Tennessee Performing Arts, Joffrey Ballet, June 2025

T E N N E S S E E P E R F O R M I N G A R T S C E N T E R®

JUNE 2025

A NOTE FROM

JENNIFER TURNER President & CEO

A NOTE FROM

JENNIFER TURNER

Happy New Year and welcome to Tennessee Performing Arts Center as us we for begin Welcome to Tennessee Performing Arts Center and thankPresident you for joining thisanother special & CEO exciting chapter in 2025!

This season, look forward to captivating performances that performance

by The Joffrey Ballet, thewe final show of our 2024–25 season. entertain, inspire, and bring us together as a community.

As we close the curtain on this season, I find myself reflecting on all that we’ve experienced The newThis yearyear, offers a moment to reflect on the incredible support of our patrons and donors, together. we’ve celebrated unforgettable Broadway musicals, breathtaking dance whose generosity fuelsand our stories missionthat to enrich livesconversation, through the transformative power of the from around the world, sparked joy, and community.

We’ve arts. Your new beliefaudiences, in TPAC allows us to present world-class performances, nurture young talent, welcomed deepened partnerships, and continued our mission to expand and expand access to thetoarts acrossPerforming Tennessee. areasdeeply grateful Happy New Year and welcome Tennessee ArtsWe Center we begin another for your continued access to the arts across Tennessee. exciting chapter in 2025! This season, we look forward to captivating performances that dedication to this shared vision.

entertain, inspire, and bring us together as a community.

Each performance has a reminder the power of liveremains theatre,steadfast. and the power of our you, As our been commitment toincredible theoffuture of the arts Plans for Thewe newlook year ahead, offers a moment to reflect on the support of our patrons and donors, our patrons, donors, artists, and supporters.

Your presence, your enthusiasm, and your whose generosity fuelshome our mission to enrich lives promising through the transformative powerartistic of the excellence and new performance are advancing, a space where arts. in Your belief in TPAC allowshave us tothrive present world-class performances, nurture young talent, belief TPAC’s mission shaped this season into something truly meaningful.

Thank community engagement can for generations to come.

This bold vision would not be and access arts incredible across Tennessee.

We are deeply grateful for your continued you forexpand being parttothe ofthethis journey. possible without support of passionate arts advocates like you. dedication to this shared vision.

As now, we lookwe ahead, ourthe commitment theTPAC future of the to artsoffer remains steadfast.

Plans for45th our And turn totoan extraordinary milestone: TPAC’s We encourage you topage explore all has this season—from the anniversary magic of Broadway new performance home are advancing, promising a space where artistic excellence and season.

In the 2025–26 season, we’ll celebrate the legacy of TPAC as a cultural tocommunity dynamicengagement dance, theatre, opera, and programming for the entire family.

Thank you for being can thrive for generations to come. This bold vision would not be cornerstone and look boldly to the future.

The season ahead will feature an unforgettable part of this journey and for helping us tell stories that connect and inspire us all. possible without the support of passionate arts advocates like you. lineup of performances–from iconic Broadway titles to groundbreaking new works–that We encourage you to explore all TPAC has to offer this season—from the magic of Broadway Enjoy thethe show! reflect on past, honor theandpresent, andforinspire next.you for being to dynamic dance, theatre, opera, programming the entirewhat’s family. Thank part of this journey and for helping us tell stories that connect and inspire us all.

This anniversary isn’t just a celebration–it’s a powerful reminder of what we can achieve Enjoy the show! together, and the vibrant future we are creating for the arts in Tennessee.

Warm regards, Warmregards, regards, Warm

Jennifer Turner Jennifer Turner President & CEO, Tennessee Performing Arts Center President & CEO, Tennessee Performing Arts Center

Jennifer Turner President & CEO

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Andante, ensemble members Victoria Jaiani, Alberto Velazquez and Xavier Núñez. Photo by Cheryl Mann.

THE JOFFREY BALLET ABOUT THE JOFFREY BALLET Classically trained to the highest standards, The Joffrey Ballet expresses an inclusive perspective on dance that reflects the diversity of America through its company artists, extensive repertoire, Academy, and community engagement programs.

Considered one of the premier companies performing today, The Joffrey plays a vital role in the dance community as one of the largest dance company and dance education providers in Chicago and the greater Midwest region.

THE JOFFREY BALLET HISTORY In 1956, a time during which most touring companies performed only reduced versions of ballet classics, Robert Joffrey and Gerald Arpino formed a six-dancer ensemble that toured the country in an old station wagon pulling a U-Haul trailer.

Over the next 65 years, the Joffrey moved from city to city, stage to stage, brandishing a reputation as America’s Company of Firsts. The Joffrey Ballet was the first dance company to perform at the White House at Jacqueline Kennedy’s invitation, the first to appear on American television, the first classical dance company to use multi-media, the first to create a ballet set to rock music, the first to appear on the cover of TIME Magazine (Astarte), and the first company to have a major motion picture based on its origins (Robert Altman’s The Company).

In 1995, the Company took up permanent residence in Chicago—the Joffrey’s home for the last quarter-century—and blazed a path forward as a Chicago icon. In October 2007, following the retirement of former artistic director and Joffrey co-founder Gerald Arpino, former Joffrey artist Ashley Wheater became the third artistic director in the Company’s storied history. Six years later, the Joffrey named longtime Chicago arts leader Greg Cameron as its new executive director, later appointing Cameron to president and chief executive officer in 2018. Wheater and Cameron’s tenure together has been marked by critical and box office success, raising the organization’s status among peer institutions across the globe.

During the 2021–2022 season, the Joffrey ushered in a new era as resident dance company at Lyric Opera House.

Today, The Joffrey Ballet ranks among the top dance companies in the world, presenting an annual home performance season in Chicago and touring performances nationally and internationally.

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6 | encore The Joffrey Ballet in Association with Tennessee Performing Arts Center Presents

Company Artists COCO ALVAREZ-MENA AMANDA ASSUCENA EDSON BARBOSA EVAN BOERSMA ANAIS BUENO GUILLEM CABRERA ESPINACH LUCIA CONNOLLY TENLEY CONNORS JOSÉ PABLO CASTRO CUEVAS MAXWELL DAWE ANABELLE DE LA NUEZ JONATHAN DOLE DEREK DRILON FERNANDO DUARTE OLIVIA DURYEA STEFAN GONÇALVEZ DYLAN GUTIERREZ REED HENRY DARA HOLMES AMANDA ILLUMINATI VICTORIA JAIANI HANSOL JEONG GAYEON JUNG YUMI KANAZAWA BLAKE KESSLER MINJOO KIM HYUMA KIYOSAWA NAE KOJIMA ZACHARY MANSKE JERALDINE MENDOZA LINDY MESMER JACKSON MILES VALENTINO MONEGLIA ZAMORA XAVIER NÚÑEZ DAVIDE OLDANO WICTOR HUGO PEDROSO LAUREN QUINN PAOLO RANDON SCOTT REED AARON RENTERIA BASIA RHODEN JULIA RUST NATALI TAHT ALBERTO VELAZQUEZ AO WANG The Mary B. Galvin Artistic Director ASHLEY WHEATER MBE Company Administration and Production Staff CODY CHEN, General Manager CATHERINE EBY, Company Manager JEREMY GUBMAN, Artistic Administrator and Assistant to the Artistic Director AMANDA HEUERMANN, Stage Manager CHRIS MARAVICH, Lighting Supervisor KATHERINE SELIG, Principal Stage Manager SHANDEE VAUGHAN, Production Manager SCOTT WOLFSON, Technical Supervisor Artistic and Music Staff NICOLAS BLANC, Rehearsal Director ADAM BLYDE, Rehearsal Director JORGE IVARS, Company Pianist CHRISTINE ROCAS, Rehearsal Director SCOTT SPECK, Music Director and Principal Conductor

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PROGRAM

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UNDER THE TREES’ VOICES Music by Ezio Bosso Choreography by Nicolas Blanc Costumes by The Joffrey Ballet Costume Shop Lighting and Scenery by Jack Mehler Under the Trees’ Voices was conceived in the midst of the pandemic during the height of social distancing requirements, which for the dance community imposed new choreographic boundaries. It was also a response to the growing crisis in the natural world. Four years later, I believe the emotional value of the work remains intact. I see it as a reflection on the importance of connecting with one another and a way of remembering the people we loved and lost.

— Nicolas Blanc PAUSE ANDANTE Music: PIANO CONCERTO NO. 2 in F MAJOR, OP. 102, 2ND MOVEMENT

by Dmitri Shostakovich Choreography by Yuri Possokhov Costumes by The Joffrey Ballet Costume Shop Lighting by Jim French Presented under license by G. Schirmer, Inc., copyright owners.

Frequent choreographer at the Joffrey whose most recent productions include the critically acclaimed adaptation of Anna Karenina, in addition to The Miraculous Mandarin and Don Quixote, returns with a pas de trois.

Known for his expansive choreography and powerful partnering skills, Possokhov’s work has been described as among “the canon of 21st-century classics.”

— Chicago Tribune PAUSE ALL THAT REMAINS Music by Ezio Bosso Choreography by Nicolas Blanc Costumes by The Joffrey Ballet Costume Shop Lighting by Chris Maravich Since 2021, Ezio Bosso’s compositions have been a recurring source of inspiration.

His music carries a genuine sense of beauty, sensitivity, and power that invariably speaks to my creative self. All that Remains is, in this regard, a dance that keeps my profound connection to this composer’s music alive. Through an imagined sky of clouds and rain, the three dancers on stage explore the themes of attachment and separation, love for one another, and memories they cherish.

INTERMISSION PRINCESS AND THE PEA This production of Princess and the Pea is co-produced by The Joffrey Ballet and Oregon Ballet Theatre.

Music by James Stephenson Choreography by Dani Rowe Co-Librettists Dani Rowe and Garen Scribner Scenery and Costumes by Emma Kingsbury Lighting by Jim French

8 | encore Synopsis: In the monochromatic world of Pea Town, green is not just a color—it’s a way of life. Under the iron rule of the formidable Princess, the townspeople are permitted only to grow peas, eat peas, and live under the strict, unyielding law of the pea. Any deviation from this rigid norm is met with swift punishment. But whispers of rebellion begin to stir when Princess grows suspicious of one family daring to defy tradition.

Inside their cozy pod, Penelopea’s parents have been savoring a forbidden vegetable. Their joy is short-lived, as Princess storms in, sentencing them to be “canned” for their crime, leaving poor Penelopea orphaned and forced to toil in the pea fields.

Life in Pea Town seems destined to remain unchanged until an exciting announcement shakes the town: the annual Mattress Match is about to begin! This grueling competition, traditionally rigged for Princess to win, offers a singular prize—the coveted Can-Opener to the City, granting the winner the power to reshape Pea Town. Against all odds, Penelopea’s name is selected to compete, setting the stage for a showdown that could change everything.

As the match approaches, Penelopea finds an unexpected ally in her dreams—a vibrant Carrot, who reminds her of the possibilities beyond the pea fields. Encouraged by this whimsical companion, Penelopea faces a series of comical and exhausting mattress challenges that test her resilience and grit.

Will a new dream take root in Pea Town.

Princess and the Pea grew from my fascination with stories that balance whimsy and truth.

The world is full of contrasts—sameness and difference, tradition and change—and this story gave me a playful way to explore those tensions. I find joy in humor and its ability to break down barriers. If you really want to understand someone, listen to their jokes.

Laughter creates connection, even when words fail.

Pea Town begins as a world drained of possibility—strict, monotonous, and dictated by rules that make little sense. But just as life is rarely as orderly as we might expect, cracks begin to form, letting in light and color. I’m interested in stories that embrace the absurd and unexpected—where defiance isn’t grand rebellion, but small, human choices to see the world differently.

In this ballet, change doesn’t come from declarations or doctrines, but from the quiet courage to imagine something more—the kind of courage that plants seeds of curiosity and hope, allowing them to grow in surprising ways.

— Dani Rowe

WHO’S WHO in the PRODUCTION ASHLEY WHEATER

MBE (The Mary B. Galvin Artistic Director) has dedicated his life to dance. He was born in Scotland and trained at The Royal Ballet School in England. He worked with Frederick Ashton, Kenneth MacMillan, and Michael Somes in numerous ballets at Covent Garden, including Swan Lake, Sleeping Beauty, Giselle, Manon, Anastacia, and The Dream. Wheater danced with Rudolf Nureyev in Nureyev and Friends at the London Coliseum.

On Nureyev’s advice, Wheater joined the London Festival Ballet and danced in his Romeo and Juliet and Sleeping Beauty. He danced in Glen Tetley’s Sphinx and Greening and in Festival Ballet’s large repertoire of classics and new creations. Under the artistic direction of John Field, he was promoted to principal dancer at the age of 20.

In 1982, he joined the Australian Ballet where he continued dancing principal roles in both

classical and contemporary work, especially in the John Cranko full-length ballets.

In 1985, at the invitation of Gerald Arpino, Wheater joined The Joffrey Ballet. For the next four years, he performed various works

by American choreographers including William Forsythe, Gerald Arpino, Mark Morris, Paul Taylor, and Laura Dean, as well as repertoire by Ashton and Cranko.

Joining the San Francisco Ballet in 1989, he continued his creative career working under Helgi Tomasson, and with choreographers James Kudelka, David Bintley, and many more. In 1997, he retired from dancing and was appointed ballet master and, later, assistant to the artistic director at the San Francisco Ballet.

Since his appointment in 2007 as artistic director of The Joffrey Ballet, his passion and commitment to the Joffrey have been evident in the quality that he has brought to the dancing and to the repertoire.

He has invited world-renowned choreographers, as well as fresh young talent, to create new work for the company.

Wheater has added new full-length works to the Joffrey’s repertoire, including Lar

encore Lubovitch’s groundbreaking Othello, Ronald Hynd’s The Merry Widow, and Yuri Possokhov’s Don Quixote.

In 2008, Wheater was the recipient of the Boeing Game-Changer Award in recognition of his commitment to community engagement in Chicago and to the celebration of diversity through dance. He sits on the Advisory Board for Dance Magazine, serves as the artistic advisor for ChiArts, and is the advisor to the arts for the Lincoln Academy of Illinois. In 2010, Wheater, representing The Joffrey Ballet, was named Lincoln Academy Laureate, the highest honor presented by the state of Illinois, and in 2013 the Chicago Tribune named him “Chicagoan of the Year”. In 2015, Wheater received the University of Chicago Rosenberger Medal for Outstanding Achievement in the Creative and Performing Arts. In December 2019, he was appointed to be a member of the Most Excellent Order of the British Empire (MBE) by Her Majesty Queen Elizabeth II. NICOLAS BLANC (Rehearsal Director, Choreographer).

Nicolas Blanc started his dance training in Montauban, France, later attending the Academie de Danse Classique Princess Grace in Monte-Carlo.

After winning a scholarship in the 1994 Prix de Lausanne, he completed his education at the Paris Opera Ballet School. He went on to dance for Nice Opera Ballet, Deutsche Oper am Rhein in Dusseldorf, Zurich Ballet, and San Francisco Ballet, where he was made principal dancer in 2004.

Blanc was awarded a special prize in performing arts by the city of Düsseldorf in 1998 and a special award of recognition by his hometown in 2004 and 2013. He was named one of the “25 to Watch” by Dance Magazine. In 2010, he was nominated with Tina LeBlanc for an Isadora Duncan Dance Award (Best Ensemble in Christopher Wheeldon’s Within the Golden Hour).

He joined Scottish Ballet as ballet master in 2009 and has been a rehearsal director and principal coach for the Joffrey Ballet since 2011. Blanc has created several works for the Joffrey Ballet, notably Evenfall, Purple, Encounter, and Beyond the Shore, commissioned and supported by the New York Choreographic Institute and Cal Performances in Berkeley, CA. In July 2014, Blanc received the Choreographic Award at the IBC in Jackson, Mississippi, for his duet Rendez-Vous. Blanc was selected to participate in the 2015 National Choreographers Initiative (NCI), creating Orphée. He was also chosen to participate in New York City Ballet’s New York Choreographic Institute, where he created Mothership, which premiered in New York City Ballet’s 2016 Spring Gala. Blanc created Tableaux Vivants and Desert Transport for Barak Ballet, CA in 2016 and 2019. That same

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year he also created Aquatic Hypoxia for Grand Rapids Ballet. From Afar was his first commission with Rome Opera Ballet in 2022.

Blanc was one of nine choreographers chosen to participate in San Francisco Ballet’s Next @90 Festival where he presented Gateway to the Sun in 2023.

Under the Trees’ Voices was initially presented for The Joffrey Ballet digital series before its stage premiere at the Lyric in 2021.

Other premieres this season include a new piece as part of a collaboration between the Chicago Symphony Orchestra and The Joffrey Ballet and a new creation for Oregon Ballet Theater. Blanc will debut another new work in France for the Ballet du Capitole in Toulouse in 2026.

EZIO BOSSO (Music).

Ezio Bosso was the Resident Conductor and Artistic Director of the Stradivari Festival Chamber Orchestra, currently Europe Philharmonic, a Sony Classical International Artist from 2016, and a Steinway Artist in February 2018.

Bosso was born in Turin in 1971 into a workingfamily but, right from his early performances, he expressed the desire to go beyond all boundaries which has characterized his entire, lengthy career. At the age of 16, he made his debut in France as a soloist, then he completed his studies in composition and conducting at the Vienna Music Academy (Wiener Hochschule) and he collaborated with several European orchestras, among which the following are worthy of mention: the Chamber Orchestra of Europe, Festival Strings Lüzern, Deutsche Kammer-Virtuosen.

He performed as a composer, performer, conductor and member of chamber music ensembles including: Royal Festival Hall in London, Sydney Opera House, Palacio de Bellas Artes in Mexico City, Teatro Colón in Buenos Aires, Carnegie Hall in New York City, Teatro Regio in Turin, Houston Symphony Orchestra, Perelada Festival, Teatro Carlo Felice in Genoa, Lac Lugano, Auditorium Parco Della Musica in Rome, Lietuvos Fhilarmonija, and St Martin-in-the-Fields.

He achieved many important acknowledgments, such as the Green Room Award in Australia (to date, he is the only non-Australian to ever win this prize) and the Syracuse New York Award in the USA; his music has been commissioned or used by the most important world-class opera institutions such as Wiener Staatsoper, Royal Opera House, New York City Ballet, Théâtre du Châtelet, San Francisco Ballet, and Bolshoi Theatre in Moscow to name just a few, but also by prestigious choreographers and famous directors. He was the Principal Conductor and Artistic Director of London Strings.

The many orchestras he conducted include: London Symphony Orchestra, Czech National

10 | encore Symphony, Orquesta de Cámara de Madrid, Orchestra del Teatro Regio, Philharmonic Orchestra of the Teatro Regio in Turin, Orchestra dell’Accademia della Scala in Milan, Lazio Regional Orchestra, Turin Chamber Orchestra, Wien Residenz Orchester, Bonn Kammer Orchester, Orchestra dell’Accademia Mozart, Orchestra Verdi in Milan, and Sydney Youth Orchestra.

Bosso was a worldwide performer for Sony Classical International, that released his latest works, among them The 12th Room that won the Gold Record Award with over 50,000 copies sold. Overall, his most recent chamber music and symphonic titles have sold more than 30,000 copies, breaking yet another record on the Italian classical music market.

Bosso died in his home in Bologna on May 14, 2020 at the age of 48 after a long struggle with his neurodegenerative illness.

JIM FRENCH (Lighting Design).

Jim French is an acclaimed lighting designer whose artistry has illuminated stages and captivated audiences worldwide.

With a career spanning over two decades, Jim’s designs have graced performances in 25 different countries and across 36 U.S. States.

As a scholar as well as an artist, Jim holds a Master of Fine Arts in lighting design from Carnegie Mellon University School of Drama (2002) and a Bachelor of Arts in psychology from the University of California at Berkely (1999). Jim’s contribution to the arts includes lighting more than 15 world premieres for San Francisco Ballet and serving as the resident designer for Cedar Lake Contemporary Ballet for nine dynamic seasons. He lives in Oakland, California, and often volunteers for Dancers Responding to AIDS, DanceFAR, and Bike East Bay. EMMA KINGSBURY (Scenic and Costume Design). Emma Kingsbury has designed extensively for film, opera, ballet, television and theatre.

Emma is currently working with Teatro alla Scala (La Scala-Milan) costume designing The Ring Cycle with director, Sir David McVicar 2024–26. Das Rheingold premiered October 2024. Emma also designed costumes for Blacklight starring Liam Neeson and directed by Mark Williams (Ozark) in 2022.

In the Summer of 2021, Emma designed for HBO the unscripted TV Series, “Finding Magic Mike” premiering in December on HBO. In the world of live performance, Emma designed sets and costumes for the Royal

New Zealand Ballet’s new production of Cinderella, 2022. In February 2020, Emma designed sets and costumes The Firebird for Texas Ballet and in 2019, The Crucible for the Scottish Ballet, which won the 2019 U.K. Theatre Award for Dance and toured North America in 2023.

Emma has designed for several American ballet companies including Atlanta Ballet, Pennsylvania Ballet, Oregon Ballet, Richmond Ballet, Tulsa Ballet, San Francisco Ballet, Smuin Ballet and Texas Ballet Theater, designing for choreographers such as Helgi Tomasson, Dani Rowe and Yuka Oishi.

A frequent designer for the L.A. Philharmonic in Los Angeles, Emma has designed five productions for them in 2018/2019, including artist Ragnar Kjartansson’s concept opera Bliss, costume designer for Atlas: An Opera in Three Parts composed by Meredith Monk, and John Cage’s Europeras 1 & 2 at Sony Picture Studios.

For Opera Australia in 2019, Emma designed the opera The Ghost Sonata directed by Greg Eldridge. Other operas include Salieri’s Der Rauchfangkehrer for Pinchgut Opera and Ich Habe Genug for Sydney Chamber Opera.

Emma’s film credits include The Wolverine (2013), God’s Of Egypt (2016), Truth (2015), Fool’s Paradise (2019), Dreamworks/Global Creatures How to Train Your Dragon, Childhood’s End (2016) Top of the Lake: China Girl (2017) and Legendary Entertainment’s Pacific Rim: Uprising (2018). Emma was costume designer for various productions created by the legendary Australian artist/ sculptor Ken Unsworth and the Australian Dance Artists.

CHRIS MARAVICH (Lighting Designer).

Currently Joffrey’s Lighting Supervisor.

Maravich also serves as Lyric Opera of Chicago’s Lighting Director, where he has created lighting for many productions including Rigoletto, Turandot, I Puritani, Cosi Fan Tutte and The Magic Victrola. Maravich served in the same position from 2006 to 2012 at San Francisco Opera, where he has designed many of the company productions including The Gospel of Mary Magdalene, Cosi Fan Tutte, Turandot, Cyrano de Bergerac, Il Trittico, Tosca, Simon Boccanegra, Don Giovanni, Nixon in China, and Attila. Maravich has collaborated on the lighting designs for Doktor Faust at Staatsoper Stuttgart, Tannhäuser for the Greek National Opera, Wozzeck for Finnish National Opera and Grand Théâtre de Genève as well as La Fanciulla del West, The Makropulos Case, The Daughter of the Regiment, Il Trovatore, Samson et Dalila, and Macbeth for San Francisco Opera. He has also designed lighting for Canadian Opera Company, Opera Colorado, San Diego Opera, Opera Santa Barbara, Lyric Opera of

Top image: Complexions Contemporary Ballet, Photo by Rachel Neville. Bottom images: Hubbard Street dancer David Schultz in ‘Black Milk’ by Ohad Naharin. Photo by Michelle Reid; Alvin Ailey American Dance Theater’s Yannick Lebrun, Photo by Dario Calmese; Complexions Contemporary Ballet, Photo by Rachel Neville

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JACK MEHLER (Lighting and Scenery Design). Based in New York, Chicago native Jack Mehler designs a wide variety of dance, theatre and related projects. He received the 2013 Korean Musical Theatre Award (Korean Tony) for Rebecca and the 2012 award for Elisabeth.

He has received IRNE (Boston) and Gypsy (Seattle) nominations and BroadwayWorld Connecticut awards. Previous designs for the Joffrey include Bells, Don Quixote, Evenfall, Home, Motown Suite, To Know Her, Othello, Reflections, Sea Shadow, Son of Chamber Symphony, Woven Dreams, Yonder Blue and from 2007-15, Robert Joffrey’s Nutcracker. Other Dance includes Alvin Ailey, Ballet Austin, Ballet Memphis, BalletMet, Donald Byrd/Spectrum Dance, Houston Ballet, Hubbard Street, José Limón, Lar Lubovitch, San Francisco Ballet. Theatre designs include Cleveland Play House, Manhattan Theatre Club, North Shore Music Theatre, Ogunquit Playhouse, Paper Mill Playhouse, Riverside Theatre, Seattle Rep, Walnut Street Playhouse, The Working Theatre. He is a founding board member of ACT of Connecticut and provides owner’s representation for organizations building and renovating performance and rehearsal venues.

YURI POSSOKHOV (Choreographer).

Russian-born Yuri Possokhov is among the most active and imaginative choreographers working in ballet today. After receiving his early training at the Moscow Ballet School, he danced with the Bolshoi Ballet for ten years, working primarily with ballet master Yuri Grigorovich. During that decade, he was promoted through the ranks to principal dancer. In 1992, he joined the Royal Danish Ballet as a principal dancer at the invitation of ballet master Frank Andersen.

The following December, Possokhov was cast as Prince Desiré in Helgi Tomasson’s The Sleeping Beauty and, after being invited to perform in San Francisco Ballet’s opening night gala, he decided to move west. In 1994, Possokhov joined San Francisco Ballet (SFB) as a principal dancer, and spent the next 12 years as a dancer with the Company. In 1999, he organized and performed in a Russian tour entitled “Ballet Beyond Borders,” with 16 dancers from SFB performing on the tour, which traveled to five cities throughout Russia. Following his retirement as a principal dancer from SFB, Possokhov was named choreographer-in-residence in May 2006. As

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a choreographer, Possokhov’s early credits include Songs of Spain, choreographed in 1997 for dancer Muriel Maffre; A Duet for Two, created the same year for Joanna Berman; and Impromptu Scriabin, for Felipe Diaz. In 2000, he completed a new work for a dancer at the Mariinsky Ballet, as well as 5 Mazurkas for the Marin Dance Theatre.

Possokhov’s Magrittomania was commissioned for SFB’s Discovery Program in 2000, receiving an Isadora Duncan Dance Award for Outstanding Choreography for this work the following year. Works for the SFB include: Damned, Don Quixote, Study in Motion, Reflections, Ballet Mori, Firebird, Fusion, Diving into the Lilacs, Classical Symphony, RAkU, Francesca da Rimini, The Rite of Spring, and Swimmer. Possokhov is a frequent guest at the Bolshoi Ballet, where his most recent full-length, Hero of Our Time, premiered in 2015 to critical acclaim. In 2016, Possokhov was invited to collaborate with Queen Margrethe II of Denmark and singersongwriter Nanna Øland on a new Cinderella for Tivoli Ballet Theatre. For The Joffrey Ballet, Possokhov has choreographed Bells, Adagio, Don Quixote, and The Miraculous Mandarin. For more information, please visit yuripossokhov.com.

DANI ROWE (Choreographer and Co-Librettist).

Dani Rowe is an internationally renowned choreographer and current Artistic Director of Oregon Ballet Theatre.

After a ten-year career as a principal dancer with the Australian Ballet, Rowe joined Christopher Wheeldon’s Morphoses and Houston Ballet before joining Nederland’s Dans Theater 1. There, she worked with luminaries Jiří Kylián, Crystal Pite, Mats Ek, Paul Lightfoot, Sol León, and more. Her rich career of performing, choreographing, and directing at the highest levels of dance has cultivated in her a curatorial aesthetic that blends cutting-edge programming alongside the best of classical and neoclassical genres.

Rowe has choreographed multiple works for San Francisco Ballet, Pacific Northwest Ballet, Oregon Ballet Theatre, and Royal New Zealand Ballet, to name a few.

Rowe’s work MADCAP (February 2023) for San Francisco Ballet was hailed a “triumph” (SF Chronicle). Her film Corps-en-tine for The Australian Ballet has been viewed over a million times online and was called “one of the best things to come out of quarantine”

by VOGUE. Upcoming choreographic commissions include Joffrey Ballet, Zurich Ballet, and more.

Dani lives in Portland, Oregon with her husband and two daughters.

14 | encore GAREN SCRIBNER (CoLibrettist). A producer and manager based in Los Angeles. Founder of GarenMedia and Pilot MGMT, he leads creative and business development for world-class talent across the arts and entertainment landscape. He is the creator and host of the hit broadcast TV series Broadway Sandwich (3x NY Emmy Nominee) and the creator and executive producer of And The Nominees Are, both for New York Public Media (PBS/WNET/ALL ARTS). Garen starred as Jerry in the Broadway + National Tour productions of An American in Paris and was a soloist with the San Francisco Ballet and artist of Nederlands Dans Theater 1, creating and performing leading roles in works by Mark Morris, William Forsythe, Jiří Kylián, Christopher Wheeldon, Paul Lightfoot and Sol Leon, to name a few. He co-founded Dance For a Reason in 2012, an annual benefit performance that has successfully raised $500,000+ for non-profit organizations like the Cancer Prevention Institute of California, UCSF Melanoma Center, and the International Rescue Committee. In May ’22, Garen earned a Master of Public Administration from the Kennedy School of Government at Harvard University. For Garen, building a meaningful life means connecting his passion for the arts beyond performance and into more broadly accessible philanthropic, civic, and humanitarian spaces.

DMITRI SHOSTAKOVICH (Music). Dmitri Shostakovich was born in St. Petersburg on September 25, 1906.

Exceptionally talented, he entered the Petrograd Conservatory aged 13, studying piano and composition, and graduated in 1925 with his First Symphony op. 10. Its triumphant premiere in 1926 was followed by performances in Europe and the USA and, aged 19, Shostakovich was world-famous.

In his youth Shostakovich wrote much for the theatre, producing three ballets and two masterly operas: The Nose op.15 (1928) and Lady Macbeth of the Mtsensk District op.29 (1932). After fierce and public criticism in 1936, apparently instigated

by Stalin himself, he changed direction, and his output became predominately for the concert hall.

Among a vast mass of orchestral, chamber and vocal music his two cycles of 15 symphonies and 15 string quartets stand supreme. Though still controversial, they are among the most frequently performed works of their century.

Of the symphonies the Fifth op. 47 (1937), the Eighth op.65 (1943) and the Tenth op. 93 (1953) have entered the standard repertoire everywhere.

The modernist Fourth op. 43 (1936), long suppressed by the Soviet authorities, is now recognized as a masterpiece, while the Seventh op. 60 (1941), written during the Siege of Leningrad, became a symbol of the wartime struggle throughout the Allied world.

Shostakovich worked closely with some of the greatest performers of his time. Evgeny Mravinsky premiered many of his orchestral works, and for the violinist David Oistrakh and the cellist Mstislav Rostropovich he wrote a pair of concertos each.

His two piano concertos, more light-hearted pieces, were composed respectively for himself and for his son Maxim.

The music of his final period, including his last two symphonies, his late quartets, his final vocal cycles and his Viola Sonata op.147 (1975), is spare and dark, reflective of much anguish. He died in Moscow on 9 August 1975.

Dmitri Shostakovich is published by Boosey & Hawkes. This biography can be reproduced free of charge in concert programmes with the following credit: Reprinted by kind permission of Gerard McBurney/Boosey & Hawkes.

(This is slightly edited from the original version to sound better, but original version is here: https://www.boosey. com/composer/).

JAMES STEPHENSON (Music). Jim Stephenson’s music has been described as “astonishingly inventive” (Musical America). Foremost in his style is the ability to create music that resonates with musicians and audiences alike. Since becoming a full-time composer in 2007, he has enjoyed premieres in all walks of the musical landscape, including The Chicago Symphony (Muti), San Francisco Ballet, Boston Pops, and “The President’s Own” U.S. Marine Band. The latter premiered his “Fanfare for Democracy” at the Inauguration of President Joe Biden.

Other orchestras premiering Stephenson’s works include the Minnesota Orchestra (twice), St. Louis Symphony, Houston Symphony, Cabrillo Festival of Contemporary Music, and many others. The oneact comedy opera, Cåraboo – “the true story of a false princess” – premiered in June, 2023, marking his first foray into the world of opera. Upcoming projects include his fifth symphony, and a new ballet score for The Joffrey Ballet. His awardwinning catalog currently contains four symphonies (the 2nd being performed over 50 times around the world), and concertos and sonatas written for nearly every instrument, with premieres having been presented by renowned musicians across the globe. Using music to tell a story is a foremost and recent passion, fueling his growing catalog in opera and ballet. His educational work for young audiences, Once Upon a Symphony, is also indicative of that, having received nearly 400 performances world-wide.

A conductor as well, Stephenson has led orchestras such as the Traverse City Philharmonic,

the Chattanooga Symphony, Boston Pro Arte, and symphonies of Modesto, Southwest Florida, Bozeman, among others. He recently had his conducting debuts at the New England Conservatory (his alma mater), and the Oregon Ballet Theatre.

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OUR CORPORATE PARTNERS High Impact Partners: $100,000+

$50,000 − $99,999 CONWAY-WELCH FAMILY FOUNDATION

$25,000 − $49,999

$10,000 − $24,999

Ann M. Duffer Family Foundation

Mary C. Ragland Foundation

$5,000 − $9,999 The Baulch Family Foundation Brown Forman Comcast Business Delek Fund For Hope

Freeman Webb Company Jack C. Massey Foundation Nashville Convention and Visitors Corporation

American Paper & Twine Cumberland Trust and Investment Company

Enterprise Holdings Foundation Samuel M. Fleming Foundation Dorothy Cate and Thomas F.

Amerigo Blueprint Underground Cocktail Club Brown-Forman Butler Snow

Cathead Vodka Coca-Cola Bottling Company Consolidated Constellation Brands D’Andrews Bakery & Café

Publix Supermarket Charities R.C. Mathews Contractor, LLC Ryman Hospitality Properties FoundationSeven

Springs Wealth Group SouthArts Tennessee Titans ONE Community Foundation Turner Construction Company

$1,500 − $4,999 Frist Foundation* Hall Strategies Kraft CPAs

The Sandra Schatten Foundation Tennessee Builders Alliance World Wide Technology

In Kind Partners Fairlane Hotel Google, Inc. JohnsonPossKirby Lipman Brothers, Inc. Morton’s The Steakhouse,

Nashville Nashville Parent The NewsChannel 5 Network Phillips Printing Company Schenk Photography

ACCESSIBLE SERVICES TPAC strives to present welcoming and accessible experiences in the performing arts and arts education for everyone.

Accessible services include parking, elevators, wheelchair seating, use of a TPAC wheelchair, designated restrooms, and services for patrons with limited hearing and vision. Sensory Friendly kits and infrared assisted listening devices are available at no charge and may be picked up at the patron accessibility kiosk in the lobby. TPAC offers American Sign Language, Open Captioning, Audio Description, and Braille programs on the Sunday matinee in the HCA Healthcare / TriStar Health Broadway at TPAC Season, presented in partnership with Nissan. Large print programs are available for Broadway at TPAC shows. Special accessibility requests and concerns may be discussed in advance by emailing Access@TPAC.ORG.

TPAC.ORG/Access

Restrooms for Jackson Hall are located one level down from the 6th Avenue entrance, and on each level inside the theater. Restrooms for Polk Theater are located down the stairs to the left of the entrance to the orchestra level and on the tier level. Booster Seats are available on a first-come first served basis, please inquire with an usher upon entrance to the theater.

Bars and Concessions are located in the Orchestra and Tier level lobbies for most performances.

An ATM is on G-Level, near the security desk at the Deaderick Street entrance to the building.

All electronic devices including cell phones, watch alarms, cameras, and recorders should be turned off prior to the show.

To inquire about Lost and Found items, please email Lost@TPAC.ORG to report an item you might have left at TPAC. Our guest services team seeks to respond to all patrons as quickly as possible.

Please allow up to 48 hours to receive a response for all questions and concerns.

THANK YOU TO OUR PUBLIC FUNDERS

Board and Staff Listing BOARD OF DIRECTORS OFFICERS

Melvin Malone, Chair James Schmitz, Vice Chair J. Reginald Hill, Treasurer Sheila Gibson, Secretary MEMBERS

Dale Allen Victor Berrios Michelle Gaskin Brown Michael Carter Rosalyn Carpenter Emanual J. Eads Sheila Gibson Don Hardin Kevin Hartley Robert M. Herbert Jr. Joy Heinrichs J. Reginald Hill Debbie Hollenstein Martha R. Ingram Melvin Malone Trish Munro Alexia Poe Nathan Poss Cybele Raver Dr. Christopher Rehm Lizzette Reynolds Adam C. Sansiveri Jim Schmitz Andrew Tavi Rhonda Taylor Claire W. Tucker Dr. Philip Wenk Gail Williams EXECUTIVE LEADERSHIP President & CEO, Jennifer Turner Managing Director & Chief Administrative Officer, James Timm Exec. Assistant & Board Liaison, Marlo Goff PROGRAMMING Director of Programming, Christian Lyhus Senior Manager of Programming, Caroline deGraaf Contract Administrator, Tanza Farr INCLUSIVE ARTS Chief Inclusive Arts Officer, Roberta Ciuffo West Senior Vice President of Education & Community Engagement, Susan Sanders Senior Director of Education & Community Engagement, Kristin Dare-Horsley Director of Education Enrichment, Cassie LaFevor

Education Enrichment Manager, Treysia Jackson Education Programs Manager, Tosha Marie

Guest Services Manager, Kevin Anderson Jr. Guest Services Manager, Mackenzie Carnes

HUMAN RESOURCES Vice President of Human Resources, Kim Marrone Director Payroll, HRIS & Benefits, Mary Huffman Talent Relations Manager, Sarah Dey

MARKETING & COMMUNICATIONS Vice President of Marketing, Caroline Mullins Director of Graphic Design, Jose Semidei Senior Communications Manager, Broadway and Website, Rebecca Bourne Group Sales Manager and Marketing Data Analyst, Lindsay Pippin Baleka Marketing Manager, Presentations, Kiera Lytle Digital Media Manager, La' Jaunea Esaw Digital Media Manager for Broadway, Ava Evans Senior Manager of Brand Communications, Brittany Portalatin Graphic Designer, Irika Skeete

FINANCE & ADMINISTRATION Chief Financial Officer, Julie Gillen FINANCE

Controller, Dana Nolen Senior Accountant, Lindsay Johnson Accountant, Bryan Leftwich INFORMATION TECHNOLOGY

Vice President of Information Technology, Jeff Condon Director of IT, Andrew Astorino Database Administrator, Jeff Stahel Systems Administrator, Brandon Partida Network Administrator, Sam Ireton TICKETING & GUEST SERVICES SVP, Ticketing & Guest Services, Kimberly Darlington TICKETING

Director of Ticketing & Customer Service, Akil Lyle VIP Ticket Sales Coordinator, Leroy Loyal Patron Services Specialist, Riley Miller Patron Services Specialist, Savannah Chambers Tessitura Systems Manager, Daniel Harris Asst. Manager of Ticket Operations, Johana Davila Sr. Ticket Operations Supervisor, Kayla Meehan Ticket Operations Supervisor, Patricia Sherrick Box Office Manager, Lori Joffs Box Office Supervisor, Dana Lolas Box Office Coordinator, Rick Forshee GUEST SERVICES

Director of Guest Services, Mary Blair Guest Services Manager, Emily Rich

DEVELOPMENT Vice President of Leadership Giving, Diana Pelham Director of Corporate Partnerships & Individual Giving, April Posey Director of Leadership Giving, Mary Cate Conn Senior Manager of Development Operations, Kelsey Daly Manager of Development Information, Danny Harp Director of Special Events, Kayla Bergquist Senior Director of Grants, Lattie Brown CAPITAL CAMPAIGN Vice President Capital Campaign, Sara Pomeroy Capital Campaign Director, Molly Haynes Capital Campaign Manager, Zach Bobbitt Donor Relations Manager, Alexandria Wright, MBA, MA Junior Graphic Designer, Kaitlyn Jenson OPERATIONS Vice President, Operations, Leon Scioscia Operations Coordinator, Leann Ruffing BUILDING OPERATIONS

Director of Building Operations, Samantha Borgen Facility Manager, Chris Voss

Maintenance Technician, Randy Milligan EVENT MANAGEMENT

Director, Event Management, Jeremy Knutsen Senior Event Manager, Rebecca Forrest Event Manager, Hope St. Germain Event Manager, Maggie Silvey Event Manager, Erica Jenkins FOOD & BEVERAGE

Director of Food & Beverage, Miriam Creighton Manager of Food & Beverage, Melanie Farmer Manager of Food & Beverage, Madison Scoville Food & Beverage Manager, Hospitality & Merchandise, Hallie Sisk SECURITY & SAFETY

Senior Director, Security & Safety, Ryan Curd Security & Safety Manager, Tim Timberlake Security & Safety Manager, Jolynda Maynard Security & Safety Officer, OC Davis Security & Safety Officer, Kevin McGurk Security & Safety Officer, Tyler Baker TECHNICAL OPERATIONS

Director of Production, Sawyer Wallace Senior Production Manager, Alex Poe Production Manager, Alex Dycus Master Electrician, Brent Smith Senior Production Electrician, Taylor Hulsey-Thomas Production Electrician, Carly Crocker Chief Audio Engineer, Jeff Ent Audio Engineer, Chelsea Skinner Audio Engineer, Yujung Kim Event Technical Director, Wrench Steinlage Event Technical Director, Vincent van der Wolf Event Technical Director, Rhea Roberson

Learn about career opportunities at TPAC.ORG/Careers.

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