The Seven Deadly Sins Kurt Weill & Bertolt Brecht
September 28 - October 6, 2017 Le Maison Rouge at Paris on Ponce
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WELCOME their experience as immigrants, deprived of their homeland, albeit one they no longer believed in. Their character, a split personality known as Anna I and Anna II, encounters each sin as she/they travel to seven states in the United States. I find this piece especially interesting as we perform it in America today. Following a period of vagabonding between various countries, the brilliant Weill spent his final years in the United States. His last chapter in America, a country built by immigrants, represented the idea that very few countries allowed immigrants from all over the world to find a real home within its borders. Being an immigrant in America myself, I find this idea very powerful.
photo: Jeff Roffman
The idea of the seven deadly sins goes back as far as the Greeks and Romans, and some even argue that it appears in the Bible in the book of Mishlei. It became obvious during the course of humanity that people were susceptible to the most desirous of obsessions that lead us away from holiness and toward evil. This vulnerability was especially prevalent in certain periods in history, and the time in which this opera was created represents one of these moments.
The Seven Deadly Sins was written during a very charged point in history. Composer Kurt Weill and librettist Bertolt Brecht fled Nazi-occupied Germany after realizing they had no place in a country flooded with racism and hate. Their composition was a satire that mocked capitalism and drew inspiration from
Our production is not just an opera, but a reality-blurring cabaret experience, paying homage to the glory days of the German cabaret that took Berlin by storm before World War II. The Seven Deadly Sins will be explored onstage, but where does the stage begin and the audience end? And what does it all mean to us today? I am certain that you will enjoy Weillâ&#x20AC;&#x2122;s brilliant music, in this unusual venue, in a new interpretation by groundbreaking director Brian Clowdus. Furthermore, I hope that this performance will provoke some thoughts and discussion about history, politics, and human nature. Isnâ&#x20AC;&#x2122;t this what theater is all about?
Tomer Zvulun General & Artistic Director The Atlanta Opera
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ACT I THE CABARET MUSIC Kurt Weill CABARET SELECTIONS INCLUDE
ALABAMA SONG .................................................................. lyrics by Bertolt Brecht MAHAGONNY I’M A STRANGER HERE MYSELF ........................................ lyrics by Ogden Nash ONE TOUCH OF VENUS JE NE T’AIME PAS .............................................................. lyrics by Maurice Magre LONELY HOUSE ................................................................lyrics by Langston Hughes STREET SCENE LOST IN THE STARS.......................................................lyrics by Maxwell Anderson LOST IN THE STARS MACK THE KNIFE ................................................................. lyrics by Bertolt Brecht THE THREEPENNY OPERA English lyrics by Marc Blitzstein PIRATE JENNY ....................................................................... lyrics by Bertolt Brecht THE THREEPENNY OPERA English lyrics by Marc Blitzstein SEPTEMBER SONG ........................................................lyrics by Maxwell Anderson KNICKERBOCKER HOLIDAY SPEAK LOW .............................................................................. lyrics by Ogden Nash ONE TOUCH OF VENUS STAY WELL .......................................................................lyrics by Maxwell Anderson LOST IN THE STARS THE TROUBLE WITH WOMEN ............................................ lyrics by Ogden Nash ONE TOUCH OF VENUS WHAT GOOD WOULD THE MOON BE?....................lyrics by Langston Hughes STREET SCENE YOUKALI .................................................................................. lyrics by Roger Fernay Music by Kurt Weill Used by arrangement with European American Music Corporation, agent for the Kurt Weill Foundation for Music, Inc.
ACT II THE SEVEN DEADLY SINS MUSIC Kurt Weill LIBRETTO Bertolt Brecht FIRST PERFORMANCE June 7, 1933, at the Théatre des Champs-Elysées, Paris THE SEVEN DEADLY SINS PROLOGUE .....................................................................................Anna I & Anna II NO. 1 SLOTH ................................................................................................... Family
NO. 2 PRIDE .................................................................................... Anna I & Family NO. 3 ANGER................................................................... Anna I, Anna II, & Family NO. 4 GLUTTONY .......................................................................................... Family
NO. 5 LUST ....................................................................... Anna I, Anna II, & Family NO. 6 COVETOUSNESS ............................................................................... Family
NO. 7 ENVY ..................................................................................... Anna I & Family EPILOGUE .......................................................................................Anna I & Anna II CONDUCTOR Rolando Salazar PRODUCTION DIRECTOR Brian Clowdus SCENIC DESIGNER Christopher S. Dills COSTUME DESIGNER Joanna Schmink CAST ANNA I Jennifer Larmore Sept. 28; Oct 1, 3, 5 ANNA I Gina Perregrino* Sept. 29, 30; Oct. 4, 6 ANNA II Meg Gillentine *member of The Atlanta Opera Studio
WIG & MAKEUP DESIGNER Lindsey Ewing LIGHTING DESIGNER Kevin Frazier CHOREOGRAPHER Meg Gillentine
CABARET/FATHER Nathan Munson CABARET/BROTHER Justin Stolz* CABARET/BROTHER Christopher Dunham* CABARET/MOTHER Calvin Griffin CABARET Bryn Holdsworth*
MUSICAL PREPARATION Clinton Smith INSTRUMENTALISTS PIANO Clinton Smith Musicians employed in this production are represented by the PIANO Rolando Salazar American Federation of Musicians PERCUSSION Michael Cebulski, Principal of the United States and Canada. CONTRACTOR Mark McConnell Additional funding in support of The Loraine P. Williams Orchestra Concertmaster Chair PRODUCTION STAGE MANAGER Brian August ASSISTANT STAGE MANAGER Renée Varnas Performed in English with English supertitles Entire evening approximate running time: 90 minutes plus one intermission THE SEVEN DEADLY SINS Music by Kurt Weill. Lyrics by Bertolt Brecht Ballet chanté in nine scenes Orchestral reduction for two pianos and percussion by John Greer English translation by W. H. Auden and Chester Kallman Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music GmbH & Co. KG, Mainz, Germany, publisher and copyright owner.
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The Antinori Foundation ADDITIONAL FUNDING FOR THE SEVEN DEADLY SINS PROVIDED BY
Mayor’s Office of Cultural Affairs
THE ATLANTA OPERA DIRECTOR’S CIRCLE Mr. & Mrs. Ronald R. Antinori Mr.* & Mrs. Carl W. Knobloch, Jr. Nancy & *Jim Bland Mary Ruth McDonald The Laura & Montague Boyd Foundation Peggy & Jack McDowell Dr. Harold Brody Mr. James B. Miller, Jr. John & Rosemary Brown Victoria & Howard Palefsky Mr. & Mrs. John L. Connolly Mr. William E. Penningtion Ann & Frank Critz Jerry & Dulcy Rosenberg Mr. Robert P. Dean & Robert Epstein Baker & Debby Smith Martha Thompson Dinos Mr. William F. Snyder Nancy & Holcombe Green Triska Drake & G. Kimbrough Taylor John L. Hammaker Rhys T. & Carolyn Wilson Mr. Howard Hunter Ms. Bunny Winter & Mr. Michael Doyle - Gramma Fisher Foundation Mr. & Mrs. Michael L Keough *deceased Major support for The Atlanta Opera is provided by the Mayor’s Office of Cultural Affairs. This program is also supported in part by the Georgia Council for the Arts through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency - the National Endowment for the Arts.
SYNOPSIS THE SEVEN DEADLY SINS
Anna I (who sings) and Anna II (who dances) are two facets of one personality. At the behest of her family, she/they travel to six American cities to make enough money to build a little house on the banks of the Mississippi. In each city, she/they encounter a different deadly sin, and Anna I (the practical side) rebukes Anna II (the artistic side) for engaging in sinful behavior — that is, behavior which hinders the accumulation of wealth. INTRODUCTION Anna I sets out the plot, explaining the relationship between herself and Anna II (“Actually, we’re not two persons, only one”) and their quest, and identifies the rest of the family: a mother, a father, and two brothers.
SLOTH Anna’s parents note that she has always been lazy but in other ways has been a dutiful child, while the brothers intone, “Idleness is mother of all vices.” The Family closes with a prayer that God will keep Anna on the path that leads to prosperity and happiness. PRIDE Anna I and Anna II are in Memphis. Anna II’s new clothes have made her conceited. When she takes a job as an exotic dancer, she tries to turn it into art, to the displeasure of the paying customers. Anna I scolds her for her pride and reminds her that she must do what is demanded of her. 11
SYNOPSIS THE SEVEN DEADLY SINS WRATH The Family notes with displeasure that the Annas have not been sending enough money. They are in Los Angeles, and things are going quite well until Anna II witnesses acts of cruelty and rebels against injustice. Then Anna I reminds her that such anger will make her unemployable and therefore useless, so she must set it aside. GLUTTONY The family has received a letter from the Annas, who are in Philadelphia. They are making good money, but Anna IIâ&#x20AC;&#x2122;s contract specifies that she may not gain any weight, even a gram. They recall that Anna II loves to eat and acknowledge her hardship but trust her to remember that a contract is a contract. LUST In Boston, Anna II has found a wealthy lover, but she prefers another man, who is poor. Anna I points out that the rich lover will not tolerate divided loyalty. Anna II rebels, but finally gives in reluctantly and renounces the poor lover.
COVETOUSNESS The Family learns that the Annas are in Baltimore. Men are committing suicide over Anna II, which will increase her earning power, but the Family fears she will get too greedy. They hope she will be moderate and not make herself too unpopular to earn money. ENVY From San Francisco, Anna I tells us that Anna II is worn out and envious of those who do not have to work hard. Anna I preaches of the need to renounce the pleasures of the world and promises a reward to come. The Family seconds her, saying that strict self-control is the path to glory. FINALETTO The Annas return to Louisiana after seven years. The house is complete, and they rejoin the Family.
Courtesy of the Kurt Weill Foundation for Music
The Atlanta Operaâ&#x20AC;&#x2122;s 2017 cabaret-style Maria de Buenos Aires presented at Le Maison Rouge photo: Jeff Roffman
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PRODUCTION PRODUCTION NOTE NOTE THE THE SEVEN SEVEN DEADLY DEADLY SINSSINS
Kurt WeillKurt Weill
Bertolt Brecht Bertolt Brecht
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Bundesarchiv, BildBundesarchiv, 183-W0409-300 Bild/183-W0409-300 Kolbe, Jörg / CC-BY-SA / Kolbe,3.0Jörg / CC-BY-SA 3.0
pressurepressure cooker of cooker opera,of opera, ENVY.ENVY. GLUTTONY. GLUTTONY. GREED. GREED.a creativea creative theater, theater, nightclubs, nightclubs, jazz, literature, jazz, literature, visual visual LUST.LUST. PRIDE. PRIDE. SLOTH. SLOTH. WRATH. WRATH.
art, andart, a heavy and adose heavy of political dose of political satire. satire. (American (American audiences audiences saw a bitsaw of this a bit of this Kurt Weill Kurtwas Weill a refugee was a refugee when hewhen wrotehe wrote world inworld the Broadway in the Broadway musical musical Cabaret.) Cabaret.) the scorethe to score The Seven to TheDeadly Seven Sins. Deadly Sins. In the Weimar’s In the Weimar’s twilighttwilight years, Weill years, Weill On March On 22, March 1933, 22,he1933, had dropped he had dropped partnered partnered with leftist withauthor leftist Bertolt author Bertolt everything everything and crossed and crossed into France into with France with Brecht to Brecht conjure to conjure a popular a popular entertainment entertainment his mistress his mistress and a small and suitcase. a small suitcase. that synthesized that synthesized the sophistication the sophistication of of A monthA earlier, month on earlier, Feb. on 18,Feb. crowds 18, crowds classicalclassical music, the music, soulthe of jazz, soul and of jazz, the and the streamedstreamed into theaters into theaters in the German in the German wallop of wallop a Marxist of a Marxist rally. Emblematic rally. Emblematic of of cities of cities Leipzig, of Leipzig, Magdeburg, Magdeburg, and and their sound theirwas sound the was husky thevoice husky ofvoice Weill’sof Weill’s Erfurt toErfurt see Der to see Silbersee, Der Silbersee, a new show a new showwife andwife muse, andLotte muse,Lenya. Lotte Lenya. by Weillbyand Weill playwright and playwright Georg Kaiser. Georg Kaiser. When Weill When leftWeill for France left forin France March in March Inside and Inside outside and outside the theaters, the theaters, the SA the SA 1933, he1933, was estranged he was estranged from both from Brecht both Brecht (paramilitaries) (paramilitaries) staged raucous staged raucous protests;protests; and Lenya and(he Lenya and (he Lenya anddivorced Lenya divorced later later they served theyatserved the pleasure at the pleasure of the newly of the newly that year). thatWeill year). received Weill received a warm awelcome, warm welcome, appointed appointed chancellor, chancellor, Adolph Adolph Hitler. Hitler. arriving arriving on the heels on the of heels acclaimed of acclaimed “The audience “The audience that night thatknew nightit knew was a it was aperformances performances in the French in the capital. French capital. historic historic occasion, occasion, the end the of something,” end of something,” British arts British patron artsEdward patron Edward James James says Weill saysbiographer Weill biographer Foster Hirsch. Foster Hirsch. immediately immediately put himput to work him to onwork The Seven on The Seven Weill was Weill the was son the of ason prominent of a prominent cantor cantor Deadly Sins, Deadly a new Sins,ballet a new forballet the great for the great at the synagogue at the synagogue in Dessau. in Dessau. His starHis rosestar rose Russian Russian choreographer choreographer George Balanchine. George Balanchine. during the during short-lived the short-lived WeimarWeimar Republic, Republic, Only two Only months two months passed between passed between their their 14 BY NOEL BY MORRIS NOEL MORRIS
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PRODUCTION NOTE THE SEVEN DEADLY SINS first meeting and the first performance of The Seven Deadly Sins — although those months were not without drama. Part of Weill’s genius lay in his ability to work within the cracks, whether bridging musical styles or art forms. Not shy about his standing in the cultural universe, the refugee composer negotiated to add to the effort a literary partner, one of “equal stature.” Billing The Seven Deadly Sins as a “ballet chanté” (a “sung ballet”), Weill offered the project to Jean Cocteau, who declined. James then pressured him to mend fences with Brecht. Weill called Brecht “one of the most repulsive, unpleasant characters on the face of the earth.” Brecht, also a refugee, scoffed at James’ “bourgeois” project but couldn’t bring himself to say no. He needed the money. So he joined Weill in Paris, giving the work 10 days of his life, and then returned to Switzerland. This was Brecht and Weill’s last collaboration. Lenya sang the premiere. The Seven Deadly Sins is a smart, ironic, and compact satire about a small-town girl who travels from city to city for a noble cause: to earn enough money as a dancer to build a home for her family. But this isn’t an allegory about smalltown values and big-city vice. This is a drama that rages within the human heart, whatever the circumstance. By splitting the principal character into two performers — Anna I and Anna II — Weill and Brecht give us a window into the young dancer’s inner dialogue. With each stop on her journey, she struggles with one of the seven sins, but Brecht’s book is far from unambiguous. The characters tend to commit one deadly sin to avoid another. In the movement labeled “Anger,” Anna I scolds Anna II: “If you take offence at injustice, Mister Big will show he’s 16
offended. If a curse or a blow can enrage you so, your usefulness here is ended.” In other words, Anna I justifies committing the sin of sloth (inaction) to avoid the sin of anger, although one senses that greed is her true mistress. “Think of our house in Louisiana! Look! It’s growing! More and more it needs you! Therefore curb your craving. ... Gluttons never go to heaven.” – Anna’s Family, The Seven Deadly Sins The story takes place in America. Over seven years, Anna travels from city to city as her family cackles about virtue, always with an eye on the money. The family’s presence is particularly oily, with music that pivots between church chorale and barbershop quartet. Notably, the mother’s voice is sung by the bass. W.H. Auden and Chester Kallman prepared the English translation of The Seven Deadly Sins. The original score features a soprano as Anna I, but the publisher offers an arrangement for a “low female voice.” This alternate version favored Lenya (although some argue she was outside her vocal range at the Paris premiere). In 1935, Weill and Lenya settled in the United States; they remarried the next year and, in 1943, Weill became a U.S. citizen. In 1947, when a Life magazine article referred to Weill as a “German composer,” he wrote to them: “I have a gentle beef about one of your phrases. Although I was born in Germany, I do not consider myself a ‘German composer.’ The Nazis obviously did not consider me as such either, and I left their country (an arrangement which suited both me and my rulers admirably) in 1933. I am an American citizen, and during my dozen years in this country I have composed exclusively for the American stage.”
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CASTCAST & CREATIVE & CREATIVE ROLANDO ROLANDO SALAZAR SALAZAR CONDUCTOR CONDUCTOR
ATLANTA ATLANTA OPERA OPERA DEBUT: DEBUT: LA TRAVIATA, LA TRAVIATA, 2013 2013 RolandoRolando Salazar isSalazar the Assistant is the Assistant Conductor, Conductor, Interim Interim Chorus Chorus Master, Master, and the and Music theAdministrator Music Administrator for The for Atlanta The Atlanta Opera. He Opera. has served He hasasserved as assistantassistant conductor conductor and pianist and at pianist the Bellingham at the Bellingham Festival Festival of Music, of Music, as assistant as assistant conductor conductor at La Musica at La Musica Lirica inLirica Novafeltria, in Novafeltria, Italy, and Italy, and as coach/conductor as coach/conductor for the Harrower for the Harrower Opera Workshop. Opera Workshop. He serves He serves as artistic as director artistic director and conductor and conductor of the Georgia of the Georgia Piedmont Piedmont Youth Youth Orchestra, Orchestra, while maintaining while maintaining a guest conducting a guest conducting schedule, schedule, most most recentlyrecently in performances in performances with thewith Georgia the Georgia State University State University Orchestra, Orchestra, Johns Creek JohnsSymphony Creek Symphony Orchestra, Orchestra, GeorgiaGeorgia State University State University Opera, Opera, and the and Ozark theFamily Ozark Opera. Family Mr. Opera. Salazar Mr. also Salazar keeps alsoankeeps activeancoaching active coaching and collaborative and collaborative piano schedule piano schedule in Atlanta, in Atlanta, preparing preparing numerous numerous singers for singers engagements for engagements with major withorchestras major orchestras and opera andhouses opera houses all over all theover world. theAworld. student A student of Michael of Michael Palmer, Palmer, he is a graduate he is a graduate of Georgia of Georgia State University State University with a Master with a of Master MusicofinMusic Orchestral in Orchestral Conducting Conducting and an Artist and anDiploma Artist Diploma in Orchestra in Orchestra and Opera. and Opera.
BRIAN BRIAN CLOWDUS CLOWDUS PRODUCTION PRODUCTION DIRECTOR DIRECTOR ATLANTA ATLANTA OPERA OPERA DEBUT DEBUT
FounderFounder and Executive/Artistic and Executive/Artistic DirectorDirector of Serenbe of Serenbe Playhouse, Playhouse, Brian Brian ClowdusClowdus is an actor, is aneducator, actor, educator, director,director, and producer. and producer. Brian received Brian received his his B.A. in Theatre B.A. in Theatre and Dance andfrom Dance Amherst from Amherst College College graduating graduating Magna Magna Cum Laude, Cum with Laude, highest with distinction highest distinction for his thesis for hiswork thesis and work holds and holds an M.F.A. an in M.F.A. Acting in from Acting The from University The University of SouthofCarolina. South Carolina. Brian is Brian is also the also CEO theand CEO Creative and Creative DirectorDirector of BrianofClowdus Brian Clowdus Experiences, Experiences, which iswhich takingishis taking environmental his environmental work allwork acrossallthe across country. the country. He He has performed/directed has performed/directed in Tokyo, in London, Tokyo, London, Canada,Canada, Central Central and and South America, South America, the Caribbean, the Caribbean, NYC, and NYC, LA.and He LA. has worked He has worked with with many major manytheaters major theaters and entertainment and entertainment companies: companies: The Shakespeare The Shakespeare Theatre Theatre Company, Company, SurflightSurflight Theatre,Theatre, ShawneeShawnee Playhouse, Playhouse, Park Avenue Park Avenue Theatricals, Theatricals, New Bedford New Bedford Festival Festival Theatre,Theatre, The British The American British American Drama Academy, Drama Academy, HollandHolland AmericaAmerica Cruise Lines, CruiseTokyo Lines,Disney, Tokyo Disney, The The DebaunDebaun Performing Performing Arts Center, Arts Center, New London New London Barn Playhouse, Barn Playhouse, The The LAB Theatre, LAB Theatre, Theatre Theatre South Carolina, South Carolina, Aurora Theatre, Aurora Theatre, Fabrefaction Fabrefaction Theatre Theatre Company, Company, Stage Door StagePlayers, Door Players, and of course, and of Serenbe course, Serenbe Playhouse. Playhouse. Brian won Brian thewon 2016the Suzi 2016 BassSuzi Award Bassfor Award Bestfor Director Best Director of a of a MusicalMusical for Missfor Saigon. Miss Saigon.
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CAST & CREATIVE JENNIFER LARMORE ANNA I
ATLANTA OPERA DEBUT: CINDERELLA, 2008 Jennifer Larmore began her carreer at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Berlin Deutsche Oper, Theater an der Wien, Staatsoper Wien, Teatro Colon, and London Covent Garden. Recently she added more dramatic roles with Lady Macbeth in Verdi’s Macbeth, which she performed in Geneva, Bologna, and Reggio Emilia; Kostelnička Buryjovka in Janacek’s Jenůfa at Berlin Deutsche Oper and the New National Theater, Tokyo; Gertrude in Thomas’ Hamlet at the Metropolitan Opera and La Monnaie Brussels, as well as the Countess Geshwitz in Berg’s Lulu performed at London Covent Garden, Paris Bastille, Amsterdam, Madrid, and Rome. In 1992, she was awarded the Chevalier des Arts et des Lettres by the French government for her contribution to music. Her discography of more than 100 CDs has garnered 11 Grammy nominations and two wins. Master classes are a passion of Miss Larmore, with classes this year in Atlanta, Luxembourg, Quebec, and London. Her international career includes symphonic works, and concerts with her quintet, OpusFive.
GINA PERREGRINO ANNA I
STUDIO ARTIST | ATLANTA OPERA DEBUT Praised by Opera News as a “standout,” young mezzo-soprano Gina Perregrino has already garnered attention nationwide for her colorful timbre and expressivity. Recent operatic debuts include two productions at Minnesota Opera, singing Stéphano in Roméo et Juliette and Clizia in L’arbore di Diana. She joined Guatemala’s Lyric Opera where she sang Maddalena in Rigoletto. Most recently, she performed the title role in Carmen at Central City Opera as an apprentice artist. Ms. Perregrino was a soloist with the Cincinnati May Festival as part of its Dream Project, which included Mendelssohn’s A Midsummer Night’s Dream and Vaughan Williams’ A Tribute to Music. Ms. Perregrino made her debut with Opera Theatre of Saint Louis singing Blindwoman in the world premiere of Shalimar the Clown. A graduate of Manhattan School of Music, she performed the leading role (Marquise de Merteuil) in Conrad Susa’s contemporary opera Dangerous Liaisons under the baton of George Manahan. She was a past grand prizewinner of the Metropolitan International Vocal Competition. She is a recipient of the Richard Gaddes Career Grant from Opera Theatre of Saint Louis and an Encouragement Award winner from the Metropolitan Opera National Council. 20
CAST & CREATIVE MEG GILLENTINE ANNA II ATLANTA OPERA DEBUT
Meg Gillentine is thrilled to be making her Atlanta Opera debut. She made her Broadway debut in Cats at the age of 19 playing Cassandra. Broadway credits include Fosse and The Frogs. She was a featured dancer in City Center Encores’ production of A Bed and a Chair: A New York Love Affair, with music by Stephen Sondheim, performed by Wynton Marsalis and the Jazz at Lincoln Center Orchestra, starring Bernadette Peters, Norm Lewis, Cyrille Aimee, and Jeremy Jordan. She was in the first national tour of The Producers with Jason Alexander and Martin Short. She can be seen on the PBS special of Fosse performing along side Ann Reinking and Ben Vereen. Regionally, she has played Lola in Damn Yankees at Arena Stage (Helen Hayes Award for Best Actress in a Musical), Cabaret as Sally Bowles (Helen Hayes nominated for Best Actress in a Musical), and Mother Courage and Her Children opposite Kathleen Turner as Yvette. Last summer, she made her opera debut at the Glimmerglass Festival in La Gazza Ladra (The Thieving Magpie) as the choreographer and playing the role of the Magpie. Atlanta theater credits: the Alliance Theatre world premiere of Bull Durham (Claudette/Reporter); Calendar Girls (Celia) at Georgia Ensemble; The Producers (Ulla) and Damn Yankees (Lola) at the Atlanta Lyric Theatre. She is married to operatic tenor Jay Hunter Morris.
NATHAN MUNSON CABARET / FATHER
ATLANTA OPERA DEBUT: LUCIA DI LAMMERMOOR, 2011 A native of Kalamazoo, Mich., Mr. Munson has been praised for his vocal beauty and has proven to be a versatile presence on the concert and operatic stage. Recent roles include Beppe in I pagliacci with both the Sarasota Opera and the Hawaii Opera Theatre. Also with HOT, he debuted as the tenor soloist in Carmina Burana, as Tom Snout in Britten’s A Midsummer Night’s Dream, and in performances of the Steersman in Wagner’s Der fliegende Holländer. He will return to Honolulu this fall to sing Remendado in Carmen. With The Atlanta Opera, he has performed the Camera Man in The Golden Ticket, Normanno in Lucia di Lammermoor, Rodolfo in La bohème (as a cover and in a touring production), and Emperor Altoum in Turandot. Other recent performances include Bastien in Bastien und Bastienne and Alberto in La Curandera with Opera Piccola San Antonio, Valére in Tartuffe with Capitol City Opera, El Dancaïre in Carmen with Opera North, and Dr. Baglioni in a world premiere revision of Daniel Catan’s La Hija di Rappaccini with the Illinois Opera Theater. Other roles include Roméo in Roméo et Juliette, Ferrando in Così fan tutte, Cassio in Verdi’s Otello, Laurie in Adamo’s Little Women, and Pedrillo in Die Entführung aus dem Serail. 21
CAST & CREATIVE JUSTIN STOLTZ CABARET / BROTHER STUDIO ARTIST | ATLANTA OPERA DEBUT
Praised for his “exceptionally emotional” (Ontario Arts Review) and “effortlessly powerful” voice (The Chronicle Journal), Canadian tenor Justin Stolz is establishing himself as an exciting young performer following his graduate studies under the tutelage of Timothy Noble at Indiana University. Upcoming roles with The Atlanta Opera include Der Steuermann in Wagner’s The Flying Dutchman, and Remendado in Bizet’s Carmen and Tamino in Mozart’s The Magic Flute for the company’s touring production. Mr. Stolz recently made his IU Opera and Ballet Theater debut as Don José in Carmen and performed the role of B.F. Pinkerton in the company’s production of Puccini’s Madama Butterfly. Highlights of past seasons include Mr. Owen in Argento’s Postcard From Morocco, Rodolfo in Puccini’s La bohème, and Don Ottavio in Mozart’s Don Giovanni. A recent recipient of the first prize in The S. Livingston Mather Competition of Cleveland, Ohio, Mr. Stolz began his vocal studies in his hometown of Thunder Bay, Ontario, under Mary McGhee, and is a graduate of The Glenn Gould School (The Royal Conservatory of Music), where he studied under Monica Whicher. Earlier engagements for 2017 included Britten’s Serenade at Indiana University, the tenor soloist in Mendelssohn’s Elijah with the Columbus Indiana Philharmonic Orchestra, and a reprisal of the role of Don José in the Brott Music Festival’s production of Carmen.
CHRISTOPHER DUNHAM CABARET / BROTHER STUDIO ARTIST | ATLANTA OPERA DEBUT
Christopher Dunham, a native of Niagara Falls, Ontario, has captivated audiences across Canada and as far as the Adriatic coast of Italy. A recent graduate from l’Atelier Lyrique de l’Opéra de Montréal his roles include Figaro in The Barber of Seville, Mercutio in Romeo et Juliette, Escamillo in Carmen, the title role in Don Giovanni, Eisenstein in Die Fledermaus, and Dandini in La Cenerentola. Christopher can be seen with Pacific Opera Victoria this season, singing Argante in Handel’s Rinaldo, and is thrilled to be joining The Atlanta Opera Studio young artist program.
CAST CAST&&CREATIVE CREATIVE CALVIN CALVINGRIFFIN GRIFFINCABARET CABARET/ /MOTHER MOTHER ATLANTA ATLANTAOPERA OPERADEBUT DEBUT
Calvin CalvinGriffin Griffinisisa anative nativeofofColumbus, Columbus,Ohio. Ohio.Mr. Mr.Griffin Griffinmade madehis hisdebut debut with withthe theFlorida FloridaGrand GrandOpera Operasinging singingEscamillo EscamilloininCarmen. Carmen.InInthe the201620161717season seasonheheperformed performedZaretsky ZaretskyininEugene EugeneOnegin, Onegin,Victor VictorininBefore BeforeNight Night Falls, Falls,and andSamuel SamuelininUn Unballo balloininmaschera. maschera.AsAsananArizona ArizonaOpera OperaStudio Studio artist artistheheperformed performedthe theroles rolesofofthe theCaptain CaptainininFlorencia FlorenciaenenelelAmazonas, Amazonas, Zuniga ZunigaininCarmen, Carmen,Pistola PistolaininFalstaff, Falstaff,Count CountCeprano CepranoininRigoletto, Rigoletto,Zaretsky Zaretsky ininEugene EugeneOnegin, Onegin,Speaker/Second Speaker/SecondArmored ArmoredMan ManininDie DieZauberflöte, Zauberflöte, Hortensius HortensiusininLaLafille filledudurégiment, régiment,Colline CollineininLaLabohème, bohème,and andDr. Dr.Grenville Grenville ininLaLatraviata. traviata.Last LastMarch, March,hehemade madehis hisOpera OperaColumbus Columbusdebut debutasasColline Colline ininLaLabohème. bohème.Most Mostrecently recentlyCalvin Calvinreturned returnedtotothe theGlimmerglass GlimmerglassFestival Festival totosing singElviro ElviroininXerxes, Xerxes,and andthe theUndertaker UndertakerininPorgy Porgyand andBess. Bess.Last Lastseason season atatGlimmerglass, Glimmerglass,hehesang sangthe therole roleofofFabrizio Fabrizioand andcovered coveredGottardo GottardoininLaLa gazza gazzaladra, ladra,and andcovered coveredthe thetitle titlerole roleininSweeney SweeneyTodd. Todd.This Thisseason seasonMr. Mr. Griffin Griffinmakes makesexciting excitingdebuts debutswith withOpera OperaBirmingham Birminghamsinging singingEscamillo Escamillo ininCarmen, Carmen,Opera Operaononthe theJames JamesasasLeporello LeporelloininDon DonGiovanni, Giovanni,and andOpera Opera Orlando Orlandosinging singingAlidoro AlidoroininLaLacenerentola, cenerentola,and andwill willalso alsoreturn returntotoArizona Arizona Opera Operatotosing singDr. Dr.Bartolo BartoloininIlIlbarbiere barbieredidiSiviglia. Siviglia.InInconcert concerthehesings sings Handel’s Handel’sMessiah Messiahwith withthe theRichmond RichmondSymphony Symphonyand andBach’s Bach’sMass MassininBB minor minorwith withGloria GloriaMusicae MusicaeininSarasota, Sarasota,Florida. Florida.
BRYN BRYNHOLDSWORTH HOLDSWORTHCABARET CABARET
SECOND SECONDYEAR YEARSTUDIO STUDIOARTIST ARTIST ATLANTA ATLANTAOPERA OPERADEBUT: DEBUT:SILENT SILENTNIGHT, NIGHT,2016 2016 Praised PraisedbybyThe TheNew NewYork YorkTimes Timesfor forher her“limpid-toned, “limpid-toned,articulate articulate soprano,” soprano,”Bryn BrynHoldsworth Holdsworthisisgarnering garneringattention attentionononstages stagesaround around the thecountry. country.This Thisseason seasonShe Shereturns returnstotoThe TheAtlanta AtlantaOpera Operafor fora asecond second year yearasasitsitsresident residentsoprano. soprano.She Shewill willsing singKrysia KrysiaininOut OutofofDarkness, Darkness, Marie Marie(cover) (cover)ininThe TheDaughter Daughterofofthe theRegiment, Regiment,and andPamina Paminaininthe the Atlanta AtlantaOpera OperaStudio StudioTour TourofofThe TheMagic MagicFlute. Flute.InInthe the2016-17 2016-17season season Ms. Ms.Holdsworth Holdsworthmade madeher herdebut debutwith withthe theAtlanta AtlantaOpera OperaStudio Studiowith with credits creditsincluding includingNorina NorinaininDon DonPasquale, Pasquale,Madeleine MadeleineininSilent SilentNight, Night, and andClorinda Clorindaininthe theStudio StudioTour TourofofCinderella. Cinderella.She Shemade madeher herLincoln Lincoln Center Centerdebut debutatatAlice AliceTully TullyHall Hallasasthe thesoprano sopranosoloist soloistininOrff’s Orff’sCarmina Carmina Burana Buranawith withthe theNew NewYork YorkCity CityMaster MasterChorale. Chorale.She Shealso alsoperformed performedasas soloist soloistfor forthe theOratorio OratorioSociety SocietyofofNew NewYork’s York’spresentation presentationofofMahler’s Mahler’s 8th 8thSymphony Symphonyunder underthe thebaton batonofofKent KentTritle. Tritle.Other Otheroperatic operaticcredits credits include includeAndromède AndromèdeininPersée PerséeetetAndromède, Andromède,Rachel RachelDowling DowlingininPatience Patience and andSarah, Sarah,Micaëla MicaëlaininLaLatragédie tragédiededeCarmen, Carmen,and andthe thetitle titlerole roleininLaLa Doriclea. Doriclea.Ms. Ms.Holdsworth’s Holdsworth’straining trainingincludes includesperforming performingwith withthe the International InternationalVocal VocalArts ArtsInstitute, Institute,the theInstitut InstitutCanadien Canadiend’Art d’ArtVocal, Vocal, and andMarilyn MarilynHorne’s Horne’sThe TheSong SongContinues ContinuesatatCarnegie CarnegieHall. Hall.AArecent recent graduate graduateofofManhattan ManhattanSchool SchoolofofMusic, Music,she shewas wasawarded awardedthe theprestigious prestigious Rodgers Rodgersand andHammerstein/Richard Hammerstein/RichardRodgers RodgersScholarship Scholarshipasaswell wellasasthe the ASCAP ASCAPFoundation FoundationFran FranMorgenstern MorgensternDavis DavisScholarship. Scholarship. 23 23
BOARD OF DIRECTORS OFFICERS CHAIR Ms. Cathy Callaway Adams IMMEDIATE PAST CHAIR Mr. William E. Tucker VICE CHAIR Mr. John L. Hammaker VICE CHAIR Mr. Rhys T. Wilson VICE CHAIR Mr. Charles “Charlie” R. Yates, Jr. TREASURER Mr. Robert Dean SECRETARY Mr. Michael E. Paulhus MEMBERS Mr. Bryan H. Barnes Mr. Dante Bellizzi Mr. Andy Berg Mr. Montague L. Boyd, IV Mrs. Rosemary Kopel Brown Ms. Mary Calhoun Mr. Mario Concha Dr. Frank A. Critz Ms. Martha Thompson Dinos Mr. Robert G. Edge
Mr. Dieter Elsner Dr. Donald J. Filip Mr. Kevin Greiner Mrs. Joanne Chesler Gross Mr. Howard W. Hunter Mr. William C. Hyde Mr. Gregory F. Johnson Mr. Kevin Kelly Mr. Alfred Kennedy, Jr. Mr. Michael Keough
HONORARY MEMBERS Mrs. Nancy Carter Bland The Very Reverend Samuel G. Candler Mr. Carl I. Gable, Jr. Mrs. Nancy Hall Green Mrs. Mary B. James Mr. Carter Joseph Mrs. Emily Knobloch
Mr. Andrew Long Mr. James B. Miller Mr. William E. Pennington Mr. Herbert J. Rosenberg Mr. Charles Sharbaugh Mr. Timothy E. Sheehan Ms. Christine St.Clare Mr. G. Kimbrough Taylor, Jr. Ms. Bunny Winter Mr. Allen W. Yee
Mr. George W. Levert Mrs. Peggy McDowell Mr. Harmon “Sandy” B. Miller, III Mr. J. Barry Schrenk Mr. Mark K. Taylor Mr. Thomas R. Williams Mr. Robert G. Woodward
REMEMBRANCES As we pause to reflect on the loss of several important members of the Opera family, we invite you to join us in celebrating these extraordinary individuals. Mrs. Boyce L. Ansley Dr. James W. Bland, Jr. Mr. Donald R. & Mrs. Marilyn Keough Mr. Carl Knobloch, Jr. Ms. Barbara D. Stewart Mrs. Eleanor H. Strain Ms. Jane S. Willson Mrs. Loraine P. Williams 24
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Tomer Zvulun CEO, GENERAL & ARTISTIC DIRECTOR Laina Bennett EXECUTIVE ASSISTANT TO THE GENERAL & ARTISTIC DIRECTOR
Arthur Fagen CARL & SALLY GABLE MUSIC DIRECTOR Lauren Bailey DIRECTOR OF ARTISTIC ADMINISTRATION Jessica Kiger AUDIENCE DEVELOPMENT & EDUCATION MANAGER Rolando Salazar ASSISTANT CONDUCTOR/INTERIM CHORUS MASTER/ MUSIC ADMINISTRATOR Wade Thomas ARTISTIC SERVICES & STUDIO MANAGER Mark McConnell ORCHESTRA PERSONNEL MANAGER
Dave Smith DIRECTOR OF PRODUCTION Joanna Schmink COSTUMES COORDINATOR Brian August PRODUCTION STAGE MANAGER Christopher Dills RESIDENT SCENIC DESIGNER/PROPS MASTER RenÃ©e Varnas RESIDENT ASSISTANT STAGE MANAGER Justin Michel LIGHTING SUPERVISOR Jody Cohen PRODUCTION COORDINATOR Mary Torres FIRST HAND Elizabeth Payne STITCHER Alexandra Nattrass STITCHER Abigail Polston CUTTER/DRAPER
FINANCE & ADMINISTRATION
Micah Fortson MANAGING DIRECTOR Rachel Jorgensen DIRECTOR OF BUSINESS OPERATIONS Inga V. Murro CONTROLLER Ruth Strickland ADMINISTRATIVE & FINANCE COORDINATOR
Rae Weimer DIRECTOR OF DEVELOPMENT Daniel Britt MAJOR GIFTS OFFICER Greg Carraway FOUNDATION & GRANTS MANAGER James Tyson ANNUAL FUND MANAGER Brandon Gardner PROJECT & EVENTS MANAGER Katie Lawrence DEVELOPMENT SERVICES & DATABASE MANAGER
MARKETING & COMMUNICATIONS
Holly Hanchey DIRECTOR OF MARKETING Scott Hazleton DIRECTOR OF MEDIA & COMMUNICATIONS Renee Smiley TICKETING & PATRON SERVICES MANAGER Matt Burkhalter CREATIVE SERVICES MANAGER Rebecca Danis MARKETING MANAGER 26
THE ENCORE ATLANTA ENCORE PAGE
ARE YOU LOOKING FOR A GREAT NIGHT OUT? Try one of these great Cobb County restaurants before or after the show. For dinner-and-show packages, please visit encoreatlanta.com/ offers.
PACES & VINECANOE VIA INSTAGRAM
AMERICAN CANOE This 2005 Restaurant News’ Fine Dining Hall of Famer (yes, there is one) is tucked along the banks of the Chattahoochee River. Award-winning Aussie native Executive Chef Matthew Basford’s commitment to serving fresh, seasonal ingredients marries well with the rich tradition of Canoe. Alongside Southern favorites such as pork chops and wood-roasted chicken you’ll find both freshand saltwater fish (and bivalves), plus beef and duck. He’s even worked kangaroo into the menu. Lunch, dinner, Sunday brunch. 4199 Paces Ferry Road, SE, 770-432-2663, canoeatl.com. PACES & VINE — Located in The Vinings Jubilee with classic American comfort food crafted from locally sourced ingredients. Shared plates, fish, steaks. Wine-centric bar with craft cocktails. Weekday lunch, weekend brunch and dinner menus led by Atlanta Chef Kyle Schmidt who comes to Paces & Vine after eight years in Atlanta kitchens King and Duke, JCT Kitchen and No. 246, among others. Lunch, dinner, Saturday and Sunday brunch. Vinings Jubilee, 4300 Paces Ferry Road, 404.205.8255, pacesandvine.com
The truffle mac-and-cheese at Paces & Vine is a don’t-miss kinda dish. Seriously.
SOHO — American-style bistro offers fish and seafood, beef, game and poultry, with gluten-free lunch and dinner options, plus their specially-priced Cobb Energy Centre theater menu will get you in and out with plenty of time to make the performance; just show your tickets to your server. Different weekly “wine and tapas” flights debut each Wednesday night. Lunch, dinner (both have gluten-free options) plus their All-American
THE ENCORE ATLANTA [COBB COUNTY] DINING GUIDE MEXICAN CINCO – Authentic, Latin-infused Mexican cuisine served in a setting that is designed to put a contemporary twist on Mexico’s culture. Unique menu offers an upscale variety of items that are carefully prepared from scratch, using only the finest ingredients. Fire-roasted salsa is made fresh several times a day and our signature guacamole is always made to order. Wide selection of tequilas from moderately priced to, well — check out their $100 margarita, “perfect for any occasion,” they say. 2851 Akers Mill Rd SE, 770-952-5550, cincorestaurants.com
SOHO’s Painted Hills short rib tacos, black pepper mustard, caramelized onions, cilantro sauce in potato shell.
Sunday dinner: a lobster boil. Order ahead to ensure availability, Vinings Jubilee, 4300 Paces Ferry Road, 770.801.0069, sohoatlanta.com.
SOUTHERN SOUTH CITY KITCHEN — With a stylish, Southern-contemporary menu, this DiRoNA restaurant helped make grits hip for the business crowd. Signatures like buttermilk fried chicken and creamy banana pudding share the spotlight with seasonal dishes served exclusively in this Vinings spot (Buckhead and Midtown locations won’t have ‘em), an extensive beer selection, and adventurous wine and cocktail lists. 1675 Cumberland Parkway, 770.435.0700, southcitykitchen.com.
ITALIAN CRISPINA — Neapolitan style ristorante and pizzeria in Vinings. Pizza dough is naturally leavened, never frozen, and pastas are made freshly daily. 3300 Cobb Parkway SE, Unit 208, 678-426-7149, crispinaatlanta.com. RIGHT: SOUTH CITY KITCHEN VININGS’ Shrimp and Red Mule Grits with tasso ham and smoked tomato-poblano gravy can be prepared glutenfree, as can many other items on the menu.
MARK F BAXTER, FIFTH GROUP
CREOLE/CAJUN COPELAND’S OF NEW ORLEANS — Bayou fare, plus steak, chicken, pasta and sandwiches. Fresh desserts and pastries from the Cheesecake Bakery. Live Jazz Sunday brunch buffet. A favorite gathering spot for Saints fans. Libations include the “Pontchartrain Beach” martini. Lunch, brunch, dinner. Takeout available. 3101 Cobb Parkway, 770.612.3311, copelandsatlanta.com.
ARTFULLY YOURS Whether itâ&#x20AC;&#x2122;s music from the movies or the classical masters with the LaGrange Symphony Orchestra, a classic ballet at the Lafayette Society for the Performing Arts, or your favorite Broadway-style production onstage at LaGrange Collegeâ&#x20AC;&#x2122;s Price Theatre, you can enjoy a full season of performing arts in our community. Just a short drive from Atlanta, visit LaGrange where you can escape the humdrum of everyday life. Plan your journey our way at
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