2024.03.09 | "A Thousand Thoughts" with Kronos Quartet & Sam Green Program

A Thousand Thoughts:

A Live Documentary with the Kronos Quartet

Written and Directed by Sam Green & Joe Bini

Saturday, March 9 | 8 PM

Soka Performing Arts Center

at Soka University of America

A bow made of wood and horsehair coated with resin from trees scrapes across a string, which makes vibrations in the hollow of the wooden instrument which travel as a series of sound waves in the subtle matter of the air and, perhaps, penetrate the labyrinth of a human ear, or a hundred or a thousand, and this vibration is interpreted by the brain or the brains as information that might have, to use a word that means such vibrations, resonance as a source of pleasure or pain or sorrow. This is one way to describe a note of music on a violin. It is as ephemeral as the waves of the sea or ripples in water; it arises, it fades, it exists in time, and that ephemerality always speaks of mortality and the desire to transcend it, of motion that exists in time, of life that is itself a kind of motion, since we call the living animate and the un-living inanimate.

Human beings have acknowledged and transcended mortality with culture, with rites and songs and other elaborations that can be passed on and bridge more than one human life, that can spread like ripples on a pond, like a sound, that can be reiterated. A Thousand Thoughts begins with the story of The Lost Chord, a song that was one of the first pieces of music recorded when technology made possible the conversion of live sound into tiny impressions on a wax cylinder (and later on phonograph records [phono for “sound,” graph for “writing”]; these were literally devices for

writing down sound], and then on magnetic tape, and then as digital data that shaved off some of the fuzz of the vibrations to make something perhaps a little pared down and cleaner than what sounded in the studio where the recording was made).

A Thousand Thoughts begins with the irony of The Lost Chord, because it was about music heard once and never recovered that offered some joy, some solace, some peace that then vanished, about the sense of loss that was tied to death and perhaps to the impossibility of hanging onto transcendent moments. Perhaps it begins with that story because in it is the desire of all art to transcend time, to shore something up against its depredations, and the particular contradictions of art that unfold in time, like music— that pleasure in the ephemeral, in sounds that can only exist in time itself. A note is heard, it fades, it is gone. There is no music outside of time, and time itself is full of the impossibility of keeping and the inevitability of change, that force that sometimes feels like liberation and sometimes like tragedy.

Kronos founder David Harrington described a quest analogous to The Lost Chord, saying “We have not created the bulletproof piece of music that will prevent harm from happening—you know, [that] a young child can wrap around herself or a grandparent can wrap around his family. We haven’t been able to do that yet, but I think it’s

possible, and I spend every minute of my waking life trying to find that.”

A Thousand Thoughts, a thousand questions, mine, yours, ours, theirs, questions that perhaps open up things that definitive answers would only nail shut. Kronos Quartet’s long trajectory offers a series of questions that are solid and answers that are elusive: How do you find a path between predictability and instability? How do you have both a clear identity and an open door that lets in new ideas and collaborators? How do you keep the faith that what you’re doing matters? How do make an art that grows like a tree, ring by ring, year by year, and stands as a testament? How do you keep it alive through all the changes, and how do you incorporate the change that is, as my photographic collaborator Mark Klett likes to say, the measure of time? Or how do you proceed as Shunryu SuzukiRoshi said in some instructions for Zen Buddhist practice, “not too tight, not too loose,” not so tied by custom and convention and the past, not so formless that you lurch and spill into whatever the present offers?

There was an old idea of immortality as transcendence, as beauty, as power that was less about living forever than about lifting someone out of themselves and the gloom and despond of mortality. There is also a particular beauty of mortality, of this light that will never shine the same way twice, of the spring that will be devoured by the summer, the youth

that will be consumed by maturity, the freshness of beginnings and the ripeness of arrival.

The live music of the “live film” A Thousand Thoughts raises other questions, about irreproducible and evanescent experience, about the water that runs through your fingers, about the events that cannot be reconstituted. How do you swim upstream against what film and all our digital era has become, an immersion in other times and places than the present: in recordings, images, and reproductions? Once, everything happened and was then irretrievable, though you could sketch it or describe it in words on paper or spoken aloud, and then in the late 1830s came photography, promising exact replication of the visible, and half a century later came recorded sound, promising exact replication of the audible. They had photographs, then phonographs; they thought that they had conquered time; we had even more recording technology, even more data stored, even more ease in capturing every moment.

Did we conquer time or were we conquered by substitutes for presence? Did we give up the moment itself, the things themselves, for their reproductions? Did we fall into substitutes and fakes and lose our grasp on the moment, give up presence for absences and in the process lose ourselves that are also mortal, timebound, eternally changing, eternally invited to witness in the moment? Is there a

way that thinking you will never die becomes a way to never live, like the person who tries to document the moment so that in the future the past will be retrievable and only misses the present? The present, that pun in English for gifts and for now.

The foundation for modern cinema was laid when Eadweard Muybridge animated sequential photographs and when Edison captured recorded sound on his wax cylinders. The latter man saw it as an uncanny act, a reaching into the grave, a dance with the dead.

“In the year 1887,” Edison later remembered, “it occurred to me that it was possible to devise an instrument which would do for the eye what the phonograph does for the ear and that, by a combination of the two, all motion and sound could be recorded and reproduced simultaneously. I believe that in coming years by my own work and that of Dickson, Muybridge, Marey and others who will doubtless enter the field, that grand opera can be given at the Metropolitan Opera House at New York...with artists and musicians long since dead.”

He declares that cinema is a ghost dance, as I said somewhere else, that it is a raising of the dead or

at least a fraternizing with the dead and the gone. It is not about presence but absence and the ability to be with who and what is absent. Harrington wanted to make a music that would protect a child from harm, but Edison aspired to revive the dead at least enough to make them sing for us. Perhaps in that is the difference between the present and the past recaptured.

Edison’s astonishing declaration raises as well questions Sam Green has tried to answer: What is live cinema? What is it to be fully present? What is it to have the thing itself and not its representation? What is it to be here and now in an age of being anywhere but here, and every time but this irreproducible moment? What is it to have a film mixed live before you, prone to accidents and serendipities, to be each time something distinct, of its time, and not outside it, to hear music as a vibration of horsehair and wood and the movement of muscles traveling through the air and then into the labyrinth of your ear, with all the nuances that get sanded down and painted over by a digital recording? What is the work of art in the age of digital reproduction, and what is it to be in the presence and the present?

Program notes © Rebecca Solnit

For the legal and physical safety of the artists and for the comfort of the audience, cameras and other recording devices are not permitted in the theater during the performance.

MUSICAL SELECTIONS

PHILIP GLASS

String Quartet No. 2 (Company) Movement II*

TERRY RILEY

Requiem for Adam (excerpt)*

GEORGE CRUMB

Selections from Black Angels

10. God-music

1. Threnody I: Night of the Electric Insects (excerpt)

RYAN BROWN Pinched*

JOHN ADAMS

Judah to Ocean from John’s Book of Alleged Dances*

TANYA TAGAQ (ARR. JACOB GARCHIK)

Sivunittinni (excerpt)**

KEN BENSHOOF

Traveling Music

I. Gentle, easy*

FODÉ LASSANA DIABATÉ (ARR. JACOB GARCHIK) Sunjata’s Time

5. Bara kala ta**

TERRY RILEY

The Wheel*

DAVID HARRINGTON

Drone from Dirty Wars*

CAFÉ TACVBA (ARR. OSVALDO GOLIJOV)

12/12 (excerpt)*

MUSICAL SELECTIONS (CONT.)

PHILIP GLASS

String Quartet No. 3 (Mishima Quartet)

Blood Oath

ALEKSANDRA VREBALOV

The Sea Ranch Songs

7. Chapel, Rainbows*

LAURIE ANDERSON (ARR. JACOB GARCHIK)

Flow +

JOHN ZORN

Meditation (The Blue of Noon) from The Dead Man*

PÉROTIN (ARR. KRONOS QUARTET)

Viderunt Omnes (excerpt) +

CLINT MANSELL (ARR. DAVID LANG)

Selections from Requiem for a Dream + Lux Aeterna

Ghosts of a Future Lost

JOHN OSWALD

Spectre (excerpt)*

WU MAN

Two Chinese Paintings

II. Silk and Bamboo (inspired by Huanlege)**

ERIN T. ROUSE (ARR. DANNY CLAY)

Orange Blossom Special (excerpt) +

* Written for Kronos

** Written for Kronos Fifty for the Future

+ Arranged for Kronos

A THOUSAND THOUGHTS: CREDITS

A Thousand Thoughts was commissioned by The Arts Center at NYU Abu Dhabi, Barbican, Center for the Art of Performance at UCLA, Exploratorium, Christos V. Konstantakopoulos, Krannert Center for the Performing Arts at the University of Illinois at Urbana-Champaign, MASS MoCA, Melbourne Festival, Wexner Center for the Arts at The Ohio State University through its Wexner Center Artist Residency Award program.

Additional support was received from The DrumStick Fund, Genuine Article Pictures, JustFilms/Ford Foundation, Lear Family Foundation, Andrea Lunsford, The National Endowment for the Arts, Sundance Documentary Film Program with support from Open Society Foundation, Gottfried and Janet Tittiger, and Kenneth and Elizabeth Whitney.

This film was supported by Sundance Catalyst.

Film Credits

Directed, written, and edited by

Sam Green, Joe Bini

Music performed by Kronos Quartet: David Harrington, John Sherba, Hank Dutt, Paul Wiancko

Cinematography by Kirsten Johnson

Produced by

Janet Cowperthwaite, Sam Green

Executive Producers

Josh Penn, Maida Lynn, Kenneth & Elizabeth Whitney

Co-Producers

Thomas O. Kriegsmann, Brendan Doyle

Lighting Designer, Performance

Joey Guthman

Sound Designer, Performance

Scott Fraser

Produced in Association with ArKtype, C41 Media, The Department of Motion Pictures, Genuine Article Pictures

Motion Design

Work-Order

Additional Cinematography

Yoni Brook

Pete Sillen

Raf Fellner

Andrew Black

David Kaplowitz

Associate Producer

Evan Neff

Assistant Editor

Jonathan Rapoport

Sound Mix

Rich Bologna

Colorist

Ayumi Ashley

Footage Research

Sierra Pettengill

Rosemary Rotondi

Anna Hudak

Sound

Claudia Katanaygi

Judy Karp

Stephen Koszler

Doug Dunderdale

Paul Mendez

Production Assistance

Sam Schnorr

Mike Reid

Chris Niesing

Forrest Pound

Tara Kutz

Evan Neff

Ariel Hahn

Raf Fellner

Legal – Fair Use

Peter Jazsi

KRONOS QUARTET

David Harrington, violin

John Sherba, violin

Hank Dutt, viola

Paul Wiancko, cello

For 50 years, San Francisco’s Kronos Quartet—David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Paul Wiancko (cello)—has reimagined what the string quartet experience can be. One of the most celebrated and influential groups of our era, Kronos has given thousands of concerts worldwide, released more than 70 recordings, and collaborated with many of the world’s most accomplished composers and performers across many genres. Kronos has received more than 40 awards, including three Grammys and the Polar Music, Avery Fisher, and Edison Klassiek Oeuvre Prizes.

Through its nonprofit organization, Kronos Performing Arts Association (KPAA), Kronos has commissioned more than 1,100 works and arrangements for quartet. KPAA also manages Kronos’ concert tours, local performances, recordings, and education programs, and produces an annual Kronos Festival in San Francisco. In its most ambitious commissioning effort to date, KPAA has recently completed Kronos Fifty for the Future. Through this initiative, Kronos has commissioned—and distributed online for free—50 new works for string quartet designed for students and emerging professionals, written by composers from around the world.

SAM GREEN, filmmaker

Sam Green is an Academy Award-nominated documentary filmmaker based in New York. Green’s most recent film 32 Sounds premiered at the 2022 Sundance Film Festival and is a live cinema collaboration with the legendary electronic musician JD Samson. Green’s previous works include A Thousand Thoughts, a collaboration with classical ensemble the Kronos Quartet, and The Love Song of R. Buckminster Fuller with the indie band Yo La Tengo. An earlier documentary The Weather Underground was nominated for an Oscar, broadcast on PBS, and included in the Whitney Biennial.

JOE BINI, editor

Joe Bini is a filmmaker, writer and editor who works in both fiction and nonfiction forms. He is best known for his twenty-year collaboration with Werner Herzog, resulting in such notable films as, Grizzly Man, Cave of Forgotten Dreams, Into the Abyss, and The Bad Lieutenant: Port of Call New Orleans. He has also edited the groundbreaking films, We Need To Talk About Kevin and You Were Never Really Here, directed by Lynne Ramsay, and American Honey, directed by Andrea Arnold, as well as Nick Broomfield’s, Tales of the Grim Sleeper. He has lectured on and taught cinema in film schools worldwide.

ACKNOWLEDGMENTS

SPECIAL THANKS

Christine Burgin

Greg Dubinsky

Shari Frilot

Catherine Galasso

Jonn Herschend

Caroline Libresco

Nikolás McConnie-Saad

Nion McEvoy

Rebecca Solnit

William Wegman

THANKS

Jad Abumrad

Aga Khan Music Initiative

Kira Akerman

Bay Area Video Coalition

Rick Beal

Yves Béhar

Meriko Borogove

Bill Bragin

Camille Brunet

Neil Burger

Stuart Candy

Rachel Chanoff

Robert Chehoski

Michele Clement

Bonni Cohen

Mary Fernando Conrad

Tony Conrad

Victoria Cook

Susan Coyle

Libby Craig

Mary Cybulski

Jay Dehejia

Alejandro Delgado

Dale Djerassi

Katie Doering

Sandi Dubowski

Jessica Edwards

Emily Harvey Foundation

Kristin Feeley

Alison Byrne Fields

Dave Filipi

Kate Fowle

Vallejo Gantner

Jacob Garchik

Sherri Geldin

Jeanne Giordano

Andrew Goldfarb

Michael Gottwald

Barbara Green

Agnes Gund

Bill Haber

Alana Hauser

Hooligan NYC

Jim Hubbard

Gary Hustwit

Tabitha Jackson

Fred Kaplan

Kirstin Kapustik

Liz Keim

Braden King

Edward King

Jim Koester

Jennifer Lange

Paul Lazar

Brian Liem

Bibiana Lozano

Conchita Lozano

Donlyn Lyndon

Marina McDougall

Amy Miller

Bill Morrison

Fairouz Nishanova

Laurie Olinder

Frederic Opsomer

Emil Packer

Trevor Paglen

Marla Painter

Annie-B Parson

Liz Pasquale

Boris Penth

Thomas Pierce

Kerry Leigh Pittenger

Keri Putnam

Rosemary Quigley

Marjorie Randolph

Revolution Studios

Jonathan Rose

Mark Rudd

Georg Schmundt-Thomas

Max Schroder

Tara Sheffer

Jon Shibata

Nadia Sirota

Heike Sommer

Michael Stack

Noah Stahl

Liz Lodge Stepp

Priscilla Stoyanof

Mark Swed

Jules Tippett

David Toop

Lucinda Toy

Zane Vella

Tom Welsh

Ryan Werner / Cinetic Media

Christine Woodhouse

Chi-hui Yang

John Paul Young

Jeffrey Zeigler

For the Kronos Quartet / Kronos Performing Arts Association:

Janet Cowperthwaite, Executive Director

Mason Dille, Development Director

Dana Dizon, Business Manager

Sarah Donahue, Operations Director

Reshena Liao, Creative Producer

Nikolás McConnie-Saad, Artistic Administrator

Kronos Quartet/Kronos Performing Arts Association

P. O. Box 225340

San Francisco, CA 94122-5340 USA

kronosquartet.org

facebook.com/kronosquartet

instagram.com/kronos_quartet

twitter.com/kronosquartet

The Kronos Quartet records for Nonesuch Records.

Booking direction by David Lieberman Artist’s Representatives www.dlartists.com • info@dlartists.com

THE FRIDA CINEMA

305 E 4th St #100, Santa Ana, CA 92701

The Frida Cinema, proudly serving Orange County, CA as its only 501(c) (3) non-profit art house cinema, is a celebrated community space for arts enthusiasts, dreamers, creators, and film lovers to come together and celebrate the beauty of cinema. Nestled in the heart of Downtown Santa Ana’s vibrant arts and entertainment district, The Frida welcomes guests from throughout Southern California who seek a curatorial “art house” filmgoing experience and environment.

In addition to screening more than two dozen curated films monthly, The Frida also serves as a cinematic arts hub featuring screenings of local and university-level independent filmmakers and hosts numerous independent film festivals and screening series annually. Hosted events have included Next Generation of Filmmakers Festival, Horrible Imaginings Film Festival, Hola Mexico Film Festival, Los Angeles Arts Society Semi-Monthly Film Screening, Orange County School of the Arts Steampunk Film Festival, and SIKHlens Film and Arts Festival. Our organization also welcomes high school and college students seeking a cultural institution where young creative minds can exhibit their works, and receive mentorship through quarterly internship programs which provide students an opportunity for hands-on experience in fields ranging from graphic design, video editing, and creative writing.

Leif Ove Andsnes with Dover Quartet

PROGRAM:

BRAHMS Selections from Fantasies, op. 116

DOHNÁNYI Piano Quintet No. 2 in E-flat Minor, op. 26

INTERMISSION

BRAHMS Piano Quintet in F Minor, op. 34

FRIDAY, APR 26, 2024, 8 PM

SOKA PERFORMING ARTS CENTER

Our mission is to Engage, Educate, and Elevate the Human Spirit

Soka Performing Arts Center strives to elevate humanity through transcendent experiences. Come experience our exquisite acoustics. Come to expand your understanding and appreciation of music. Come to forge community and emotional connections through the shared experience of live music.

ABOUT SOKA PERFORMING ARTS CENTER

Soka Performing Arts Center is located on the beautiful hilltop campus of Soka University of America in Aliso Viejo. Our facility includes the 1,032seat Concert Hall featuring world-class acoustics designed by master acoustician Yasuhisa Toyota, designer of the Walt Disney Concert Hall in Los Angeles and Suntory Hall in Tokyo, among many others. We also have an intimate 350-seat Black Box Theatre that allows for multiple seating configurations including club seating with bistro tables.

More than 750 performances have taken place since the center’s dedication on May 27, 2011. The 2023-24 season marks our twelfth season presenting first-class programming in our world-class concert hall. We are continuing to expand our programming and outreach with the addition of a Children’s Concert Series, Blues Festival, and the only Great Pianists Series on the West Coast. From classical and jazz to world and contemporary music, the Soka Performing Arts Center has become a prized space for artists and audiences alike.

We are proud to be the home of the Pacific Symphony Chamber Orchestra. Our Sundays @ Soka Series with Pacific Symphony continues to be one of our most popular series year after year. Our presentations with other Orange County arts organizations have enabled us to reach further into our community to offer arts education and programming. Our partnership with the Philharmonic Society of Orange County includes our PSOC Series, which brings superlative artists to our stage. We also partner with PSOC for our Outreach Program, bringing over 7,000 school children to Soka Performing Arts Center to experience live performances with outstanding musicians.

With its world-class acoustics and first-class performances, Soka Performing Arts Center is quickly becoming one of the cultural jewels of Orange County.

SOKA PERFORMING ARTS CENTER DONORS

OUR SUPPORTERS

DIRECTOR’S CIRCLE ($75,000+)

Dr. Kenneth & Sandra Tokita

Sam & Lyndie Ersan

CONCERTMASTER ($10,000+)

Ms. Emi Maeda

STAGE CHAMPION ($5000+)

Anonymous

STAGE BENEFACTOR ($1000+)

John and Sue Prange

Terumi Saito

Jochen Schumacher

Scott A Shuping

GOLD CLEF ($500+)

Jeffrey Hendrix

Jane A. Lynch

Alex & Sandy Scott

SILVER CLEF ($200+)

Lorraine Leiser

Anson and Marilyn Wong

BRONZE CLEF ($25+)

Raquel Bruno

Sammy Chang

Judy Kaufman

Jeannette Pease

Thomas Prigorac

Jonia Suri

Naomi Uchiyama

Joseph Whitaker

Joyce M Wrice

Taro Yamanashi

List current as of 02/14/2024

The Soka Performing Arts Center deeply appreciates the support of its sponsors and donors, and makes every effort to ensure accurate and appropriate recognition. Contact Renee Bodie, General Manager at (949) 480-4821 to make us aware of any error or omission in the foregoing list.

This season, we have made exciting updates to our subscription and renewal program, providing you with even more flexibility in our season packages*. With our enhanced program, you now have the power to curate your very own unique experience.

• 15% Discount for a 3 performance package

• 18% Discount for a 4 performance package

• 20% Discount for a 5+ performance package

*full details online at soka.edu/pac

OUR PARTNERS

• Blueport Jazz

• Philharmonic Society of Orange County

• Pacific Symphony

• San Diego Symphony

• Parnassus Society

SOKA PAC MANAGEMENT TEAM

Renée Bodie

General Manager & Artistic Director

John Morgan

Box Office Manager

Jarmil Maupin

Technical Services Manager

Jenski Nguyen

Stage Manager

Madeline Webb

Lighting Technician

Hiroyuki Connor Miki

Internal Events Manager

Jaime Spataro

Marketing & Communications Manager

Joe Nicholls

Marketing & Communications Assistant

Steve Baker

Interim Production/House Manager

SokaPAC

@SokaPAC

SokaPerformingArtsCenter

@SokaPAC

Website soka.edu/pac

SOKA UNIVERSITY OF AMERICA BOARD OF TRUSTEES

Soka Performing Arts Center resides on the beautiful campus of Soka University of America. We thank the SUA Board of Trustees and the SUA Leadership Council for all of their support.

SUA BOARD OF TRUSTEES

Steve Dunham, JD

Chair Vice President and General Counsel Emeritus, Pennsylvania State University | Baltimore, Maryland

Tariq Hasan, PhD

Vice Chair Chief Executive Officer, SGIUSA | New York, New York

Andrea Bartoli, PhD

President, Sant’Egidio Foundation for Peace and Dialogue | New York, New York

Matilda Buck

Benefactor | Los Angeles, California

Lawrence E. Carter, Sr, PhD, DD, DH, DRS

Dean, Professor of Religion, College Archivist and Curator, Morehouse College | Atlanta, Georgia

Andy Firoved

CEO, HOTB Software | Irvine, California

Jason Goulah, PhD

Professor of Bilingual-Bicultural Education and Director, Institute for Daisaku Ikeda Studies in Education, Director of Programs in Bilingual-Bicultural Education, World Language Education, and Value-Creating Education for Global Citizenship, College of Education, DePaul University | Chicago, Illinois

Clothilde V. Hewlett, JD

Commissioner of Department of Financial Protection and Innovation, State of California | San Francisco, California

Lawrence A. Hickman, PhD

Director Emeritus, The Center for Dewey Studies and Professor Emeritus, Department of Philosophy, Southern Illinois University Carbondale | Carbondale, Illinois

Kris Knudsen, JD Attorney | Wilsonville, Oregon

Karen Lewis, PhD

Sondheimer Professor of International Finance and Co-Director, Weiss Center for International Financial Research, Wharton School, University of Pennsylvania | Philadelphia, Pennsylvania

Luis Nieves

Founder, Chairman Emeritus AUL Corp, Benefactor | Napa, California

Gene Marie O’Connell, RN, MS Health Care Consultant, Associate

Clinical Professor, University of California, San Francisco School of Nursing | Corte Madera, California

Adin Strauss

General Director, Soka Gakkai International-USA | Santa Monica, California

Yoshiki Tanigawa

Benefactor, Soka Gakkai | Tokyo, Japan

Edward M. Feasel, PhD

President, Soka University of America (ex-officio member) | Aliso Viejo, California

SUA LEADERSHIP COUNCIL

Edward M. Feasel, PhD

President

Chief Academic Officer Professor of Economics

Archibald E. Asawa

Executive Vice President for Finance and Administration

Chief Financial Officer Chief Investment Officer

Katherine M. King, PHR

Executive Vice President of University Community

Chief Human Resources Officer

Title IX and Section 504 Coordinator for Faculty, Staff and Others

Michael Weiner, PhD

Executive Vice President for Academic Affairs

Professor of East Asian History & International Studies

Kevin Moncrief, PhD

Vice President for Mission Integration

Bryan E. Penprase, PhD

Vice President for Sponsored Research and External Academic Relations

Professor of Physics and Astronomy

Tomoko Takahashi, PhD, EdD, LHD

Vice President for Institutional Research and Assessment

Dean of the Graduate School Professor of Linguistics and Education

David Welch, JD

Vice President University Counsel

SUA LEADERSHIP COUNCIL

M. Robert Hamersley, PhD Dean of Faculty Professor of Environmental Biogeochemistry

Hyon J. Moon, EdD Dean of Students

Title IX and Section 504 Deputy Coordinator for Students

Michelle Hobby-Mears, MBA

Associate Dean of Students Director of Student Activities

Andrew Woolsey, EdD Dean of Enrollment Services

Martin Beck, MA

Executive Director of Strategic Marketing and Communications

Concessions

A wide variety of wine, beer, soft drinks and freshly prepared snacks will be available before the concert in the lobby.

Click here for menu and to order CONCESSIONS

Artist Drink Pick Black Manhattan

We asked the artist for their favorite drink pick to feature at concessions!

The Black Manhattan was chosen by the Kronos Quartet and will be available for purchase before the performance.