUS SHINGLES

PLUS DAWN OR DOOM ’16 INCLUDES THESE CONCURRENT EVENTS:

CEO of the X-Prize Foundation, which supports innovation to solve the world’s grandest social challenges, and former partner at Deloitte Consulting’s Innovation Group.

JORGE CHAM

Creator of the popular comic strip PhD Comics, which focuses on graduate student life, a Ph.D. in mechanical engineering, and teacher at Cal Tech.

• Art exhibit on virtual reality featuring nationally known artists • Technology media panel featuring journalists from national publications • Free movie night on the Purdue Memorial Union lawn • Purdue student writing contest


KEN BURNS

LECTURE: THE AMERICAN EXPERIENCE

THE PURDUE SERIES ON CORPORATE CITZENSHIP AND ETHICS and

ACKERMAN CENTER KRANNERT SCHOOL OF MANAGEMENT COLLEGE OF LIBERAL ARTS DISCOVERY LECTURE SERIES HALL OF MUSIC PRODUCTIONS PURDUE CONVOCATIONS present

KEN BURNS LECTURE

THE AMERICAN EXPERIENCE

SEPTEMBER 22 / 6:30PM THURS / ELLIOTT HALL OF MUSIC FREE AND OPEN TO THE PUBLIC NO TICKET REQUIRED GENERAL ADMISSION SEATING

Since 1981, Ken Burns has been among America’s most compelling storytellers and influential filmmakers—directing and producing some of the most richly acclaimed historical documentaries ever made. Honored with multiple Emmy Awards and a Lifetime Achievement Award from the Academy of Television Arts & Sciences’ News & Documentary Emmy Awards, Burns regularly creates “heroic television” (The Washington Post). His diverse stories of suffering and triumph, perseverance and folly, and what it means to be American provide rapturous portrayals of history’s human dimensions while displaying an encyclopedic breadth of knowledge. Thanks to Burns, millions of viewers worldwide have engaged with leaders, explorers, artists, athletes, innovators, and icons in insightful, entertaining, and illuminating ways. Burns appears as part of the Purdue Series on Corporate Citizenship and Ethics—the result

of a unique collaboration between the Ackerman Center for Democratic Citizenship in the College of Education and the Krannert School of Management—with partnership from the College of Liberal Arts, Discovery Lecture Series, Hall of Music Productions, and Purdue Convocations. Speakers in this multidisciplinary series provide a well-rounded overview of ethics’ effects on business, the economy, and society as a whole. In a lecture titled The American Experience, Burns will remind us yet again of history’s timeless lessons, as well as the enduring greatness and importance of the United States in the course of human events. Incorporating elements from his landmark trilogy—The Civil War (1990), Baseball (1994/2010), and Jazz (2001)—Burns will engage and celebrate our many commonalities, and offer further opportunities to reflect on our nation, our achievements, and ourselves.

BOX OFFICE: (800) 914-SHOW / 494-3933

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MARCH 25 / SAT / LOEB PLAYHOUSE / $15-25 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.

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The daylong format will allow attendees to receive even more engaging programming, exquisite conference gifts, and exclusive networking opportunities. 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 2016-17 TEDxPurdueU series of events, please visit TEDxPurdueU.com. TEDxPurdueU is proud to be a student organization under the Purdue Convocations unbrella.


KAP TAFIFI, Samoan fire knife dancer. April 9, 2016


HIGHLIGHTS FROM 2015-16 SEASON

Frank Bruni / 9.9.15


George Will / 12.7.15

John Schnatter / 3.28.16

Launched in 2014, the Presidential Lecture Series is a diverse series of lectures that examine policy, leadership, culture, and society.

“A community of scholars like ours cannot have too rich or varied a flow of interesting and illuminating visitors,” said President Mitch Daniels. “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.” Todd Wetzel, director of Purdue Convocations, which is assisting the Office of the President with the series, said, “This series provides us yet another opportunity to bring programming to the Purdue community that is both thought-provoking and inspiring. We are pleased to be able to host these outstanding talented speakers.”

ALL LECTURES ARE FREE AND OPEN TO THE GENERAL PUBLIC. George Shultz / 4.19.16

THE 2016-17 LECTURES WILL BE ANNOUNCED THROUGHOUT THE YEAR.


HUANG YI & KUKA RESIDENCY 2015

ANIMATING NEW OPPORTUNITIES FOR PURDUE STUDENTS

By Stacey Mickelbart

A spotlight illuminated a man and a woman on stage as they sat in facing chairs. They slumped, inanimate, until a red laser pierced the darkness and began to guide their movements—lifting their arms, intertwining their legs, and pushing their torsos together in a hug before pulling them apart. Choreographed by Taiwanese artist Huang Yi, the robot KUKA fluidly wielded a laser pointer, leading the dancers’ limbs in a doll-like couple’s dance. It was a beautiful, pointed role reversal: humans as automatons beholden to the sinuous movement of a robot. But the performance also served as the perfect artistic complement to the art and design course “Robots, Art, and Culture,” team-taught by Fabian Winkler, an associate professor of visual and performing arts who specializes in electronic and time-based art, and Justin Seipel, assistant professor of mechanical engineering, who studies animal and robot locomotion and the dynamics and control of human-machine systems. Winkler and Seipel note that the history of robotics has always been linked to technological advancement, but also to cultural and social issues. They wanted to examine this intersection and allow students to focus on the creative application of robotic technologies. In a master class following a brief performance, Huang Yi and his dancers took questions, and Yi described part of his creative process. Programming KUKA was a little like 3D animation, he explained, and he’d begun developing a movement vocabulary for the robot by using an early choreographic exercise that featured only an arm, animating it first and then painstakingly programming the movement on KUKA.

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“It was surprising to find that Yi was engaging in similar technical questions and research as I am,” says Seipel, “though he was operating in the context of arts and humanities questions.” Yi also described the complex task of coordinating the robot’s movements with humans, specifically in the laser piece. The dancers often kept their eyes closed and practiced fixing the points where their limbs should be by holding gestures, sometimes for five minutes, to develop muscle memory. Yi needed them to repeat the movements so often that the change in where their limbs were positioned in each part of the dance only varied by one to three centimeters, in order to achieve the look of KUKA directing their movement. For Betzie Ajsivinac, a studio arts major, Yi demonstrated “how important every move of the mechanism behind the programming is.” Kai Hu, a graduate student in interaction design, agreed. “The liquid grace of motions and the seamless interactions between dancer and KUKA blended the boundaries of human and robot. As an extension of the course, the experience led us to think not only about the mechanism and algorithm behind the robot, but also about the social, cultural, and philosophical issues, and beyond.”


MASTER CLASS

Huang Yi meets with Purdue students for a demonstration and Q&A.

PLACES EVERYONE

KUKA arrives onstage and prepares for the week ahead. Guntas Grewal, a computer science major receiving a minor in electronic and time-based art, plans to produce a dancing robot on a smaller scale. “I have experience with music synthesizing chips and I have developed a product that responds to music via light communication. So for me, this workshop was very inspirational and has made me think about different ways I could achieve the same result or a similar result by using different products.” For Winkler, the opportunity for students to see the work performed live, ask questions, and interact with the artist cannot be matched by traditional classroom presentations. “Huang Yi and KUKA exist in the same interdisciplinary space that I wish to create in my classroom, where art and technology intersect to ask new questions and open up new ways of thinking that cannot be produced by either field alone,” he says.

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DID YOU KNOW?

FRIENDS MAKE 75% OF OUR EDUCATION PROGRAMS POSSIBLE!

HELP US sustain and grow our outreach programs by giving to education. A gift of just $500 can provide an in-class residency for Purdue students or a miniperformance at a senior living facility!

JOIN NOW

CONVOCATIONS.ORG/SUPPORT BOX OFFICE: (800) 914-SHOW / 494-3933

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NEWTON COUNTY ELEMENTARY STUDENTS LEARN TO DANCE By Sam Watermeier

Liberty Harris, Education Coordinator at Dance Kaleidoscope, took over Newton County gym classes to show students some moves she learned as a little girl.

Students were in for a surprise when they stepped into the Lincoln Elementary gym the last week of October 2015. “I thought we were playing volleyball,” one boy said, looking around for nets. All he found was a new teacher—and a desire to dance. Liberty Harris—the Rehearsal Director and Education Coordinator at Dance Kaleidoscope—took over the school’s gym classes, showing students some of the moves she learned when she was a little girl. Every year, Wilson Industrial Sales provides funding to Purdue Convocations for educational programming to connect Newton County students with artists like Harris. She visited three schools—Morocco, Lake Village and Lincoln Elementary—

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over the course of three days (Oct. 2729), teaching a total of 829 students, grades K-6. When she was just 3 years old, Harris participated in gymnastics and ballet classes, going on to perform in a Butler University production of The Nutcracker at the tender age of 10. For 15 years, Harris performed with Dance Kaleidoscope—the longest-running dance company in Indiana. (It started in 1972, and this year marks its 44th season.) Now retired from performing, Harris dedicates her time to teaching. At Lincoln Elementary, you could tell she was trying to ignite the same spark in students that initially inspired her to dance.

Harris introduced students to simple dancing that mirrored Dance Kaleidoscope’s mission—to tell stories through movement. Together they created a performance about their morning routine, making dramatic dance moves out of ordinary activities —brushing their teeth, putting on clothes, waiting for the bus, etc. Through this exercise, Harris hoped the kids could learn how athletics—and art —can “make normal movements a bit bigger and a little more fun.”

“I’M VERY

GOOD

AT THIS!” –Newton County Student


At the end of the day, the activity was as much of a mental exercise as a physical one. In addition to testing their balance and coordination, the dance required students to learn and memorize new words, such as plié (to bend), tendu (to stretch), and sauté (to jump). They giggled at the foreign terms at first but quickly went on to recite them with delight. The dancing ultimately seemed like a physical celebration of all they had learned. The more the students moved, the higher they held their chins with pride. “I’m very good at this!” one boy exclaimed with a certain detached wonder, as if he couldn’t believe his own body was tearing up the dance floor. Harris was similarly surprised, caught off guard by the kids’ enthusiasm and willingness to participate. “After the class was over, several of them said, ‘I usually hate dancing, but that was fun!’ ” she said with a chuckle. Lincoln’s physical education teacher Greg Mikulich considered the kids’ reaction to be the ultimate reward of Dance Kaleidoscope’s residency in the county’s schools.

“THE GREAT THING ABOUT THIS IS THAT KIDS ARE SHOWING THESE DANCE MOVES OFF ON THE PLAYGROUND. THEY’RE GOING HOME AND TALKING ABOUT IT.” –Greg Mikulich, Lincoln Elementary PE Teacher

“The great thing about this is that kids are showing these dance moves off on the playground. They’re going home and talking about it,” he said. “If they take what they’ve learned here with them, you know you’ve done your job.”

Wilson Industrial Sales provides significant funding each year to Purdue Convocations to make educational programming available to Newton County schools. The gift allows for students in Newton County to receive ticket and transportation scholarships to come to Purdue to see daytime matinee performances with their classrooms and also allows for artists to travel to students in their schools in Newton County, such as this dance program. The company has been a generous donor since 2004.

BOX OFFICE: (800) 914-SHOW / 494-3933

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SPECIAL ENGAGEMENT: FALL 2016

KEVIN LOCKE RETURNS TO PURDUE UNIVERSITY

(Tokeya Inajin is his Lakota name, meaning “The First to Arise”) Kevin Locke is known throughout the world as a visionary Hoop Dancer, the preeminent player of the indigenous Northern Plains flute, a traditional storyteller, cultural ambassador, recording artist, and educator. He is a dance and musical hero and role model for youth around the world. Touring for two decades, Locke has performed and lectured in nearly 80 countries, sharing his high vision of balance, joy, and diversity. Locke will delight area K-12 students with performances at their schools this fall. Local children will experience the Hoop Dance performed with 28 hoops that symbolize the seasons and directions. Kevin’s performance will also include the indigenous Northern Plains flute. To the Lakota/Dakota Nation, the flute is the essence of the wind. The Lakota flute gives voice to seven notes. Four represent the directions, one represents the heavens, another the Earth, and a seventh note represents the place where all come together in each of us: the heart. As a folk artist, Locke is often characterized as being oriented from a tribal-specific background only. But Locke draws from deep wellsprings of knowledge, distilled and refined over many generations until yielding a profound sense of the universality of the human spirit and its inclination toward harmony, balance, beauty, peace, and the sacred through movement and dance, sound, and music. It is universal spirit that Locke strives to convey through his stories, music, humor, dances, and workshops.

“ It is so hard for people to relate one to another because we all come from different backgrounds. But no matter where we come from, we can all connect with music,” Locke says.

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DID YOU KNOW?

FRIENDS MAKE 75% OF OUR EDUCATION PROGRAMS POSSIBLE!

HELP US sustain and grow our outreach programs by giving to education.

Consider making a four-year pledge today to provide additional funding for these programs and help Convocations reach its goal of raising $400,000 for education during the Ever True campaign. Your support truly makes an impact!

EDUCATION SUPPORT FROM:


HELP US MAKE PERFORMANCES ACCESSIBLE TO ALL STUDENTS Join Dance Kaleidoscope and others who make it possible for students of all ages to experience the joy of attending live performances at little to no cost. Your extra support of our education programs—be it a one-time cash gift, a payroll contribution, or a recurring credit card charge—will directly subsidize ticket and transportation costs. An extra $5 is enough to send one elementary student to a Convocations matinee performance. An extra $100 is enough to send a whole class. $500 would be used to bring an artist into a college or elementary classroom. With field trip and arts budgets being routinely cut or lessened, you can have a critical impact on a student’s increased cultural understanding through your donation. Thank-you notes from area students.

ABOUT CURRICULAR CONNECTIONS

Visit convocations.org/support to give now

Call (765) 494-9712 to make a gift by phone with the Development Associate

Mail a check made payable to “Purdue Foundation” with the memo “Convos Edu & Outreach” to Purdue Foundation, 403 West Wood Street, West Lafayette, IN, 47907

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.

CONVOCATIONS.ORG/SUPPORT


AT PURDUE CONVOCATIONS

PREPROFESSIONAL EXPERIENCE

STUDENT Q + A ALEX BOLTEN

MATTHEW JORDAN

STEPHANIE MORALES

PUBLIC RELATIONS AND STRATEGIC COMMUNICATION

CORPORATE COMMUNICATION

VISUAL COMMUNICATION DESIGN

[MARKETING INTERN]

[MARKETING INTERN]

[GRAPHIC DESIGN INTERN]

What was your favorite moment or experience?

What advice would you give to a future student in your shoes?

What was your favorite Convos event?

Helping write copy for the 30-second performance information videos. It’s really awesome to think that whenever someone watches one of the videos, they’re listening to something I helped write.

What was your biggest challenge?

Learning how to write a press release during my first year. I had no idea what to do for the first couple that I wrote, especially since each performance had to be explained in a different way and there wasn’t a set way to write about each one.

Photos by intern Stephanie Morales

Make the most of your time at Convocations. There are so many talented people who have so much to share. Don’t be afraid to ask questions or chat with people in the office.

What are your future plans or dream job (or both)? Becoming an executive with an entertainment company. In the meantime, however, I hope to get a job in the marketing/communications field. I am also considering going to graduate school to get my MBA in a few years.

I loved getting to watch and meet Sol. I’ve become such a fan of his music since then. But the event that still stands out to me the most was Alvin Sputnik, part of the Three Stories High event. I didn’t know what to expect but it was an experience unlike any other! It was so beautiful and totally drew me in on this journey of love, laughter, and sorrow.

What was your favorite moment or experience?

Honestly, I loved the work environment. I never dreaded coming into the office, I enjoyed what I was doing, and I always felt like I was learning. Everybody I got to work with was always so friendly and helpful. It was so great.


See pg. 86 to learn more about Convos student ogranizations.

EVAN BISHOP

PAIGE POPE

DAVID LAVANNE

JAMIE REED

CHEMICAL ENGINEERING

PUBLIC RELATIONS AND STRATEGIC COMMUNICATION

INDUSTRIAL ENGINEERING TECH + SUPPLY CHAIN MGMT

DOCTORATE OF PHARMACY

[CVN PRESIDENT]

[SCC PRESIDENT]

[PRODUCTION INTERN, SCC ADVISOR]

[CVN, WEBSITE CHAIR]

What was your favorite moment or experience?

What was your favorite moment or experience?

What was your favorite moment or experience?

What was your favorite moment or experience?

Talking about CVN to the new freshmen every year at the Boiler Gold Rush B-Involved Fair. It’s so fun finding energetic students who love the arts and seeing their excitement when they learn about the wide variety of shows they can volunteer to usher for with CVN and see for free!

What advice would you give to a future student in your shoes? Don’t be satisfied with the status quo. Change can be uncomfortable, and it’s easy to fall into the trap of “just keeping things running.” But change is where progress lives!

Meeting Nick Offerman was amazing. I am a huge fan of not only his comedy, but his life philosophy. I’ve read his books and was so pleased to see that he was just as I expected in person. He truly practices what he preaches, which is really inspiring to see in an artist.

What was your biggest challenge?

Making decisions on what concert to bring next. It’s an extremely high-stakes decision that combines so many factors beyond just how successful we believe an artist to be. When you select a show and then see it through all the stages, you want the show to be a smash-hit, and naturally that can’t always be the case.

The opportunity to spray the crowd with gallons of paint at Life in Color in 2014 is one of my favorite SCC memories. Seeing the countless smiles among the sea of people and feeling the incredible energy at an SCC event gave me a whole new appreciation for live entertainment. It reminded me of the huge impact the SCC can have on Purdue’s campus.

What advice would you give to a future student in your shoes?

Remain open-minded and try to learn as much as possible. Don’t be afraid of the unknown and ask questions. The entire Convocations team is always more than happy to teach new skills and mentor you along the way!

Meeting people at shows who are as interested in Convocations shows as I am. It’s always exciting meeting people from very different backgrounds who still share the unique interest of a CVN member.

What are your future plans or dream job (or both)? I plan to do a one-year residency program following graduation and potentially obtain a job in the pharmaceutical industry or a larger hospital. My dream job would be to work abroad helping others get the medical attention they need.

BOX OFFICE: (800) 914-SHOW / 494-3933

85


STUDENT

ORGANIZATIONS

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.

MORE INFO PURDUE.EDU/SCC

Founded in 1985, Convocations Volunteer Network (CVN) is a student group that helps to support and promote Convocations performing arts events. More than 300 students strong, this group ushers, sells merchandise and concessions, and helps in many other ways with performances and other Friends of Convocations and outreach events. In exchange, members can stay and see shows 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. We are happy to see students so involved in the arts!

MORE INFO PURDUE.EDU/CVN

In the spirit of ideas worth spreading, TED has created a program called TEDx. TEDx is a program of local, selforganized events that bring people together to share a TED-like experience. Our event is called TEDxPurdueU, where x = independently organized TED event. At our TEDxPurdueU event, TED Talks video and live speakers will combine to spark deep discussion and connection in a small group. The TED Conference provides general guidance for the TEDx program, but individual TEDx events, including ours, are self-organized.

MORE INFO TEDXPURDUEU.COM

RECENT SCC SHOW

PANIC AT THE DISCO! APRIL 14, 2016

Photo by SCC member Chris Costidakis

86 LEARN MORE AT CONVOCATIONS.ORG


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 appropriate 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 also provide more information; however, you are ultimately responsible for deciding whether a show’s content is appropriate for you and your family.

ACCESSIBILITY

• •

Wheelchair seating is available in all venues with companion seating nearby.

Audio induction hearing loop systems are now available in Loeb Playhouse and Fowler Hall. Please switch your hearing aid setting to T-coil. For Elliott Hall of Music events, ask an usher about 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 are available upon request. See an usher for a copy.

Please visit convocations.org/accessibility for the most current information.

Extra-wide seats are available in Zone A in Elliott Hall of Music. Please inform the box office of special seating needs when ordering.

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.

STAGE

PARKING & DIRECTIONS

Visit convocations.org/directions for detailed driving directions, parking locations, and maps to all venues.

MAIN FLOOR

NOTE: The Marsteller Street Parking Garage will be replaced with a surface lot in Fall 2016.

STUDENT TICKET DISCOUNTS Discounted student tickets (pg. 44) 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.

1ST BALCONY

SEATING MAPS

Visit convocations.org/visit to view interactive seating maps.

STATE STREET PROJECT

STAGE

TICKET FEES Regular-season shows in this book and on Account Manager at convocations. org/tickets 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.

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.

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

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

MAIN FLOOR 4

1 2

3

4

1

BALCONY 2

3

State Street, the main route to Purdue’s campus, is undergoing transformation from a state highway to a pedestrian- and bicycle-friendly urban street. Many existing one-way routes on campus will be permanently converted to two-way. This project is scheduled for completion in December 2018. For the most up-to-date information on road closures and detours, please visit statestreetwl.com and riverroadwl.com. We also advise that you account for extra time when traveling by vehicle to any Convocations performance.

CONTACT: PURDUE CONVOCATIONS CAMPUS BOX OFFICES Stewart Center–Loeb Playhouse (M–F 10am–6pm) 128 Memorial Mall, STEW 194 West Lafayette, IN 47907-2034 PLEASE NOTE: The Elliott Hall box office is (765) 494-9712 Fax: (765) 494-0540 convocations@purdue.edu

open two hours before a performance in Elliott Hall of Music.

TICKETS: (765) 494-3933 | (800) 914-SHOW TDD Relay: (765) 496-1343


THE REVENGE OF PRINCE ZI DAN pg. 23

CONVOCATIONS.ORG (800) 914-SHOW

Learn more:

CONVOCATIONS.ORG/SUPPORT

Join the Friends of Convocations:

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

Profile for Purdue Convocations

Purdue Convocations Culture and Ideas Guide 2016/17  

Purdue Convocations Culture and Ideas Guide 2016/17  

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