Hubbard Street’s Season 38 Fall Series

Glenn Edgerton, Artistic Director

FALL SERIES OCTOBER 15–18

An Evening of Work by William Forsythe N.N.N.N. PREMIERE U.S. PRODUCTION Quintett One Flat Thing, reproduced HUBBARD STREET PREMIERE This publication sponsored by

Thank you to our Season 38 Sponsors Official Provider of Physical Therapy

Official Health Club

Hubbard Street Dancer Jason Hortin in A Picture of You Falling by Crystal Pite. Photo by Todd Rosenberg. hubbardstreetdance.com

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A letter from Glenn Edgerton, Artistic Director The opportunity to present a full evening of William Forsythe’s work, opening our 38th season, is a timely one. This fall, he began teaching at the University of Southern California’s new Glorya Kaufman School of Dance, with which we will partner throughout the coming year, and where we will launch an annual Summer Intensive residency starting in 2016. Forsythe is also returning this season as associate choreographer to the Paris Opéra Ballet, which premiered some of his most enduring and popular works. This celebration of Forsythe, his prolific career, and these new endeavors is truly warranted.

Work began in earnest on Hubbard Street’s first all-Forsythe program three years ago, but it was much earlier that my interest was sparked in these particular choreographic projects. I first saw N.N.N.N. during its initial run in 2002, and I am thrilled that we have now brought it into our repertoire, digging into the process of rebuilding it with an expert team, moment by moment, gesture by gesture.

I will also never forget the impact made by my first viewing of One Flat Thing, reproduced, during a performance by Ballett Frankfurt under Forsythe’s direction. Over the past month, as I have watched our company of dancers learn this incredible creation, my fascination with it has only grown more in depth and intensity.

Rather than choreography structured in direct relation to the music, these works are “glued together” by the dancers themselves, by their full participation in countless split-second decisions. Every intricate action they take must wait for another dancer’s cue, a specific signal sent across the stage telling them it’s time for the next response — which, once taken, triggers another dancer’s reaction, time and again. Each movement in these dances is just one component interconnected in conversation with all of the others. These pieces begin, they happen exactly once — uniquely — and then they end.

Although Quintett is an earlier work of Forsythe’s, originally shown in 1993, it shares many qualities with the other two. The sense of camaraderie and dependency it requires of the five dancers who perform it, the bonds it forges between them, speaks to Forsythe’s sense of humanity and the great trust he offers to his collaborators. I am deeply moved and proud of our dancers, seeing how they have grown since we first presented Quintett three years ago. It is a work whose richness and rewards develop further with each performance.

This program expresses the significance of Forsythe’s work in dance. It shows various facets from his decades of choreography, transmitted through the personalities and talents of our dancers, who have been transformed through our recent immersion within his ideals. Please enjoy.

Warmly,

Glenn Edgerton Artistic Director Hubbard Street Dance Chicago Left: Staging Artist and original cast member Cyril Baldy rehearses N.N.N.N. by William Forsythe with Hubbard Street Dancers Jeffery Duffy, left, and Andrew Murdock, foreground. Above: Hubbard Street Artistic Director Glenn Edgerton.

Cover: Hubbard Street Dancers Florian Lochner and Ana Lopez. Photos by Todd Rosenberg. hubbardstreetdance.com

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Glenn Edgerton Artistic Director

Jason D. Palmquist Executive Director

Lou Conte Founder

Terence Marling Director, Hubbard Street 2

Lucas Crandall Rehearsal Director

Karena Fiorenza Ingersoll General Manager

Alejandro Cerrudo Resident Choreographer

Claire Bataille Director, Lou Conte Dance Studio

Kathryn Humphreys Director of Youth, Education and Community Programs

Suzanne Appel Director of External Affairs

Ishanee DeVas Company Manager

Jason Brown Director of Production Stephanie Vera Production Associate

Rebecca M. Shouse Wardrobe Supervisor

Kilroy G. Kundalini Audio Engineer

Stephan Panek Head Carpenter and Stage Operations

Sam Begich Master Electrician

Julie E. Ballard Stage Manager and Properties Master Marisa C. Santiago Manager of Artistic Operations

Season Sponsors

Season Media Sponsor

Season Radio Sponsor

Series Sponsors

This series is sponsored by the Harris Theater for Music and Dance, with support from Sandy and Jack Guthman through the Imagine campaign.

Jay Franke and David Herro Lead Individual Sponsors

The Elizabeth F. Cheney Foundation Lead Foundation Sponsor

This project is partially supported by a grant from the Illinois Arts Council Agency.

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Fall Series 2015

Thank you to our Fall Series Sponsors

This series is sponsored by the Harris Theater for Music and Dance, with support from Sandy and Jack Guthman through the Imagine campaign.

Jay Franke and David Herro Lead Individual Sponsors

The Elizabeth F. Cheney Foundation Lead Foundation Sponsor

Thank you to the “Friends of Forsythe” who made this performance series possible!

Sara Albrecht Pam Crutchfield Patti Eylar and Charles Gardner Richard L. Rodes

Allan and Ellen Drebin Lois and Steve Eisen Trish and Harp Harper Thomas J. O’Keefe

Staging Artist Amancio Gonzalez rehearses N.N.N.N. by William Forsythe with Hubbard Street Dancers, from left: Jacqueline Burnett, Ana Lopez, and Alicia Delgadillo. Photo by Todd Rosenberg. hubbardstreetdance.com

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N.N.N.N.

PREMIERE U.S. PRODUCTION

William Forsythe, Choreography; Costume, Lighting and Stage Design Thom Willems, Music Tanja Rühl, Technical Consultant Cyril Baldy, Amancio Gonzalez, Staging N.N.N.N. appears as a mind in four parts, four dancers in a state of constant, tacit connection.

Underscored by the sudden murmured flashes of Thom Willems’ music, these dancers enter into a complex, intense inscription. Their arms, heads, bodies and legs become singular voices, each tuned and in counterpoint to the other. These performers write out a text of the voice of the body, slowly, then more and more rapidly, coalescing over and over into a linked entity of flinging arms, folding joints and a sharp, high sense of time. Hubbard Street is honored to be the first U.S. dance company to perform William Forsythe’s N.N.N.N., restaged by original cast members Cyril Baldy and Amancio Gonzalez in fall 2015.

Created for and premiered by Ballett Frankfurt November 21, 2002 at the Opernhaus, Frankfurt am Main, Germany.

First performed by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, October 15, 2015. Original score by Thom Willems. Used by permission of Thom Willems. Hubbard Street’s acquisition of N.N.N.N. is sponsored by the Harris Theater for Music and Dance, with support from Sandy and Jack Guthman through the Imagine campaign.

Lead Individual Sponsors of this series are Jay Franke and David Herro. Additional support is provided by Individual Sponsors Sara Albrecht, Pam Crutchfield, Patti Eylar and Charles Gardner, and Richard L. Rodes. The Elizabeth F. Cheney Foundation is the Lead Foundation Sponsor of the Season 38 Fall Series.

INTERMISSION Hubbard Street Dancer David Schultz in Quintett by William Forsythe. Photo by Todd Rosenberg.

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Fall Series 2015

Quintett William Forsythe, Choreography, in collaboration with Dana Caspersen, Stephen Galloway, Jacopo Godani, Thomas McManus and Jone San Martin Gavin Bryars, Music Stephen Galloway, Costume Design William Forsythe, Lighting Design Tanja Rühl, Technical Consultant Thomas McManus, Staging Hubbard Street was honored to be the first U.S. dance company to perform William Forsythe’s Quintett. Original cast members Thomas McManus, Dana Caspersen and Stephen Galloway restaged Forsythe’s landmark 1993 choreography in Hubbard Street’s Chicago studios in 2012.

Quintett’s seamless progression of solos, duets and trios for five dancers runs in concert with — and counter to — themes of loss, hope, fear and joy heard in Gavin Bryars’ orchestral composition from 1971, “Jesus’ Blood Never Failed Me Yet.” Exemplary of the many works created by Forsythe as artistic director of Germany’s Ballett Frankfurt from 1984 to 2004, Quintett explores the strictures of classical ballet by testing their resilience to manipulation, torsion and fragmentation.

Created for and premiered by Ballett Frankfurt October 9, 1993 at the Opernhaus, Frankfurt am Main, Germany. First performed by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, May 31, 2012. Technical support provided by the Harris Theater for Music and Dance. Music by Gavin Bryars: “Jesus’ Blood Never Failed Me Yet,” as recorded by Schott Music GmbH & Co. KG, Mainz. Quintett is sponsored by Meg and Tim Callahan, Denise Stefan Ginascol and John Ginascol, Sarah J. Nolan and Randy and Lisa White. The Julius N. Frankel Foundation is the Lead Foundation Sponsor of Quintett.

INTERMISSION

One Flat Thing, reproduced HUBBARD STREET PREMIERE William Forsythe, Choreography, Lighting and Stage Design Thom Willems, Music Stephen Galloway, Costume Design Tanja Rühl, Technical Consultant Ayman Aaron Harper, Cyril Baldy, Amancio Gonzalez, Mario Alberto Zambrano, Staging One Flat Thing, reproduced begins with a roar: Twenty tables, like jagged rafts of ice, fly forward and become the surface, the underground and the sky inhabited by a ferocious flight of dancers.

This pack of bodies rages with alacrity, whipping razor-like in perilous waves. Its score, by composer and longtime Forsythe collaborator Thom Willems, begins quietly before becoming a gale, gathering sonic force as the dancers’ bodies produce a voracious and detailed storm of movement.

Created for and premiered by Ballett Frankfurt February 2, 2000 at Bockenheimer Depot, Frankfurt am Main, Germany.

First performed by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, October 15, 2015. Original music by Thom Willems. Used by permission of Thom Willems. Hubbard Street’s acquisition of One Flat Thing, reproduced is sponsored by the Harris Theater for Music and Dance, with support from Sandy and Jack Guthman through the Imagine campaign. Lead Individual Sponsors of this series are Jay Franke and David Herro. Additional support is provided by Individual Sponsors Sara Albrecht, Pam Crutchfield, Patti Eylar and Charles Gardner, and Richard L. Rodes. The Elizabeth F. Cheney Foundation is the Lead Foundation Sponsor of the Season 38 Fall Series.

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Hubbard Street Staff and Board Administration Karena Fiorenza Ingersoll General Manager Colleen Sonnefeldt Senior Manager of Finance and Administration Krista Ellensohn Manager, Pre-Professional Programs Meredith Dincolo Artistic Associate and Coordinator, Pre-Professional Programs Marisa C. Santiago Manager of Artistic Operations and Company Manager, Hubbard Street 2 Jessica Lotz Accounting and Operations Coordinator LaMar Brown Jasmine Carrig Artistic Administration Interns Joey Gasso Erin Harner Alaya Turnbough LCDS Interns External Affairs Suzanne Appel Director of External Affairs Kalena Chevalier Associate Director of Development Ronia Holmes Associate Director of Marketing Allan Waite Manager of Ticketing and Patron Services Zachary Whittenburg Manager of Communication Jose E. Gaona Corporate and Foundation Relations Coordinator Victoria Palmer Marketing Coordinator Meghan Pioli Development Coordinator Sidney Cristol Advertising, Sales and Ticketing Emma Speiser Danielle Luetkehans Development Interns Alexander Halstead Video Production Intern

Youth, Education and Community Programs Kathryn Humphreys Director of Youth, Education and Community Programs Sarah McCarty Senior Manager of School Partnerships

Fall Series 2015

Ellis Regenbogen+, Immediate Past Chair Marge Collens+, VP Development Caryn Jacobs, Assistant VP Development

Kelsey Allison Youth Programs Manager

Katherine V. Schostok, Assistant VP Development

Michelle Modrzejewski Community Programs Manager

Meg Siegler Callahan+, VP Board Development

Jennifer Gunter Youth Programs Coordinator

Marc Miller+, VP Artist Training Continuum

Kristen Rybicki Education Coordinator

Richard F. Tomlinson II, VP Facilities

Production Staff Jason Brown Director of Production

Ross B. Bricker Joel Cory Dirk Denison Michael Downing Allan Drebin Paul Gignilliat Linda Hutson Karen H. Lennon+ Betsy Stelle Morgan Maureen Mosh Sarah J. Nolan Sheila Owens Byron Pollock++ Alyssa Rapp Lauren Robishaw Kelly Royer Mary Kay Shaw Denise Stefan-Ginascol++ Deborah Stonebraker Randy White+

Ishanee DeVas Company Manager Stephanie Vera Production Associate Julie E. Ballard Stage Manager and Properties Master Kilroy G. Kundalini Audio Engineer Stephan Panek Head Carpenter and Stage Operations Sam Begich Master Electrician Wardrobe Staff Rebecca M. Shouse Wardrobe Supervisor Constance Thome Rachel Winborn Drapers Nancy Brundage Sidman First Hand Eli Hunstand Stitchers Jenni Schwaner Ladd Touring Wardrobe Bethany Sassen Wardrobe Intern Board of Directors Mayor Rahm Emanuel Honorary Chair

Life Directors John W. Ballantine+ Corinne Brophy Edythe R. Cloonan++ Sondra Berman Epstein+ Stanley M. Freehling Charles R. Gardner Sandra P. Guthman+ James Mabie++ James F. Oates+ Marie E. O’Connor++ Timothy Schwertfeger++ Jack D. Tovin Sallyan Windt William N. Wood Prince+ + Past Board Chair ++ Past Board President

Sara Albrecht++, Chair

Program Book Ronia Holmes Zachary Whittenburg Editors

Richard L. Rodes, President and Treasurer

Peggy Fink, Designer Sidney Cristol, Advertising Sales

Camille E. Rudge, Secretary

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John E. Vazquez, Assistant Treasurer

Q&A with Ayman Aaron Harper, Forsythe Staging Artist and founding member of Hubbard Street 2 Tell us about your first visit to Chicago.

I finished school a year early and came to Chicago for the first time at the end of 1996. I was performing in the city and decided to visit the Lou Conte Dance Studio, to take a class, which Julie Nakagawa Böttcher watched. She asked me, “What’s going on with you? What’s your story? How old are you?” and she called [Hubbard Street founder] Lou Conte. The two of them were in the process of starting a trainee program here — which became what we know now as Hubbard Street 2 — they invited me to join, and I did.

There were just four of us and we took a lot of classes, in addition to work-study tasks like cleaning studio mirrors, [Laughs] and we did a lot of outreach with students, here in Chicago, which was quite an awesome experience, actually. It’s been great, being back here, to see how that program has developed. How many dancers are in Hubbard Street 2 now?

Six, plus two HS2 Apprentices.

I think that’s wonderful, and some of them have been present in our rehearsals for this Forsythe program, and the work they’re doing is fantastic.

Hubbard Street 2 Dancer Elliot Hammans, main company member Jesse Bechard, and Staging Artist Ayman Aaron Harper rehearse One Flat Thing, reproduced by William Forsythe. Photo by Todd Rosenberg.

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When did you begin working with Forsythe?

I joined his company in 2001, when it was still Ballett Frankfurt, and stayed for three years until The Forsythe Company began, at which point we went from something like 38 dancers, down to 14. It was a strange time.

We’re fortunate to have Forsythe himself, as well as quite a few of his colleagues, here in Chicago to stage this program. Can you explain who has been working on what?

Sure, so, the original cast of N.N.N.N. in 2002 was Cyril Baldy and Amancio Gonzalez, who are both here, plus Georg Reischl and Ander Zabala. I was in a second cast, performing Cyril’s role, with two other men and one woman. And then we have another former Hubbard Street dancer here, Mario Zambrano, helping with One Flat Thing, reproduced, which Cyril and Amancio also danced, so I’ve brought all three of them in to help me with that piece, since it’s quite a…complicated monster. [Laughs] Thomas McManus, who’s an original cast member for Quintett, was here before and he’s returned to work on restaging that piece. And then of course Bill is overseeing everything.

What was the first step of the staging process?

We started by workshopping some of the ideas in these pieces with the dancers, giving them improvisational tasks, just to get a sense of who these characters we had in the room were, which qualities they were bringing to the table, so to speak, which ideas they were connecting to, how they had situated themselves in their bodies, and how they were responding to the work.

What did you notice?

Everyone was super engaged — I really could feel how excited everyone was to begin work on this program, which was great energy to walk into, this sense of their eagerness to dig right in. I noticed that they were great working as a team, and how much they wanted to experience these things together. These dancers are very aware of themselves, not just individually, but as a group. Their skill at unison — which is so…innate: We’ve almost had to work against that, in order to serve what these pieces require. Anyone’s movement material is absolutely interdependent with everyone else’s, just not in that particular way of unison. Each role carries a lot of individual responsibility. Bill used to say, “You should see yourself as a conductor as well as part of the orchestra.”

What unique challenges or rewards are presented by staging Forsythe’s work?

In the teaching stage, I would say, those come from encouraging an environment in which everyone can take a proactive stance toward learning the work, so that in the learning, it has as much as possible that feel of creating — of creation — as opposed to the dancers feeling like their roles are to think, “I go here, and then I go there, and then I do that.

That’s my role.” In a piece like One Flat Thing, reproduced, the dancers have to take initiative in order to set the right tone for the work and, unfortunately, a lot of dancers get used to just being told what to do. Rather than being “choreographically motivated,” you might say, work like this really has to be functional.

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How does one succeed in creating that environment?

So, One Flat Thing, reproduced was inspired in part by the Robert Scott expeditions [to the South Pole] and I think particularly the question of whether they were a failure, or a success. This is a strong theme in the work, along with the theme, simply, of doing work; it was made during a time when Bill was really starting to name, to define, his methods of improvisation. The tables, it was suggested at one point, could be thought of as icebergs, as in, “Your approach to every decision puts you between life and death. Where exactly you put your hand is important, because, if it’s half an inch too far to the left, or to the right, that means failure, and failure means death.” Which generates a real sense of urgency, of accuracy, of precision. At one point we were asked to imagine our legs being frostbitten, which demanded we take much more weight into our upper bodies, and really push against these tables — these “icebergs” — with our hands and arms, which takes a lot of strength. The tables are obstacles, and so challenging to work with. Your tables are fantastic, actually — their edges are much softer, much rounder. We just got all sorts of bruises and little injuries from our tables, which had incredibly sharp edges. [Laughs] It was a rite of passage.

How different does it feel to be a dancer inside “the world of N.N.N.N.,” versus One Flat Thing, reproduced?

I should first clarify that I was not part of the process of creating N.N.N.N. as Amancio and Cyril were. In fact, I might have been back here at Hubbard Street, choreographing for Hubbard Street 2; I jumped into that quartet after I got back to Germany. That piece, which is more of a study, is so, so challenging in that you’re working directly with the weight of your limbs, as well as the weight of the limbs of the other dancers, in both active and passive ways, which you are asked to switch on and off, constantly. In one moment you have to give your weight to another dancer, let them feel it and manipulate it — let them literally move your body for you — and then be the leader, be the active person, bringing manipulation to someone else. Sometimes you’re doing both simultaneously, with different parts of the body, which can get your brain all kinds of tangled up. [Laughs] In order for N.N.N.N. to work, you really have to conceive of yourself as an instrument, making movement and making sound; for me, the experience came close at times to synesthesia, actually. It’s not really an aesthetic piece. Ideally you’re not “showing” anything. It’s more experiential, about doing things authentically, so that those experiences can be seen for what they are.

Which of those roles comes more naturally to you? Conductor-manipulator, or being the person who’s acted upon?

Oh, conductor-manipulator, for sure. [Laughs] It was very challenging to find the true mechanics of release, relaxation, and swing.

Hubbard Street alumnus Mario Zambrano, foreground, rehearses One Flat Thing, reproduced by William Forsythe with, from left, Ayman Aaron Harper, Hubbard Street 2 Dancer Adrienne Lipson, and main company member Alice Klock. Photo by Todd Rosenberg. hubbardstreetdance.com

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William Forsythe Raised in New York and initially trained in Florida with Nolan Dingman and Christa Long, William Forsythe danced with the Joffrey Ballet and later the Stuttgart Ballet, where he was appointed Resident Choreographer in 1976.

Over the next seven years, he created new works for the Stuttgart ensemble and ballet companies in Munich, the Hague, London, Basel, Berlin, Frankfurt am Main, Paris, New York and San Francisco. In 1984, he began a 20-year tenure as director of Ballett Frankfurt, where he created works such as Artifact (1984), Impressing the Czar (1988), Limb’s Theorem (1990), The Loss of Small Detail (1991, in collaboration with composer Thom Willems and designer Issey Miyake), A L I E / N A (C) T I O N (1992), Eidos:Telos (1995), Endless House (1999), Kammer/Kammer (2000) and Decreation (2003).

After the closure of Ballett Frankfurt in 2004, Forsythe established a new, more independent ensemble.

The Forsythe Company, founded with the support of the German states of Saxony and Hesse, the cities of Dresden and Frankfurt am Main, and private sponsors, is based in Dresden and Frankfurt am Main and maintains an extensive, international touring schedule. Works produced by the new ensemble include Three Atmospheric Studies (2005), You made me a monster (2005), Human Writes (2005), Heterotopia (2006), The Defenders (2007), Yes we can’t (2008–10), I don’t believe in outer space (2008), The Returns (2009) and Sider (2011). Forsythe’s most recent works are developed and performed exclusively by The Forsythe Company, while his earlier pieces are prominently featured in the repertoires of virtually every major ballet company in the world, including the Mariinsky Ballet, New York City Ballet, San Francisco Ballet, the National Ballet of Canada, London’s Royal Ballet and the Paris Opéra Ballet.

Awards received by Forsythe and his ensembles include four New York Dance and Performance “Bessie” Awards (1988, 1998, 2004, 2007) and three Laurence Olivier Awards in the U.K. (1992, 1999, 2009). Forsythe has been conveyed the title of Commandeur des Arts et Lettres (1999) by the government of France and has received the German Distinguished Service Cross (1997), the Wexner Prize (2002) the Golden Lion of the Venice Biennale (2010), the Samuel H. Scripps / American Dance Festival Award for Lifetime Achievement (2012) and the Swedish Carina Ari Medal (2014).

Forsythe has been commissioned to produce architectural and performance installations by architect-artist Daniel Libeskind (Groningen, 1989), ARTANGEL (London, 1997), Creative Time (New York, 2005), and the SKD–Staatliche Kunstsammlungen Dresden (2013 and 2014). These “Choreographic Objects” — as Forsythe calls his installations — include among others White Bouncy Castle (1997), City of Abstracts (2000), The Fact of Matter (2009), Everywhere and Nowhere at the Same Time No. 2 (2013) and Black Flags (2014). His installation and film works have been presented in numerous museums and exhibitions, including the Whitney Biennial (New York, 1997), Festival d’Avignon (2005, 2011), the Louvre Museum (2006), Pinakothek der Moderne in Munich (2006), 21_21 Design Sight in Tokyo (2007), the Wexner Center for the Arts in Columbus (2009), Tate Modern (London, 2009), the Hayward Gallery, (London 2010), MoMA (New York 2010), ICA Boston (2011) and the Venice Biennale (2005, 2009, 2012, 2014).

In collaboration with media specialists and educators, Forsythe has developed new approaches to dance documentation, research and education. His 1994 computer application Improvisation Technologies: A Tool for the Analytical Dance Eye, developed with the Zentrum für Kunst und Medientechnologie Karlsruhe (ZKM), is used as a teaching tool by professional companies, dance conservatories, universities, postgraduate architecture programs, and secondary schools worldwide. 2009 marked the launch of “Synchronous Objects for One Flat Thing, reproduced,” a digital online score developed with the Ohio State University revealing the organizational principles of the choreography and demonstrating potential applications within other disciplines. “Synchronous Objects” was the pilot project for Forsythe’s Motion Bank, a research platform focused on the creation and research of online digital scores in collaboration with guest choreographers.

As an educator, Forsythe is regularly invited to lecture and give workshops at universities and cultural institutions. In 2002, Forsythe was chosen as one the founding Dance Mentors for the Rolex Mentor and Protégé Arts Initiative. Forsythe is an Honorary Fellow at the Laban Centre for Movement and Dance in London and holds an Honorary Doctorate from the Juilliard School in New York City. Forsythe is currently Professor of Dance and Artistic Advisor for the Choreographic Institute at the University of Southern California’s Glorya Kaufman School of Dance and in 2015 was appointed Associate Choreographer with the Paris Opéra Ballet.

William Forsythe. Photo by Dominik Mentzos.

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Fall Series 2015

Thank you to our Season 38 Media and Radio Sponsors

Hubbard Street Dancer Emilie Leriche. Photo by Todd Rosenberg.

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STAGING TEAM Cyril Baldy (Staging Artist) studied ballet at the Conservatoire National Supérieur de Musique et de Danse de Paris in his native France. He then worked professionally with the Jeune Ballet de France, Nederlands Dans Theater 2 and NDT 1, and William Forsythe’s Ballett Frankfurt before continuing as a member of The Forsythe Company from 2005–14. He has since led numerous classes and workshops, developed his own choreography, and staged works by William Forsythe internationally. Co-creator of his own art-direction company, Sad, Baldy has also modeled for Maison Martin Margiela, H&M, Minä Perhonen and Bernhard Willhelm. Visit sadfornoreason.com to learn more.

Stephen Galloway (Costume Design) currently works worldwide as a choreographer and creative consultant for image-makers and brands. In addition to his 25-year career as a ballet and dance theater performer, Galloway has been active across numerous related fields such as costume design, fashion photography, magazine publishing, and music. In 1997 he was invited to act as creative consultant for Mick Jagger, and has continued working with the Rolling Stones as an advisor ever since, on video productions, TV appearances and concerts, the Bridges of Babylon and Bigger Bang tours, and Shine a Light, Martin Scorcese’s 2008 documentary on the band. During his time as principal dancer at Ballett Frankfurt under William Forsythe’s direction, from 1985–2004, Galloway also collaborated with Jan Fabre, Christian Moeller, Jan Lauwers of Needcompany and others, and he served as Ballett Frankfurt’s head costume designer and style coordinator from 1998 until the company’s closure in 2004. Companies whose productions include Galloway’s designs include American Ballet Theatre, the Mariinsky Ballet, the Paris Opera Ballet, the Scottish Ballet, and the Finnish National Ballet, and he has received two New York Dance and Performance “Bessie” Awards for his costumes. He has staged fashion shows for design houses including Yves Saint Laurent, Costume National, Versace, and Issey Miyake, where he was creative director from 1993–97; and he has served as consultant to luxury brands including Mercedes-Benz and Saab. Achievements in Galloway’s career as a musician include releasing the albums From This Day On (2002) and The Return of Lubrious (2009). Visit thecollectiveshift.com to learn more.

Amancio Gonzalez (Staging Artist) began dancing at age 20 in Bilbao, Spain, at the studios of Ballet Ion Beitia, and continued his studies in France at the Ecole Supérieure de Danse de Cannes Rosella Hightower, with José Ferran, Daniel Frank and Rosella Hightower, among others.

At age 24 he began his professional career, performing in Glasgow with the Scottish Ballet, under the artistic direction of Galina Samsova; in South Africa with NAPAC Dance Company; and in the Netherlands with De Rotterdamse Dansgroep, Reflex Dance Company, and Scapino Ballet Rotterdam. Gonzalez then relocated to Germany to join William Forsythe’s Ballett Frankfurt, continuing with The Forsythe Company through its 2014–15 season. He remains active as a ballet master, repetiteur, and instructor for Forsythe repertory and Improvisation Technologies workshops.

Ayman Aaron Harper (Staging Artist) was born in Houston, Texas in 1979 and trained in dance, choreography and gymnastics at Bay Area Houston Ballet and Theatre, while attending the High School for the Performing and Visual Arts. Harper began working professionally with Hubbard Street 2 at age 17 and, in 1999, joined Nederlands Dans Theater 2. Harper then worked as a dancer, stager and guest choreographer for William Forsythe at Ballett Frankfurt, beginning in 2001. Further developing his voice as an artist and choreographer, Harper has created works on The Forsythe Company, HS2 and NDT 2, Deutsches Nationaltheater, Bayerisches Staatsballett II and other companies, in addition to numerous university dance departments. His works draw from multiple creative media and include community-based projects, musical theater productions of West Side Story and Hair, and site-specific installations for unconventional dance spaces such as Rocket Park at NASA’s Space Center Houston. His many collaborators have included musicians Arto Lindsay and Matmos, Alexander Ekman, Ivan Liska, Pierre Pontvianne, Tino Sehgal, Richard Siegal, and Mario Alberto Zambrano. Currently based in Berlin, Germany, Harper is a freelance choreographer, dancer, staging artist, teacher, and guest professor at the Performing Arts Research and Training Studios (PARTS) in Brussels.

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FALL SERIES Thomas McManus (Staging Artist), recognized as an expert on the repertory, technique, and improvisational methods of William Forsythe, is a native of Illinois and began studying dance at age 16, at North Carolina School of the Arts. In 1986, after dancing with American Ballet Theatre 2, Finis Jhung’s Chamber Ballet USA, and Ann Marie D’Angelo and Dancers, McManus joined Ballett Frankfurt, participating in nearly all of the new works created by Forsythe over the next 13 years. In addition to his extensive collaborations with Forsythe, McManus has also worked with numerous choreographers including Jan Fabre, Susan Marshall, Amanda Miller, Ohad Naharin, Stephen Petronio, Sara Rudner, William Soleau, Saburô Teshigawara, and Twyla Tharp; his own choreography has been presented internationally, at the Gran Teatre del Liceu in Barcelona, the Folksoperan in Stockholm, Germany’s Nationaltheater Mannheim, Oper Heidelberg, and Ballett Company Ulm. Co-founder with Nik Haffner of the performance group “commerce,” McManus holds an MFA in Dance from Hollins University Roanoke, has studied Pilates and Gyrokinesis, and has taught at the Interlochen Arts Academy, Ménagerie de Verre in Paris, Kiev Ballet at the National Opera of Ukraine, Deutsches Institut für Tanzpädagogik in Berlin, the San Francisco Conservatory of Dance, the University of Illinois at Champaign–Urbana, and the English National Ballet School in London. He recently joined the faculty of the University of Southern California’s Glorya Kaufman School of Dance.

Mario Alberto Zambrano (Staging Artist) began dancing at age ten at the Houston Ballet Academy and the High School for Performing and Visual Arts in Houston. His ten-year career in contemporary dance began at Hubbard Street, when he was invited by Lou Conte to join the main company at age 17. He went on to perform with Nederlands Dans Theater, William Forsythe’s Ballett Frankfurt, and Batsheva Dance Company, was awarded a Presidential Scholar Award in 1994, and a Princess Grace Award in 1995. Transitioning to his writing career, Zambrano earned an MFA as an Iowa Arts Fellow at the Iowa Writers’ Workshop in 2013, where he also received a John C. Schupes Fellowship for Excellence in Fiction. His first novel, Lotería, published by HarperCollins, was a Barnes & Noble Discover Great New Writers selection for fall 2013, and a finalist in 2014 for the Writers’ League of Texas Book Award, as well as the 2014 Texas Institute of Letters Book Award. Lotería was hailed among the best books of 2013 by Booklist, The Village Voice, and the School Library Journal. The recipient of artist fellowships and residencies at MacDowell Colony and Yaddo, Zambrano was also invited to a month-long stay at Hawthornden Castle in Scotland. He is currently working on another novel about a dancer who loses his memory. Visit marioalbertozambrano.com to learn more.

Thom Willems (Composer) creates music predominantly for ballet, since 1985 with choreographer William Forsythe, until 2004 at Ballett Frankfurt and, beginning in 2005, with The Forsythe Company. Their ongoing collaboration has produced more than 65 original works to date including In the Middle, Somewhat Elevated (1987) and Impressing the Czar (1988), The Loss of Small Detail (1991), Limb’s Theorem (1990), A L I E / N A (C) T I O N (1992), Eidos: Telos (1995), One Flat Thing, reproduced (2000), Sider (2011), and Study #3 (2013); and their short film Solo was included in the 1997 Whitney Biennial. Through performances of these and other works, Willems’ music has been presented by 66 ballet companies in 25 countries, such as the Bolshoi and Mariinsky in Russia, the National Ballet of Canada, the Paris Opéra Ballet and the Ballet de l’Opéra de Lyon, Italy’s Teatro alla Scala, London’s Royal Ballet, the Wiener Staatsoper, Semper Oper Dresden, New York City Ballet, and San Francisco Ballet. Fashion designers Issey Miyake and the late Gianni Versace have featured Willems’ music, and it was performed at the opening of the Tate Modern museum in 2000.

In 2007, Willems became involved with Miyake and architect Tadao Ando’s 21_21 Design Sight in Tokyo and, in 2008, he contributed to The Morning Line, an installation by artist Matthew Ritchie for El Museo de Arte ThyssenBornemisza in Madrid.

Photos of Cyril Baldy and Amancio Gonzalez by Dominik Mentzos. Photos of Ayman Aaron Harper, Thomas McManus, and Mario Alberto Zambrano by Todd Rosenberg. Photo of Stephen Galloway by Inez van Lamsweerde and Vinoodh Matadin. Photo of Thom Willems by Jodokus Driessen.

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About Hubbard Street Hubbard Street Dance Chicago’s core purpose is to bring artists, art and audiences together to enrich, engage, educate, transform and change lives through the experience of dance. Celebrating its 38th season in 2015–16, Hubbard Street continues to be an innovative force, supporting its creative talent while presenting repertory by major international artists.

Hubbard Street Dance Chicago grew out of the Lou Conte Dance Studio at LaSalle and Hubbard Streets in 1977, when Lou Conte gathered an ensemble of four dancers to perform in senior centers across Chicago. Barbara G. Cohen soon joined the company as its first Executive Director. Conte continued to direct the company for 23 years, during which he initiated and grew relationships with both emerging and established artists including Nacho Duato, Daniel Ezralow, Jiří Kylián, Ohad Naharin, Lynne Taylor-Corbett and Twyla Tharp.

Conte’s successor Jim Vincent widened Hubbard Street’s international focus, began Hubbard Street’s collaboration with the Chicago Symphony Orchestra and cultivated growth from within, launching the Inside/Out Choreographic Workshop and inviting Resident Choreographer Alejandro Cerrudo to make his first work. Gail Kalver’s 23 years of executive leadership provided continuity from 1984 through the 2006–07 season, when Executive Director Jason Palmquist joined the organization.

Glenn Edgerton became Artistic Director in 2009 and, together with Palmquist, moved this legacy forward on multiple fronts. Inside/Out is now part of a broader strategy for building new repertoire, the Choreographic Development Initiative, which aims to be a national model for artistic development while proactively diversifying contemporary dance.

Partnerships with the Museum of Contemporary Art Chicago and other institutions keep Hubbard Street deeply connected to its hometown. To the company’s repertoire, Edgerton has extended relationships with its signature choreographers while adding significant new voices such as Kyle Abraham, Mats Ek, Sharon Eyal, Alonzo King and Victor Quijada.

Claire Bataille, left, and Ginger Farley in Case Closed by Lynne Taylor-Corbett, 1986. Photo by Jennifer Girard.

Isaac Spencer, left, and Erin Derstine in Float

by Julian Barnett, 2006. Photo by Todd Rosenberg.

Choreographer Mats Ek, left, rehearses Quinn B Wharton in Casi-Casa, 2012. Photo by Todd Rosenberg.

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Shannon Alvis, left, and Terence Marling in Extremely Close

by Alejandro Cerrudo, 2008. Photo by Todd Rosenberg.

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The main company’s members comprise one of the only ensembles in the U.S. to perform all year long, domestically and around the world, while four nationally renowned Summer Intensive Programs bring young artists into its ranks. Hubbard Street 2, its second company for early-career artists, was founded in 1997 by Conte and Julie Nakagawa. Now directed by Terence Marling, HS2 cultivates young professional dancers, identifies next-generation choreographers, and performs domestically and abroad in service of arts education, collaboration, experimentation and audience development.

Hubbard Street’s Youth, Education and Community Programs are national benchmarks for partnership, dance education and urban school research. In 2008, the Parkinson’s Project became the first dance class in the Midwest for those affected by Parkinson’s disease and, with The Autism Project pilot in 2014, it’s now part of Hubbard Street’s growing Adaptive Dance Programs. Youth Dance Programs for students ages 18 months to 18 years emphasize creative expression and are offered year-round at the Hubbard Street Dance Center.

At the Lou Conte Dance Studio — where Hubbard Street began in 1974 — workshops and master classes allow access to expertise, while a broad variety of weekly classes offer training at all levels in jazz, ballet, modern, tap, African, hip-hop, yoga, Pilates® and dance fitness.

Visit hubbardstreetdance.com to learn more.

Above left: Frank Chaves and Leslie Stevens in Mae by Richard Levi, 1987.

Archival photo.

Above right: Hubbard Street 2 in The 40s by Lou Conte, 2003. Archival photo.

Center: Tobin Del Cuore, left, and Cheryl Mann in Gimme

by Lucas Crandall, 2004. Photo by Todd Rosenberg.

Ron De Jesús, left, Krista Ledden and Ensemble in I Remember Clifford

by Twyla Tharp, 1996. Photo by Ruedi Hofmann.

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STAFF PROFILES Glenn Edgerton (Artistic Director) joined Hubbard Street Dance Chicago after an international career as a dancer and director. At the Joffrey Ballet, he performed leading roles, contemporary and classical, for 11 years under the mentorship of Robert Joffrey. In 1989, Edgerton joined the acclaimed Nederlands Dans Theater (NDT), where he danced for five years. He retired from performing to become its artistic director, leading NDT 1 for a decade and presenting the works of Jiří Kylián, Hans van Manen, William Forsythe, Ohad Naharin, Mats Ek, Nacho Duato, Jorma Elo, Johan Inger, Paul Lightfoot and Sol León, among others. From 2006 to 2008, he directed the Colburn Dance Institute at the Colburn School of Performing Arts in Los Angeles. Edgerton joined Hubbard Street as associate artistic director in 2008; since 2009 as artistic director, he has built upon more than three decades of leadership in dance performance, education and appreciation established by founder Lou Conte and continued by Conte’s successor, Jim Vincent.

Jason D. Palmquist (Executive Director) joined Hubbard Street Dance Chicago in May 2007, after serving the arts community in Washington, D.C. for nearly 15 years. Palmquist began his career at the John F. Kennedy Center for the Performing Arts, completing his tenure there as vice president of dance administration. At the Kennedy Center, he oversaw multiple world-premiere engagements of commissioned works in dance, the formation and growth of the Suzanne Farrell Ballet and the inception in 1997 of the Millennium Stage, an award-winning, free daily performance series that to date has served more than 3 million patrons. Deeply enriching the Kennedy Center’s artistic programming, Palmquist successfully presented engagements of global dance companies including the Royal Ballet, Alvin Ailey American Dance Theater, the Kirov Ballet, Paul Taylor Dance Company, American Ballet Theatre and New York City Ballet. Palmquist also managed the Kennedy Center’s television initiatives, including the creation of the Mark Twain Prize for American Humor and a prime-time special on NBC memorializing the first anniversary of the September 11 attacks. In 2004, he accepted the position of executive director at the Washington Ballet. Under his leadership, the company presented full performance seasons annually at the Kennedy Center and the Warner Theater, and nurtured its world-renowned school and extensive education and outreach programs. A graduate of the University of Northern Iowa, Palmquist currently serves on the boards of the Arts Alliance of Illinois and the Harris Theater for Music and Dance.

Karena Fiorenza Ingersoll (General Manager) brings more than a decade of experience to Hubbard Street as a leader, fundraiser and producer in the performing arts. Most recently, she served as the associate managing director of Berkeley Repertory Theatre in California, where she line-produced and managed all new play development efforts, shepherding 30% growth in capacity. Previous tenures include executive director of contemporary dance company Robert Moses’ Kin (San Francisco, CA), associate managing director of Yale Repertory Theatre (New Haven, CT), management fellow during ArtsEmerson’s inaugural presenting year (Boston, MA), annual fund manager at Aurora Theatre (Berkeley, CA), and international experience in Mexico City working for a nonprofit humanitarian group. While in the Bay Area, Fiorenza Ingersoll was secretary and then president of the Berkeley Cultural Trust and a proud member of the Bay Area Latino Theatre Artists Network. She is also a freelance arts management strategist and artist representative, partnering with individual artists and ensembles whose work gives voice to underrepresented stories and perspectives. Recognized nationally, Fiorenza Ingersoll was invited in 2014 by Theatre Communications Group to be part of its SPARK Leadership Program’s inaugural class. She holds two bachelor’s degrees from the University of California at Berkeley and an MFA in Theater Management from Yale University.

Terence Marling (Director, Hubbard Street 2), born and raised in Chicago, Illinois, trained at the Ruth Page School of Dance with renowned ballet teacher Larry Long. Following his professional work with Patricia Wilde and Terrence S. Orr at Pittsburgh Ballet Theatre, and at Germany’s Nationaltheater Mannheim with director and choreographer Kevin O’Day, Marling became a member of Hubbard Street Dance Chicago. During 16 years onstage, he performed works by George Balanchine, Nacho Duato, Johan Inger, Jiří Kylián, Ohad Naharin, Paul Taylor, Glen Tetley and others, originating numerous roles. Beginning in 2010 as Hubbard Street Rehearsal Director, Marling taught, coached and maintained works and premieres by Resident Choreographer Alejandro Cerrudo, Duato, Naharin, Aszure Barton, Mats Ek, William Forsythe, Alonzo King, Susan Marshall, Victor Quijada and Twyla Tharp. Marling’s own creations have been performed by Pittsburgh Ballet Theatre as well as both of Hubbard Street’s ensembles, and he co-choreographed with Robyn Mineko Williams the company’s first familyoriented production, Harold and the Purple Crayon: A Dance Adventure. Marling became Director of Hubbard Street 2 in April 2013.

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HUBBARD STREET DANCE CHICAGO Lucas Crandall (Rehearsal Director) began his dance career with the Milwaukee Ballet in 1979. In 1980, he joined the Ballet du Grand Théâtre de Genève, then directed by Oscar Aráiz. Under the direction of Jiří Kylián, he danced with Nederlands Dans Theater for two years before returning to Geneva, as soloist and later rehearsal assistant, under the direction of Gradimir Pankov. Crandall has performed and originated roles in works by notable choreographers including Aráiz, Kylián, Christopher Bruce, Nacho Duato, Mats Ek, Rui Horta, Amanda Miller and Ohad Naharin. In 2000, Crandall returned to the U.S. to join Hubbard Street Dance Chicago, as associate artistic director and staff at the Lou Conte Dance Studio. His teaching and coaching career includes residencies at various U.S. universities; master classes and repertory workshops, both domestically and abroad; and guest positions at companies including Les Ballets Jazz de Montréal, Northwest Professional Dance Project, and the Ballet du Grand Théâtre de Genève. Crandall’s choreographic work includes multiple premieres for Hubbard Street (Atelier, Gimme, The Set) and new works for Northwest Dance Project and Thodos Dance Chicago. Crandall was recently rehearsal director for Nederlands Dans Theater’s main company for three years, under the directorships of Paul Lightfoot and former Hubbard Street Artistic Director Jim Vincent. Crandall returned to Hubbard Street as Rehearsal Director in April 2013.

Kathryn Humphreys (Director, Youth, Education and Community Programs) joined Hubbard Street in 2002. She develops and implements dance education initiatives designed to improve teacher and teaching-artist practice and collaboration, to effect whole-school change and further the field’s understanding of the role of dance in public education. She oversees program development, implementation, and management of all of Hubbard Street’s inschool and community initiatives. With more than two decades of experience in arts education, her work supports local and national groups and, under her direction, the department has engaged in a series of in-depth research initiatives, contributing unique knowledge and assessment tools to the field, many of which have been widely published. Humphreys launched Hubbard Street Youth Dance Programs in 2007, connecting the choreographic process curricula Hubbard Street pioneered in schools with training in traditional dance techniques, for a unique and diverse slate of classes currently serving more than 1,000 students per year. The department’s Family Workshop Series brings generations together through dance, while Hubbard Street’s innovative Adaptive Dance Programs expand movement opportunities for Chicagoans with physical and mental disabilities. Humphreys consults locally and nationally on issues related to dance education, and holds an MA in Dance from Texas Woman’s University.

Claire Bataille (Director, Lou Conte Dance Studio) was a founding dancer with Hubbard Street from 1977 to 1992, performing works created by Lou Conte, Twyla Tharp, Lynne Taylor-Corbett, Daniel Ezralow, John McFall and Margo Sappington. She received the Ruth Page Award for Outstanding Dancer in 1992. From 1977 to 2001, Bataille also served the company as Assistant Artistic Director, Ballet Mistress and Rehearsal Director. She choreographed five works between 1978 and 1985 and toured nationally and internationally with Hubbard Street. Bataille began teaching at the Lou Conte Dance Studio in 1975 and has been teaching dance in Chicago ever since. In 2003, she earned her certification in the Pilates Method with Romana’s Pilates in New York. In 2005, Bataille was appointed Associate Director of the Lou Conte Dance Studio at the Hubbard Street Dance Center and became its Director in 2008.

Suzanne Appel (Director of External Affairs) joined Hubbard Street in August 2015 following a decade of arts leadership roles with an emphasis on business development, revenue generation, and producing the work of formchallenging artists. Most recently she served as managing director of The Cutting Ball Theater in San Francisco, where she nearly doubled the organization’s operating budget and built a two-plus month operating reserve in four years. Her previous roles include director of individual giving at Dance Theater Workshop in New York City, associate managing director at Yale Repertory Theater in New Haven, management fellow at Berkeley Repertory Theater, and assistant director of the annual fund at Wesleyan University. While in San Francisco, she served on the board of the Tenderloin Community Benefit District. Appel maintains a freelance practice as a financial and strategic management consultant for arts organizations, holds an MBA from Yale School of Management, an MFA in Theater Management from Yale School of Drama, and a BA from Wesleyan University.

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STAFF PROFILES Lou Conte (Founder), after a performing career that included roles in Broadway musicals such as Cabaret, Mame and How to Succeed in Business Without Really Trying, established the Lou Conte Dance Studio in 1974. Three years later, he founded what is now Hubbard Street Dance Chicago. Originally the company’s sole choreographer, he developed relationships with emerging and world-renowned dancemakers Lynne Taylor-Corbett, Margo Sappington and Daniel Ezralow as the company grew. Conte continued to build Hubbard Street’s repertoire by forging a key relationship with Twyla Tharp in the 1990s, acquiring seven of her works as well as original choreography. It then became an international enterprise with the inclusion of works by Jiří Kylián, Nacho Duato and Ohad Naharin.

Throughout his 23 years as the company’s artistic director, Conte received numerous awards including the first Ruth Page Artistic Achievements Award in 1986, the Sidney R. Yates Arts Advocacy Award in 1995, and a Chicagoan of the Year award from Chicago magazine in 1999. In 2003, Conte was inducted as a laureate into the Lincoln Academy of Illinois, the state’s highest honor, and in 2014, was named one of five inaugural recipients of the City of Chicago’s Fifth Star Award. He has been credited by many for helping raise Chicago’s international cultural profile and for creating a welcoming climate for dance in the city, where the art form now thrives.

Hubbard Street Dancer Ana Lopez in Quintett by William Forsythe. Photo by Todd Rosenberg.

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Chicago Dancers United presents

ANNIVERSARY Saturday, August 20, 2016 Auditorium Theatre of Roosevelt University DanceForLifeChicago.org

/DanceForLifeChicago

@danceforlifechi

/DanceForLifeChicago

2015–16 DANCER PROFILES Jesse Bechard (Bolton, MA) began his formal ballet training at age 16, graduated from Walnut Hill School for the Arts, and attended training programs at Boston Ballet, Alonzo King LINES Ballet and Ballet Austin. In 2000, having completed his freshman year at the University of Chicago, he returned to dance, performing for one year with Ballet Austin and for eight with Richmond Ballet. Bechard joined Hubbard Street in August 2010.

Jacqueline Burnett (Pocatello, ID) received classical ballet training in Pocatello, Idaho from Romanian ballet master Marius Zirra, with additional summer training at Ballet Idaho, Brindusa-Moore Ballet Academy, the Universal (Kirov) Ballet Academy, the Juilliard School and the San Francisco Conservatory of Dance.

She graduated magna cum laude with departmental honors from the Ailey School and Fordham University’s joint program in New York City in 2009, while an apprentice with Hubbard Street. She was promoted to the main company in August 2009 and is a 2011–12 Princess Grace Honorarium recipient.

Alicia Delgadillo (Charlotte, NC) began her classical training at the Susan Hayward School of Dance in San Francisco, California, and continued her studies in North Carolina with Gay Porter and Bridget Porter Young at the Charlotte School of Ballet. In 2004, Delgadillo began studying full time with Daniel and Rebecca Wiley at Piedmont School of Music and Dance. She has attended summer programs at Hubbard Street, the Juilliard School, San Francisco Conservatory of Dance, and Springboard Danse Montréal. Delgadillo graduated with honors from the Ailey School and Fordham University’s joint program in New York City in 2012, while a member of Hubbard Street 2, and was promoted to the main company in April 2014.

Jeffery Duffy (Adamsville, GA) began dancing at age three and attended the Cobb County Center for Excellence in the Performing Arts at Pebblebrook High School in Mableton, Georgia; Talent Unlimited High School; and the Juilliard School in New York City. He has performed with the Juilliard Dance Ensemble at Lincoln Center and the Chicago Dancing Festival, and as a guest artist with Dance Theatre of Harlem. At the McCallum Theatre Institute’s 2013 Choreography Festival, Duffy and Alexander Jones received the Division I Second Place Prize for their original work, Open it to Speak; Duffy is also the recipient of an Alan D. Marks Entrepreneurship Grant, and winner of the Robert and Mercedes Eichholz Arts Entrepreneurship Prize. He joined Hubbard Street in August 2015.

Kellie Epperheimer (Los Osos, CA) began her dance training in 1988 at the Academy of Dance and Civic Ballet of San Luis Obispo, and attended training programs at the Joffrey Ballet School and the Juilliard School in New York City.

A founding member of Cedar Lake Ensemble (later Cedar Lake Contemporary Ballet), she joined Hubbard Street 2 in January 2005, and was promoted to the main company in January 2007.

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HUBBARD STREET DANCE CHICAGO Michael Gross (Poughquag, NY) earned a BFA in Dance from the University of Arizona and received much of his early training from Colorado Jazz Dance Company in Colorado Springs, followed by further studies at the American Academy of Ballet and Springboard Danse Montréal. Formerly a member of River North Dance Chicago and Visceral Dance Chicago, Gross has also performed with Elements Contemporary Ballet and in the Chicago Symphony Orchestra’s holiday production, Welcome Yule! Gross joined Hubbard Street in August 2014 and thanks his friends and family for their love and support.

Jason Hortin (Olympia, WA) graduated from the University of Nevada, Las Vegas with a BFA in Dance under the direction of Louis Kavouras. His performance career includes work with Moving People Dance Theatre, Erick Hawkins Dance Company and River North Dance Chicago. Hortin joined Hubbard Street as an apprentice in August 2007 and was promoted to the main company in July 2008.

Alice Klock (Whidbey Island, WA) began dancing at age 11. She trained at Interlochen Arts Academy from 2003–07, and in Alonzo King LINES Ballet and Dominican University of California’s joint BFA program from 2007–09. Klock then joined Hubbard Street 2 in September 2009 and was promoted to the main company in September 2011.

Emilie Leriche (Santa Fe, NM) began her dance training at the age of eight. In 2007 she began her formal dance training at Walnut Hill School for the Arts, with additional summer study at Joffrey Midwest, Complexions Contemporary Ballet and the San Francisco Conservatory of Dance. Leriche has performed alongside the dancers of zoe | juniper, and at the WestWave Dance Festival as a member of Maurya Kerr’s tinypistol. Leriche joined Hubbard Street 2 in 2011, was promoted to the main company in 2013, was named one of Dance Magazine’s “25 to Watch” for 2015, and is the recipient of a 2015 Dance Fellowship from the Princess Grace Foundation–USA. Florian Lochner (Frankenhardt, Germany) trained at Ballettschule Malsam in Schwäbisch Hall, Germany, and the Staatliche Hochschule für Musik und Darstellende Kunst in Mannheim, where he was the recipient of its Birgit Keil Dance Foundation scholarship. Lochner earned his master’s degree in the performing arts and joined Gauthier Dance Company in Stuttgart in 2011, performing works by numerous choreographers including Mauro Bigonzetti, Jiří Bubenířek, Alejandro Cerrudo, Alexander Ekman, Itzik Galili, Eric Gauthier, Marco Goeke, Johan Inger, Jiří Kylián, Christian Spuck, Cayetano Soto, Philip Taylor, Stephan Thoss, Paul Lightfoot and Sol León. He received a “Best of the Season” nomination in Germany’s Dance for You! Magazine in September 2013, and joined Hubbard Street in August 2015.

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2015–16 DANCER PROFILES

Ana Lopez (A Coruña, Spain) began her formal training at Conservatorio de Danza Diputacion de A Coruña. Upon graduating Isaac Diaz Pardo High School, she continued her training at Centro Internacional de Danza Carmen Roche.

Prior to joining Hubbard Street in January 2008, Lopez danced with Joven Ballet Carmen Roche, with Compañía Nacional de Danza 2 in works by Nacho Duato and Tony Fabre, and at Ballet Theater Munich under the directorship of Philip Taylor. She was named one of Dance Magazine’s “25 to Watch” for 2012.

Andrew Murdock (St. Albert, AB) is a graduate of the Juilliard School, from which he received a BFA in Dance under the direction of Lawrence Rhodes. Prior to being a regular collaborator with Aszure Barton & Artists, Murdock performed with Gallim Dance and BJM Danse, formerly Les Ballets Jazz de Montréal. Additional collaborators and colleagues include Cherice Barton, Joshua Beamish, Andy Blankenbuehler, Nina Chung, Joe Lanteri, Austin McCormick, Michelle Mola, Abdel Salaam and Edgar Zendejas. He has appeared at the Greenwich Music Festival, with Zack Winokur, and with Geneviève Dorion-Coupal at Just for Laughs and Le 400e Anniversaire de la Ville de Québec. As a rehearsal assistant to Aszure Barton, he has worked with American Ballet Theatre, Canada’s National Ballet School and Ballet BC, New York University, the Steps Ensemble, Arts Umbrella and Springboard Danse Montréal. He joined Hubbard Street in 2013.

Penny Saunders (West Palm Beach, FL) graduated from the Harid Conservatory in 1995. She then began her professional career with the American Repertory Ballet under the direction of Septime Webre, danced with Ballet Arizona and MOMIX, and was a founding member of Cedar Lake Contemporary Ballet (then Cedar Lake Ensemble). In 2004, Saunders joined Hubbard Street, where she began to pursue her choreographic interests, creating for Hubbard Street 2 in 2011 through its International Commissioning Project, and premiering her first work for Hubbard Street’s main company in 2013. She has since choreographed for the Nexus Project, Owen/Cox Dance Group, SFDanceworks, Whim W’Him, Grand Rapids Ballet, and Neos Dance Theatre as a choreographer in residence at the University of Akron. In 2015 Saunders returned to Hubbard Street’s main company and began a three-year choreographic residency with Grand Rapids Ballet. She thanks her lovely husband and beautiful son for all of their support.

David Schultz (Grand Rapids, MI) began training in Michigan with the School of Grand Rapids Ballet, where he then performed for four seasons with its company, Grand Rapids Ballet. Schultz joined Hubbard Street 2 in September 2009 and was promoted to the main company in August 2011, and he is the recipient of a 2012 Princess Grace Award.

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HUBBARD STREET DANCE CHICAGO Kevin J. Shannon (Baltimore, MD) began dancing under the guidance of Lester Holmes. He graduated from the Baltimore School for the Arts with additional training at the School of American Ballet, Miami City Ballet School, Paul Taylor Dance Company and Parsons Dance. He earned his BFA in 2007 at the Juilliard School, toured nationally with the Juilliard Dance Ensemble and appeared in the “Live from Lincoln Center” broadcast television special The Juilliard School: Celebrating 100 Years. Shannon joined Hubbard Street in November 2007.

Jessica Tong (Binghamton, NY) received her formal training at the Ballet School in Salt Lake City under Jan Clark Fugit, as well as at the University of Utah, where she was a member of Utah Ballet. Tong danced with BalletMet in Ohio, Eliot Feld’s Ballet Tech in New York City and with Hubbard Street 2 before joining the main company in January 2007. She was named one of Dance Magazine’s “25 to Watch” for 2009, and currently serves on Chicago Dancers United’s Ambassador Committee for Dance for Life Chicago.

Hubbard Street Dancers Emilie Leriche, left, and Alicia Delgadillo rehearse N.N.N.N. by William Forsythe with original cast member Amancio Gonzalez.

Photo by Todd Rosenberg.

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2015–16 HS2 DANCER PROFILES Katlin Michael Bourgeois (Gonzales, LA) began dancing in 2010 at various studios in Louisiana including NOCCA (the New Orleans Center for the Creative Arts) and A Touch of Class Performing Arts. After attending Alonzo King LINES Ballet’s Summer Program in San Francisco in 2012, he accepted a full scholarship to join the Alonzo King LINES Ballet Training Program, from which he graduated in May 2014. Bourgeois has performed in works by numerous choreographers including Andrew Brader, Sandrine Cassini, Lee-Wei Chao, Kara Davis, Gregory Dawson, Maurya Kerr, Nikoloz Makhateli and Uri Sands. He joined Hubbard Street 2 as an apprentice in August 2014 and was promoted to full company member in August 2015.

Zachary Enquist (Plymouth, MN) began training at Summit School of Dance in Plymouth, MN. He holds a BFA in Dance from SUNY–Purchase College in New York, where he performed works by choreographers Doug Varone, Lar Lubovitch, Stephen Petronio, Bill T. Jones and Merce Cunningham. Other training includes summer studies at the Juilliard School, Movement Invention Project and Springboard Danse Montréal, where he performed repertory by William Forsythe, Stijn Celis and Robyn Mineko Williams. Enquist spent a semester abroad at Codarts in Rotterdam, the Netherlands, and was an apprentice at Mark Morris Dance Group. Enquist joined Hubbard Street 2 as a full company member in August 2014.

Elliot Hammans (Santa Fe, NM) began his formal dance training in 2008 with Robert Sher-Machherndl and continued his ballet and modern dance education with Moving People Dance in Santa Fe, NM, under the direction of Curtis Uhlemann. Hammans joined Moving People Dance Company as an apprentice in 2010, trained on full scholarship at the Alonzo King LINES Dance Center in San Francisco, and attended Hubbard Street Dance Chicago’s 2011 and 2012 Summer Intensives. Following one season with Cherylyn Lavagnino Dance and studies abroad at Austria’s Tanzzentrum SEAD (Salzburg Experimental Academy of Dance), Hammans earned his BFA in Dance in 2014 from Tisch School of the Arts at NYU. Choreographers whose work he has performed include Sean Curran, Gail Gilbert, Crystal Pite, Kendra Portier and Nathan Trice. Hammans joined Hubbard Street 2 as a full company member in August 2014.

Jade Hooper (Riverside, CA) began training under the direction of Clifford J. Breland and Anthony Jackson at Bre Dance Studio, continuing at the California Institute of the Arts (CalArts) and Alonzo King LINES Ballet’s Summer Program, where she received its Homer Avila Scholarship Award. She earned her BFA in dance with a minor in math and science from CalArts and joined Hubbard Street 2 as a full company member in August 2015.

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HUBBARD STREET 2 Natalie Leibert (Moorpark, CA) began training at various dance schools in the Los Angeles area including company work with Westside Dance Project in Redondo Beach, and Pacific Festival Ballet in Agoura Hills. She continued training at the Miami City Ballet School and, most recently, completed a year in Alonzo King LINES Ballet’s Training Program. Leibert has attended workshops and programs at the San Francisco Conservatory of Dance, the Joffrey Ballet School, the School of American Ballet, Pacific Northwest Ballet and the Juilliard School, in addition to Nederlands Dans Theater and Batsheva Dance Company. She has performed works by choreographers including Iratxe Ansa, Sandrine Cassini, Jessie Hartley, Will Johnston, Menghan Lou and Carmen Rozestraten. Leibert joined Hubbard Street 2 as an apprentice in August 2014 and was promoted to full company member in August 2015.

Adrienne Lipson (London, ON) began her dance training in London, Ontario under the tutelage of Jennifer Swan, and continued her studies at Ryerson University, where she received a BFA with honors upon her graduation in spring 2013. While in Toronto, Lipson performed with Typecast Dance Company and was a founding member of Rock Bottom Movement. Lipson attended the Proarte Danza Summer Intensive and Kenny Pearl’s Emerging Artists Summer Intensive, in addition to training programs at Hubbard Street Dance Chicago, LADMMI (Montréal’s L’École de Danse Contemporaine), the Jacob’s Pillow Dance Festival and Springboard Danse Montréal, where she performed works by choreographers Aszure Barton, Barak Marshall and Robyn Mineko Williams. Lipson joined Hubbard Street 2 as an apprentice in August 2013 and was promoted to full company member in August 2014.

HS2 Apprentice Oscar Carrillo (San Jose, Costa Rica) began his artistic studies at the Conservatorio de Castella in Heredia, majoring in visual arts with a minor in dance. Carrillo then enrolled at Point Park University, where he received a BA in ballet and jazz with a minor in business management, and has participated in summer training programs at Complexions Contemporary Ballet, Hubbard Street Dance Chicago, and Springboard Danse Montréal. Carrillo has worked professionally with Texture Contemporary Ballet in Pittsburgh, RIOULT Dance NY and Chicago Repertory Ballet, performing works by many choreographers including Christopher L. Huggins, Garfield Lemonious, Darrell Grand Moultrie and David Parsons, and joined Hubbard Street 2 as an HS2 Apprentice in August 2015.

HS2 Apprentice Christina Vargas (Bowie, MD) began her early training in the Cecchetti technique of ballet under the guidance of Pamela Moore, and continued her studies at Maryland Youth Ballet followed by two years in Alonzo King LINES Ballet’s Training Program, from which she graduated in May 2015.

She also attended summer programs and workshops at the Alonzo King LINES Dance Center, Cedar Lake Contemporary Ballet, and the Peridance Capezio Center. Choreographers whose works Vargas has performed include Iratxe Ansa, Sidra Bell, Sandrine Cassini, Gregory Dawson, Joanna Haigood, Maurya Kerr, Jenny Stulberg and Liu Yi-feng. She joined Hubbard Street 2 as an HS2 Apprentice in August 2015.

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LOU CONTE

founders society

THE LOU CONTE FOUNDERS SOCIETY recognizes individuals whose generosity and foresight provide future gifts to Hubbard Street Dance Chicago through planned giving. Members of the Society receive special invitations throughout the year and ongoing recognition of their commitment but, most importantly, members have the deep satisfaction of supporting Hubbard Street’s future.

Including Hubbard Street Dance Chicago in your estate plans will: S upport the continued artistic growth of the company B ring the newest choreographic voices to the stage n E nrich the lives of students both in and out of the classroom n Broaden and engage new audiences through Youth, Education and Community Programs n Build our endowment to guarantee the future of Hubbard Street n n

Hubbard Street Dance Chicago is grateful to the following individuals who have included us in their estate plans. Our future is more secure because of their generosity.

Meg and Tim Callahan Josephine H. Deutsch* Marge and Lew Collens Edward and Gayla Nieminen Richard L. Rodes

Sarah J. Nolan James F. Oates Edna K. Papazian* Byron Pollock Alyssa J. Rapp

Denise Stefan-Ginascol and John Ginascol Landon N. Stigall* J. Randall White *deceased

Notifying us of your commitment to Hubbard Street allows us to thank you today for your future generosity. Please join the Lou Conte Founders Society and help ensure the future of Hubbard Street Dance Chicago. For more information contact Kalena Chevalier, Associate Director of Development, at kchevalier@hubbardstreetdance.com or call 312-850-9744 ext. 141.

If you have already included us in your estate plan, please let us know so you can enjoy the many benefits of the Lou Conte Founders Society.

Hubbard Street founder Lou Conte, center, founding member Claire Bataille, left, and former Rehearsal Director Monica Trogani rehearse Conte’s The 40s for the company’s 25th anniversary season and tour, December 2003. Photo by Todd Rosenberg. hubbardstreetdance.com

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Hubbard Street Dance Chicago gratefully acknowledges the support of the following corporations, foundations, government agencies and individuals who made gifts to our Annual Fund between September 1, 2014 and August 31, 2015.

ATHLETICO CORPORATE SUPPORT

Logo + Tag must be no less than 1.5” wide at final size Acceptable Colors: PMS2945, Black, reverse white If placed on web, must click through to athletico.com

MARKS

Logo + Tag must be no less than 1 wide at final size Acceptable Colors: PMS2945, Black, reverse white If placed on web, must click through to athletico.com

In type, our name should now appear as “Athletico” with a lower-case “c.”

If using our tagline, it should always appear as a complete sentence: Better for every body.

$50,000 and above Archer Daniels Midland Company Athletico Physical Therapy Chicago Athletic Clubs Harris Theater for Music and Dance Target $25,000–$49,999 Allstate Insurance Company The Chicago Community Trust/ The Sun-Times Foundation Exelon Grosvenor Capital Management, LP $10,000–$24,999 AbbVie ACME Hotel Company Baker & McKenzie LLP Deloitte GoodSmith Gregg & Unruh LLP ITW Jenner & Block, LLP MAC Cosmetics Neal, Gerber & Eisenberg, LLP Northern Trust The PrivateBank Tiedemann Wealth Management USG Corporation Walgreens Wessex 504 Corporation $5,000–$9,999 Advertising Resources, Inc. Arnstein & Lehr, LLP Blue Cross Blue Shield of Illinois

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Fall Series 2015

Brown Brothers Harriman Jackson National Life Insurance Company Katten Muchin Rosenman, LLP Neiman Marcus Power Rogers & Smith, P.C. State Farm Insurance United Airlines Zachys Wine and Liquor $2,500–$4,999 AT&T Attorneys’ Title Guaranty Fund, Inc. Berger Schatz, Matrimonial and Family Law Attorneys Bottlenotes, Inc. Citizens for John Cullerton Clark Hill PLC Deluxe Corporation Foundation HBK Engineering, LLC PhRMA William Blair & Company $1,000–$2,499 Amsted Industries Austriaco and Associates LTD Baxter International Belgravia Group, Ltd Greenberg Traurig, LLP KPMG Sahara Enterprises, Inc. Schiff Hardin LLP Tito’s Handmade Vodka

HUBBARD STREET’S CORPORATE CIRCLE These generous companies support our work onstage, in schools, and in communities through membership in our Corporate Circle:

Hubbard Street Dancer Jacqueline Burnett.

Photo by Quinn B Wharton.

CORPORATE LEADERS $5,000 and above

CORPORATE COMPANIONS $2,500–$4,999 Allegro Dance Boutique Deluxe Corporation Foundation The PrivateBank William Blair & Company LLC CORPORATE FRIENDS $1,000–$2,499 Amsted Industries Belgravia Group LTD

When your company joins Hubbard Street’s Corporate Circle, it receives exclusive benefits including performance tickets and an invitation to observe company rehearsal in our West Loop studios.

For more information, contact Kalena Chevalier, Associate Director of Development, at kchevalier@hubbardstreetdance.com or call 312-850-9744 ext. 141. hubbardstreetdance.com

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FOUNDATION & GOVERNMENT SUPPORT

$100,000 and above The Davee Foundation National Endowment for the Arts Polk Bros. Foundation $50,000–$99,999 The Elizabeth F. Cheney Foundation Lloyd A. Fry Foundation Illinois Arts Council Agency The John D. and Catherine T. MacArthur Foundation Princess Grace Foundation-USA The Rhoades Foundation The Shubert Foundation $25,000–$49,999 Anonymous (2) The Chicago Community Trust Julius N. Frankel Foundation Prince Charitable Trusts The Sage Foundation $10,000–$24,999 Robert & Isabelle Bass Foundation, Inc. Helen Brach Foundation Children’s Care Foundation

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Fall Series 2015

The Irving Harris Foundation Jack and Goldie Wolfe Miller Fund The Elizabeth Morse Charitable Trust $5,000–$9,999 The Max and Victoria Dreyfus Foundation, Inc. Golder Family Foundation Charles and Joan Gross Family Foundation John R. Halligan Charitable Fund Mid Atlantic Arts Foundation National Parkinson’s Foundation Edmond and Alice Opler Foundation Jerome Robbins Foundation Charles & M. R. Shapiro Foundation The Siragusa Foundation A. Montgomery Ward Foundation, John A. Hutchings, Richard W. Oloffson and Bank of America, N.A., Trustee $1,000–$4,999 Anonymous Butler Family Foundation Levitetz Family Foundation Modestus Bauer Foundation The Farny R. Wurlitzer Foundation

Hubbard Street gratefully acknowledges these donors for their generous support of the Hubbard Street Parkinson’s Project, one of our Adaptive Dance Programs.

Warren and Joan Eagle Richard and Marjorie Ettlinger

Hiroshi and Kathleen Okano Mary Splude National Parkinson’s Foundation

Edmond and Alice Opler Foundation

Learn more online at hubbardstreetdance.com/adaptivedance Photo by Todd Rosenberg.

TURNING POINTS

Sunday, November 15, 2015, 7 PM Pick-Staiger Concert Hall, Evanston

Scott Speck: conductor Robert McDonald: piano SCHUBERT: Symphony No. 8 in B Minor (Unfinished) BRAHMS: Piano Concerto No. 1 KILAR: Little Overture TICKETS: $25, $50, $75 | Student tickets $10 25% off with code HUBBARD 312-957-0000 | chicagophilharmonic.org Free parking at Pick-Staiger Hall

NEXT! Foyer Music: The Lira Singers Photo by Elliot Mandel

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INDIVIDUAL SUPPORT Artistic Director’s Society $50,000 and above Meg and Tim Callahan Joyce Chelberg Kenneth Griffin Sandy and Jack Guthman Jay Franke and David Herro $25,000–$49,999 Best Portion Foundation Sara Albrecht Marge and Lew Collens Paul and Ellen Gignilliat Latsko Family Foundation Ellis and Sally Regenbogen John W. and Jeanne M. Rowe Dirk Denison and David Salkin Timothy R. Schwertfeger and Gail Waller Bill and Orli Staley Richard and Ann Tomlinson $10,000–$24,999 Ross B. Bricker and Nina Vinik Joel and Katie Cory Pamela Crutchfield Patti Eylar and Charles Gardner Caryn and King Harris, The Harris Family Foundation Caryn Jacobs and Dan Cedarbaum James and Margaret Johnson Marc Miller and Chris Horsman Sarah J. Nolan J.B. and M.K. Pritzker Family Foundation Richard L. Rodes R. Penny Rodes DeMott Donald and Eileen Schiller Mary Kay Shaw Richard and Barbara Silverman Elizabeth Louise Smith Revocable Trust Denise Stefan-Ginascol and John Ginascol Deborah and Kelly Stonebraker Dr. John Vazquez and Dr. Paul Gleixner Randy and Lisa White Elizabeth Yntema $5,000–$9,999 Robert and Marilyn Arensman John and Caroline Ballantine Neil Bluhm Marlene Breslow-Blitstein and Berle Blitstein Julia Buckingham James and Edie Cloonan

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Shawn M. Donnelley and Christopher M. Kelly Allan and Ellen Drebin Paul and Dedrea Gray Richard and Mary Gray Harry and Marcy Harczak Trish and Harp Harper Linda Hutson Karen Kuenster and Jim Osick Ron and Elise Magers John E. Miller, Jr. Jim and Linda Mitchell Jane Ellen Murray David and Suzu Neithercut Alexandra and John Nichols James F. Oates Abby McCormick O’Neil and D. Carroll Joynes Adrienne Parker and Peter Foley Byron and Judy Pollock Eleanor and William Revelle Lauren Robishaw Sallyan Windt Patricia Woertz Sustaining DanceMakers $2,500–$4,999 Anonymous (2) Jeffery Bauer Corinne Brophy Nancy J. Brown Sidney and Sondra Berman Epstein Karena Fiorenza Ingersoll and Emrys Ingersoll John Grinney and Heidi Westland Bruce Hague John and Leslie Henner Burns Ronald Jensen Anne and Burton Kaplan Dietrich and Andrew Klevorn Nancy Lauter McDougal Dale and Julie Leibert Jim and Kay Mabie Sandra McNaughton Sally and Ted Miller Patricia and Candace Parchem Victoria Priola Eric and Tammy Steele Jack and Niki Tovin Greg and Colleen Webb Premier DanceMakers $1,000–$2,499 Anonymous (6) Greg Albiero and Mark Zampardo Joanne Baizer Paul and Sylvia Bateman Bija Bennett Susan Berlijn

Lawrence Berlin John Blosser Paul and Christine Branstad Jeanne Brett Linda S. Buckley Gregory Cameron and Greg Thompson Rebecca Carlins Gwen Carroll and Michael Rigney Steven Collens Jack Cooksey and Brenda Russell Tamara and Robert Cosentino Dr. & Mrs. Robert A Cutietta Jeffrey Davis Damian Dolyniuk and Kelly Royer Marsha and Philip Dowd Michael Downing and Kathy Bernreuter Alexander Dubé Lois and Steve Eisen The Patti Selander Eylar Scholarship Fund Bill Escamilla and Lisa Dollar Buehler Ginger Farley Thomas J. Feie Jodie Gates Julie L. Gentes Phil Geyskens Bill and Ethel Gofen David and Carol Golder James and Andrea Gordon Michael Grant and Carol McMahan Carmela and Chris Griffin Brian Herbstritt Sheldon and Elaine Holzman The Jastromb Family Philanthropic Fund Daniel Joseph Joe and Leanne Klein James and Lisa Knight Koldyke Family Fund Matt and Mikelle Kruger Monica Leccese Howard and Gail Lanznar Karen and Peter Lennon Philip Lumpkin and William Tedford Bill Melamed and Jamey Lundblad Helen Melchior Richard Melman Diane and Bob Merna Gary Metzner and Scott Johnson Pamela G. Meyer Michael Moriarty Maureen Mosh John and Lucine Nersesian

Twyla Tharp — 50th Anniversary Tour November 5–8

ONE OF THE

MOST ICONIC

CHOREOGRAPHERS

OF OUR TIME

AuditoriumTheatre.org 312.341.2300 Box Office: 50 E Congress Pkwy Discounts for groups of 10+!

TWYLA THARP — 50TH ANNIVERSARY TOUR SPONSORS Co-Commissioned by the Auditorium Theatre, in cooperation with Ravinia Festival. Auditorium Theatre’s participation made possible by PHILIP AND MARSHA DOWD.

2015–16 SEASON SPONSORS

Dance Sponsor

Student Matinee Sponsor

Student Matinee Sponsor

Circle image: Twyla Tharp by Bill King. Main image: Rika Okamoto and Matthew Dibble in “Yowzie.” Photo by Ruven Afanador.

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MARLEY MEMBER Join Hubbard Street’s monthly giving program.

Your monthly gift can have a tremendous impact: n

10 a month will fund the construction $ of a costume for a dancer in a World Premiere production.

n

20 a month allows us to license a piece of $ music for a new choreographic work.

n

50 a month will give a Chicago Public $ School student a scholarship to the Youth Dance Program.

n

$100 a month allows us to create and present a professional development workshop for an entire school’s teachers.

n

200 a month allows hundreds of students $ to attend an interactive Hubbard Street performance at the Harris Theater for Music and Dance.

With your monthly gift, you will invest in dance, and we will keep making it.

For more information, contact Meghan Pioli, Development Coordinator, at 312-850-9744 ext. 172 or mpioli@hubbardstreetdance.com

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Hubbard Street Dancer and Resident Choreographer Alejandro Cerrudo in Jiří Kylián’s 27’52”. Photo by Todd Rosenberg.

Fall Series 2015

Kenneth Norgan Julie O’Connell Thomas J. O’Keefe Charlene Osborne Jason Ott Sheila Owens Komal Patel Don and Carol Randel Alyssa Rapp and Hal Morris Naomi and John Reese The J. Rich Company LLC Eve Rogers Burton and Sheli Rosenberg Kevin and Camille Rudge Steven and Lauren Scheibe Katherine V. Schostok Carleen Schreder and Ralph Musicant Honorable Daniel Solis Dawn Stanislaw Robin Steans and Leonard Gail Nikki and Fredric Stein Jane and Michael Strauss James Tanner and Catherine Allegra Peter Q. and Michelle S. Thompson Marilee C. Unruh Michael and Linda Welsh DancePartners $500–$999 Anonymous (3) Steve Abrams James and Sheila Amend Tom and Tina Berry Sherrill Bodine Sandy and Vicki Boyce Janet Dauparas Tom Doherty Jennifer Edgcomb Tom Fahey Joel Frader Amy Francetic Jill Glaser Madeleine Grynsztejn and Tom Shapiro Jayne Hanauer Peter Hood and Christine Worley Jim Huberty and Marc Giles Mira Iliescu John Jawor George T. Jones, M.D. and V. Lynn Jones Lisa Key Brian and Elizabeth Kluge Kevin Kranzusch Linda and Peter Krivkovich Scott Lang Victoria Lautman Lew and Laurie Leibowitz Sydney Leung Robert Liem

Laura Lindner Margie Liotta Kity McNamee Jon and Lois Mills Laura Myntti Edward and Gayla Nieminen Kevin Ozan Aaron and Helene Paris Diane and John Patience Cathy Peponis Jonathan and Robin Plotkin Eleanor Pollack Elizabeth Price and Louis Yecies J. Timothy Ritchie Michael and Bonnie Rothman Alan and Patty Rubin Katie Sakach Jennifer Senior Shelly Shannon Patricia Sternberg Gregory and Cynthia Taylor Kimberly Taylor Michael and Sharon Tiknis Wayne F. Tjaden Mary Ellen Toll and William Heimann Paul Waas John and Amy Ward Jerold Wasserman Keven and Nick Wilder Karen Wilmot $250–$499 Anonymous Carolyn Andrews Gregg Auby Randy and Lorraine Barba Stephen and Susan Bass Marcus Linda Bierig Greg and Cassie Boyle Robert and Joell Brightfelt Catherine and Hugo Chavez Sally Coder Elizabeth and William Coleman Helene Connolly Barbara Coussement Robert and Quinn Delaney Cindy Delmar and Dwight Dick Duane M DesParte Barry and Vicki Dickerson Andrew and Diann Dincolo Sandra Jaggi DiPasquale Buck Dodson Timothy and Gina Dunning Thomas Durica Warren and Joan Eagle Todd Elhman Richard and Marjorie Ettlinger William and Jean Fischer Paul and Christine Fisher Jim and Deb Ford Arthur L. Frank, M.D. Jennifer Gavelek

Alan and Linda Goldberg Harry and Lyne Halme Lori Hess Pleiss and Clark Hess Charles and Caroline Huebner Mary Jakocko Alan Jones Janet Kalbhen Mary Kamraczewski Linda and Bernard Kastory John and Anne Kern Alexandra Klein James and Jeannette Kreston Megan Levin Ron and Fifi Levin Steven Maass Donald L. MacCorquodale Harry and Karyn Madorin Walter Mah and Margaret Mattsson Richard Martinotti Maria McCabe Renee Menegaz-Bock and R. Darrell Bock Theodore Milby Loren Miller Stacey Newman Marie E. O’Connor Hiroshi and Kathleen Okano Tom and Jeanne Olofson Steve Palmquist and Kathryn Nuss Audrey and John Paton Sarah Pesetsky John F. Podjasek III Charitable Fund Andrew and Judy L. Porte John Powers Howard and Gail Regenbogen Ruud Roggekamp Linda Rosencranz Harriet and Irwin Ross Gregory Salah Nick Sarros Patricia Schostok Reese Mary Splude Hal S. Stewart George Streeter and Kristina Howard Bernard Vrijburg Stacy Wells Jennifer Weuve and Jeffrey Gitelle Jon Will Ruth Ann Wisener Hubbard Street appreciates the support of the corporations, foundations and individuals that contribute gifts up to $250 and regrets the inability to list their names due to space limitations.

For any corrections to program name listings please contact the Development Office at 312.8509744 Ext. 130 or mpioli@ hubbardstreetdance.com hubbardstreetdance.com

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GIFTS IN HONOR AND MEMORY Gifts made in honor and memoriam are meaningful ways to recognize individuals with special connections to Hubbard Street. For more information or to make a gift, please contact the Development Office at 312-850-9744 ext. 172 or email mpioli@hubbardstreetdance.com.

In Honor of Sara Albrecht Sandra Jaggi DiPasquale Madeleine Grynsztejn and Tom Shapiro Beth Heller Lisa Key Bill Melamed and Jamey Lundblad In Honor of William Carlos Angulo Esther Angulo In Honor of Meg Callahan Jonathan and Robin Plotkin In Honor of Edie and James Cloonan Harry and Karyn Madorin In Honor of Meredith Dincolo Andrew Dincolo In Honor of Patti Eylar Linda Hutson In Honor of Charles Gardner and Patti Eylar Greg Cameron and Greg Thompson In Honor of the marriage of George Halik and Scott Wechsler George and Mary Perlstein

In Honor of Chris Horsman’s birthday Donald Santoski and April Brazell

In Honor of Jim Oates’ 90th Birthday Randy and Lisa White

In Honor of Linda Hutson’s birthday Sallyan Windt

In Honor of Marie O’Connor’s induction as a Hubbard Street Life Director Rosemary McManamon

In Honor of Ben Johnson and Katie Blaski Drew Bishop In Honor of Dietrich Klevorn Amy L. Carbone In Honor of Bill Melamed and Jamey Lundblad Buck Dodson In Honor of Marc Miller’s birthday David and Kathryn Donovan June Dorn Michael Grant and Carol McMahan Renee Haber-Schwartz George Horsman Linda and Bernard Kastory Steven Maass Ron and Elise Magers Robert and Barbara Mason Sally and Ted Miller Wayne Myers and Sarah Caldicott Ruth Nelson Tom and Jeanne Olofson

In Honor of Jason Palmquist Brooke Flanagan In Honor of Rich Rodes Thomas J. Feie Kevin Kranzusch In Honor of Katherine Schostok Paul and Ann Krouse In Honor of Deborah Stonebraker Steven and Lauren Scheibe In Honor of Anya Jean Sweetwood John W. Sweetwood In Honor of Sallyan Windt Henry and Cookie Kohn Patricia Pell

CONNECT WITH SOPHISTICATED CONSUMERS Advertise in Hubbard Street’s 35 35 magazine-quality program.

Glenn Edgerton, Artistic

YEARS

Director

Glenn Edgert on, Artistic

YEARS

Director

35YE

ARS

Hubbard Street Dance Chicago performing arts audiences are affluent, socially active and have lifelong, emotional connections to arts and culture in Chicago.

Season-long packages keep your distinct brand front of mind with our forward-thinking audience.

View past programs at hubbardstreetdance.com/ programs. For more information or to request a media kit, contact Sidney Cristol at 312-850-9744 ext. 164, or at scristol@hubbardstreetdance.com.

Glenn Edgerton,

Glenn

Edgerton,

Artistic Director

Andrew Alexa CEO/Executi nder ve Produ cer Kelly Leona rd Executive Vice Presid ent

Glenn Edger ton Artistic Director Jason D. Palmquist Executive Director

Director Artistic

Winter Series 15 December 12–

Pieces One Thousandrudo

by Alejandro

Cer

Fa Gnallwa Sebyries OcDua Nacho toto ber 15 –1 Quinte tt by Wil 9 liam For The Imp sythe ossible Billy Bun (Thursday, , a World Saturday Falling geroth, Dire and Sund Angels ctor Premiere ay)

by Jiří

by Ale PACOPE Kylián jandro PEPLUT (Friday Cerrud only) O by Ale o jandro Cerrud o (Friday

The Art

of Falli

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only)

ENJOY HUBBARD STREET AS A GROUP Did you know Hubbard Street offers specially priced packages for groups of ten or more for performances at the Harris Theater? Group ticket packages are affordable and exciting ways to reward and entertain colleagues, classmates, clubs, conventions, family members and more.

Group packages are ideal for Company/corporate outings Client appreciation socials Alumni club events Convention activities

School fundraisers Family reunions Donor appreciation nights Senior group trips

Special perks for groups of 25 or more Groups of at least 25 attendees may host a pre- or post-show reception in the Harris Theater’s Donor Room for their guests. Please note all food, beverages and other related costs are the direct responsibility of the hosting organization. Use of the Donor Room is extended on a first-come, firstserved basis and is subject to availability.

Backstage tours Groups may also take guided backstage tours! These include visits to the green room, wardrobe, rehearsal hall and a walk onstage. Tours are on a first-come, first-served basis and subject to availability.

Take Hubbard Street home Give your group members a memento to take home with them! Hubbard Street Dance Chicago apparel and souvenirs may be purchased at a quantity discount for your group event. Additional details available upon request.

Group pricing Contact us for pricing — dependent upon the size of the group and placement in the theater.

For more information, pricing, or to book your group, visit hubbardstreetdance.com/groups, or contact Sidney Cristol at scristol@hubbardstreetdance.com.

Hubbard Street Dancer Jessica Tong. Photo by Quinn B Wharton.

“Brilliant, engaging, moving.

I was completely overcome with emotion. The way the entire piece moved from solo, to duets, to trios, to groups was striking.

I loved it.”

—Ericka Lashley, audience member

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Fall Series 2015

E M E R G E F R O M T H E O R D I N A R Y.

43

U N A S S I M I L AT E . hubbardstreetdance.com

YOUTH, EDUCATION AND COMMUNITY PROGRAMS Hubbard Street Dance Chicago thanks these donors for helping us in our mission to bring dance into classrooms and communities:

Additional Funding Robert and Isabelle Bass Foundation, Inc. Helen Brach Foundation Children’s Care Foundation The Crown Family Golder Family Foundation Harry and Marcy Harczak Jackson National Life Insurance Company Neiman Marcus Edmond and Alice Opler Foundation Byron and Judy Pollock The PrivateBank Charles & M.R. Shapiro Foundation The Siragusa Foundation A. Montgomery Ward Foundation, John A. Hutchings, Richard W. Oloffson and Bank of America, N.A., Trustee

Hubbard Street 2 Butler Family Foundation Lou Conte Dance Studio Jane Ellen Murray Foundation Principal Contributor

Dancer Development Patron The Patti Selander Eylar Scholarship Fund

Hubbard Street 2 alumnus Jules Joseph with Mitchell Elementary School students at the Hubbard Street Dance Center.

Photo by Todd Rosenberg.

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Fall Series 2015

hubbardstreetdance.com

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Ensemble member Kate Arrington with Aaron Himelstein in John Steinbeck’s East of Eden

Guarantee your seats for John Steinbeck’s East of Eden and the rest of the thrilling season today

See all five plays for as little as $100 steppenwolf.org/subscribe | 312-335-1650

hubbardstreetdance.com

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MATCHING GIFTS

These companies contribute through matching gift programs. Ask your company to match your donation to Hubbard Street.

Aetna Foundation, Inc. Allstate Insurance Company American Airlines Amsted Industries Aon Foundation Bank of America Elizabeth F. Cheney Foundation The Chicago Community Trust Citicorp/ Citibank, N.A. Deutsche Bank Americas Foundation GE Foundation IBM Corporation Johnson Controls Foundation JPMorgan Chase Foundation Kimberly Clark Foundation Leo Burnett Company, LLC

McDonald’s Corporation Merrill Lynch & Co. Inc Motorola, Inc. Nike, Inc. Northern Trust Nuveen Investments Pepsico PNC Polk Bros. Foundation PricewaterhouseCoopers Foundation Quaker Oats Company The Rhoades Foundation UBS The Walt Disney Company Washington Mutual Wells Fargo

SPECIAL SERVICES ACME Hotel Company Preferred Hotel Partner

Park Grill Preferred Restaurant Partner

Adler Associates, Ltd. Mesirow Insurance Services Insurance Services

The PrivateBank Financing and Banking Services

Allied Live Advertising Athletico Physical Therapy Official Provider of Physical Therapy Baker Tilly Virchow Krause, LLP Auditor Chicago Athletic Clubs Official Health Club Communiqué Graphic Design Graphic Design Embeya Preferred Restaurant Partner HMS Media Video Services KlearSky Solutions, LLC Web Development and Design LAZ Parking Parking Partner MAC Cosmetics Official Make-Up Sponsor M/D/R Creative Gala Lights and Sound

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Fall Series 2015

Franczeck Radelet, P.C. Jenner & Block LLP Mosher & Wagenmaker, LLC Legal Services Seasons 52 Preferred Restaurant Partner Sunny Artist Management North American Representation Ilter Ibrahimof, Director ilter@sunnyartistmanagement.com Synapse Networks, Inc IT Services Tito’s Handmade Vodka Spirits Sponsor Todd Rosenberg Photography Photography Tourwerks Entertainment Travel Tour Housing Negotiation Kathleen Weber, M.D. Senaida Echevarria Midwest Orthopedic at Rush

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CONTRIBUTED MATERIALS AND SERVICES ACME Hotel Company Andy Cohen Athletico Robert and Joan Baizer Donald and Donna Baumgartner Bloomingdales Blue Plate Events Cannonball Wine Company Chateau Marmont Hotel Chef Freddy Cuisine Chicago Athletic Clubs Chicago Opera Theater Chicago Shakespeare Theater Lester Coney Bob Coscarelli Photography Embeya EXPO Chicago Goose Island Brew Co. Kenneth C. Griffin Intro Chicago Peter Ivanovich Kehoe Designs John Kelly Jr. LAZ Parking Lettuce Entertain You Lollapalooza MAC Cosmetics Mott Street

Sarah J. Nolan Park Grill Joe Perillo James Raff Alyssa Rapp and Hal Morris Ellis and Sally Regenbogen Ravinia Festival Andrew Salzman Seabourn Seasons 52 Sepia Restaurant Ross Shelleman and Tricia Rooney Southwest Airlines The Denim Lounge The Langham Chicago The Ritz Carlton The Second City Tiffany & Co. Tito’s Handmade Vodka Tru United Airlines Zachys Wine and Liquor A Zaffarano Production Hubbard Street appreciates the support of in-kind contributors of gifts valued up to $250 and regrets the inability to list their names due to space limitations.

Hubbard Street Dancers rehearse N.N.N.N. by William Forsythe, from left: Alicia Delgadillo, Ana Lopez, Emilie Leriche, and Jacqueline Burnett. Photo by Todd Rosenberg.

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Fall Series 2015

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ENDOWMENT SUPPORT Hubbard Street Dance Chicago gratefully acknowledges the generous support of the following donors to the Endowment for Health and Wellness and the Endowment for Artistic Programs, which were established with a generous grant from the Ford Foundation. $100,000 and above Meg and Tim Callahan Pamela Crutchfield David Herro and Jay Franke Jim and Kay Mabie Alfred L. McDougal and Nancy Lauter McDougal Timothy R. Schwertfeger and Gail Waller $50,000–$99,999 Sara Albrecht John and Caroline Ballantine Ms. Deborah A. Bricker Sidney and Sondra Berman Epstein Jack and Sandra Guthman The Rhoades Foundation Earl J. and Sandra Rusnak Randy and Lisa White William N. Wood Prince $25,000–$49,999 Marge and Lew Collens Harold Florsheim Paul and Ellen Gignilliat Averill and Bernard Leviton Dale R. Machalleck James F. Oates Randy A. White

$10,000–$24,999 Mr. Dean Balice Christopher J. and Kate Barber Roger and Julie Baskes Joseph and Anne Bohne Janice Y. Burnham and Raymond B. Carney Edie and James Cloonan Joel and Katie Cory Allan and Ellen Drebin Susan and Bryan Erler Trudene Giesel Mary Louise Gorno Jacqueline A. Hurlbutt Sarah J. Nolan Dina Norris and Steve Young Byron and Judy Pollock Sally and Ellis Regenbogen William and Eleanor Revelle Dana and Andre Rice Kevin and Camille Rudge Warren D. Shifferd, Jr. Denise Stefan-Ginascol Richard and Ann Tomlinson Robert and Nancy Unglaub Earl and Susan Webb Sallyan Windt $5,000–$9,999 Julia and Larry Antonatos Thomas F. Barnum The Sidney and June Barrows Foundation Corinne E. Brophy Patti Eylar and Charlie Gardner

Carla J. Eyre and Peter F. Gallagher Judith Grubner and Craig Jobson Linda Hutson Marc Miller and Chris Horsman Sally and Ted Miller Pat Pulido Sanchez and Manuel Sanchez John B. and Dianne L. Schwartz Ken Shanoff Deborah and Kelly Stonebraker Jack and Niki Tovin $1,000–$4,999 Kathy Catrambone Elizabeth F. Cheney Foundation Carolyn H. Clift Tom and Lois Colberg Jocelyn B. Hamlar and Leighton J. Toney Joel and Diane Jastromb Rachel Corn Kluge Todd E. Magazine David Mekemson and Irene Petruniak Maureen Mosh Bill Nygren Foundation Sheila Owens Donald H. Ratner Patrick J. Schieble Steven and Frances Shapiro Mary Kay Shaw Richard B. Turner

Theater rental and services have been generously underwritten through the support of the Harris Theater for Music and Dance.

205 E. Randolph Dr. 312-334-7777

harristheaterchicago.org Photo by Todd Rosenberg.

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Fall Series 2015

Crain’s Best New Restaurant Food & Wine’s People’s Best New Chef nominee (2013, 2014) Esquire’s 20 Best New Restaurants (USA) Embeya invites you to join us for a phenomenal tasting menu prepared by nationally acclaimed executive chef Mike Sheerin before your Hubbard Street performance for only $35.

Hubbard Street. Be sure to make this special request when making your reservation.

Call 312.612.5640 or reserve online at

embeya.com

hubbardstreetdance.com

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2015/16 Chicago Season November 7, 2015 Mary B Galvin Recital Hall Northwestern University New Music Initiative NUNC! 2 November 15, 2015 Fullerton Hall - Art Institute of Chicago Chinese Fine Arts Society 8 Tones: An Exploration February 5, 2016 International House University of Chicago Presents Surface Tension June 5, 2016 Constellation Chicago Frequency Series Currents

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Fall Series 2015

Aaron Copland Fund for Music.

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HUBBARD STREET

+ THE SECOND CITY WE’RE BACK. TELL A FRIEND. JUNE 9-12 It’s an encore by popular demand of The Art of Falling, created by Hubbard Street in collaboration with The Second City. This witty and heart-felt melding of dance and comedy follows the adventures of six unforgettable main characters, interspersed with improvised scenes, musical numbers, and hilarious vignettes. Named to “best of 2014” lists by the Chicago Tribune, the Chicago Sun-Times and Newcity, The Art of Falling tells stories of taking risks, falling in love, and daring to live. Don’t miss it.

Subscribe to Season 38 to guarantee priority tickets before they go on sale to the public.

PERFORMING AT

hubbardstreetdance.com/summer 312-850-9744 Hubbard Street Dancer Jessica Tong and Ensemble member Travis Turner. Photo by Todd Rosenberg.

DON’T MISS A BEAT THIS SEASON. Upgrade your Fall Series ticket to a flexible subscription and design the season you want. Reap the rewards of subscribing while saving on tickets.

To upgrade today, visit our Courtesy Table in the lobby.

CONNECT WITH HUBBARD STREET Like us on Facebook. Follow us on Twitter. Go into the studio on Instagram, pin us on Pinterest, listen to playlists from our repertoire on Spotify, watch videos on YouTube and more.

Hubbard Street Dancer and Choreographer Penny Saunders. hubbardstreetdance.com Photo by Todd Rosenberg.

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“ALWAYS VIRTUOSIC, ...THEY DANCE WITH THE HONEST VULNERABILIT Y AND EARNESTNESS THAT ARE L ANG’S TRADEMARKS.” -Huffington Post

H A R R I S T H E AT E R PRESENTS

JESSICA LANG DANCE WORLD PRE MIERE OF TESSERACTS OF TIME A COLL ABORATION

BY JESSICA L ANG AND STEVE N HOLL

F R I D AY 1 1 . 6 .1 5 7:30PM

CALL: 312.334.7777 C L I C K : H A R R I S T H E AT E R C H I C AG O . O R G VISIT: 205 EAST RANDOLPH DRIVE

A B BY McCORM IC K O’ N E I L A N D D. C ARRO L L J OY N E S, L E A D S P O N S OR J O H N A N D C ARO L I N E B A L A N T I N E, JAC K A N D SA N DR A GU T H M A N, M IC H A E L A N D S H ARO N T I K N I S T H RO UG H T H E I M AG I N E C A M PA IG N, C H IC AG O ARC H I T EC T U RE B I E N N I A L, T H E J OYC E T H E AT E R, A N D S OC I E T Y F OR T H E P E RF ORM I N G ART S, CO M M I S S I O N I N G PART N E RS

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S E AS O N S P O N S OR Fall Series 2015

O F F IC I A L A I RL I N E O F T H E H ARRI S T H E AT E R

S E AS O N H OT E L PART N E R

L E A D CO M M I S S I O N E R

ABOUT HARRIS THEATER FOR MUSIC AND DANCE

The Joan W. and Irving B. Harris Theater for Music and Dance is a 1,500-seat state-of-the art performance venue located in Chicago’s Millennium Park. Opened in November 2003, the nonprofit Harris Theater was the first multiuse performance venue built in downtown Chicago since 1929. Harris Theater serves as a unique national model of collaboration between the philanthropic community and performing arts organizations in music and dance. More than a decade later, the Theater features the most diverse offerings of any venue in Chicago, hosting local, national, and internationally renowned artists and ensembles.

The Harris Theater’s primary mission is to partner with an array of Chicago’s music and dance performing arts organizations to help them build the resources and infrastructure necessary to achieve artistic growth and long-term organizational sustainability. The Harris Theater’s original group of 12 resident companies has grown to include 35 diverse and exceptionally talented performing arts organizations, including internationally acclaimed Hubbard Street Dance Chicago, Music of the Baroque, Chicago Opera Theater, Chicago Symphony Orchestra’s MusicNow, and collaborations with Lyric Opera of Chicago, National Museum of Mexican Art, Museum of Contemporary Art Chicago, and Columbia College Chicago. Through these partnerships, the Theater has earned national recognition as a distinctive model for collaboration, performance, and artistic advancement.

The Theater supports this mission by providing these partner organizations with subsidized rental, technical expertise, and marketing support, allowing the organizations to focus on what they do best—bringing the finest in music and dance performances to the public. The Theater offers professional development opportunities, including the innovative Learning Lab, endorsed with grants from the National Endowment for the Arts.

The Harris Theater is also dedicated to presenting internationally acclaimed music and dance organizations to enhance its reputation as well as to help build audiences for the Theater’s resident companies. Through the Harris Theater Presents series, the Theater has achieved widespread recognition as a vital cultural anchor in Chicago. Daniel Barenboim, Mikhail Baryshnikov, Renée Fleming, the Hamburg Ballet, Lang Lang, the New York City Ballet, the Paris Opéra Ballet, the San Francisco Ballet, Stephen Sondheim, Chamber Music Society of Lincoln Center, and many others have graced the Harris’ Elizabeth Morse Genius Stage through this series.

The Harris maintains a strong emphasis on community engagement through enrichment activities and their Access Tickets Program, in which the Harris Theater partners with health and human services agencies and community organizations to provide underwritten performance tickets for individuals facing illness, disability, and challenging life circumstances.

Since 2009, the Theater has provided over 8,800 tickets to children and families, representing 25 neighborhoods across the city of Chicago. Learn more about Community Engagement programs at engage.harristheaterchicago.org. hubbardstreetdance.com

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BOARD OF TRUSTEES HARRIS THEATER FOR MUSIC AND DANCE

Officers Alexandra C. Nichols, Chairman Peter M. Ellis, Vice Chair Elizabeth Hartigan Connelly, Vice Chair Ricardo T. Rosenkranz, MD, Vice Chair Mary Kay Sullivan, Vice Chair Marilyn Fatt Vitale, Secretary David Snyder, Treasurer Caryn Harris, Executive Committee, Member at Large Michael Tiknis, Alexandra C. and John D. Nichols President and Managing Director Endowed Chair

Trustees James L. Alexander, Past Chairman John W. Ballantine Lee Blackwell Baur Paul S. Boulis Sunny Chico Peter M. Ellis, Vice Chair Louise Frank Jay Franke Robert J. Gauch, Jr. Sandra P. Guthman, Past Chairman Caryn Harris, Executive Committee, Member at Large Joan W. Harris, Past Chairman Elizabeth Hartigan Connelly, Vice Chair Christine N. Evans Kelly Deborah A. Korompilas Merrillyn J. Kosier Mac MacLellan

P Douglas McKeen Zarin Mehta Judith Neisser Alexandra C. Nichols, Chairman Kenneth R. Norgan Abby McCormick O’Neil, Past Chairman Jason Palmquist, Ex-Officio Ricardo T. Rosenkranz, Vice Chair William Ruffin, Ex-Officio Patrick M. Sheahan David Snyder, Treasurer Jeffrey D. Steele Mary Kay Sullivan, Vice Chair Michael Tiknis, Ex-Officio Marilyn Fatt Vitale, Secretary Elliot Weissbluth Dori Wilson Maria Zec Life Trustees Peter M. Ascoli Cameron S. Avery Marshall Field V James J. Glasser Sarah Solotaroff Mirkin Harrison I. Steans Robin S. Tryloff (Listing as of September 29, 2015)

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Fall Series 2015

STAFF HARRIS THEATER FOR MUSIC AND DANCE

Executive Staff Michael Tiknis, Alexandra C. and John D. Nichols President and Managing Director Endowed Chair Cheryl Mendelson, Chief Operating Officer & Executive Vice President of External Affairs Laura Hanssel, Executive Vice President & Chief Financial Officer Administration Lori Dimun, Vice President of Operations & Production Mary Jo Rudney, Director of Finance Jake Anderson, Manager of Artistic Administration Meghan McNamara, Manager of Community Engagement & Partnerships Emily Macaluso, Manager of Operations Hillary Pearson, Operations Coordinator Dawn Wilson, Technical Coordinator Derek Raridon, Staff Accountant Erin Swanson, Assistant to the President and Managing Director Production Andy Principe, Head Carpenter Jeff Rollinson, Flyman Jeffrey Kolack, Head of Props Don Dome Jr., Head of Audio Kevin Sullivan, Electrician

Development Jodi Kurtze, Vice President of Development Amanda Lawson, Director of Annual Giving & Sponsorships Catherine Miller, Manager of Campaign Gifts & Board Relations Elizabeth Halajian, Manager of Annual Giving & Special Events Samantha Shay, Development & Stewardship Assistant Marketing Patricia Barretto, Vice President of Marketing Kelly Degenhart, Director of Sales & Marketing Jamie Sherman, Manager of Public Relations & Communications Ticketing Services Gregg Brody, Box Office Treasurer Facilities John McDonagh, Facilities Manager Doug Gorzycki, Facilities Engineer Herbert Carter, Facilities Staff Shawn Robinson, Facilities Staff Lashawn Whitehead, Facilities Staff Front of House Kay Harlow, House Manager Jamelle Robinson, Concessions Manager Melaney Reed, Saints Coordinator The Saints, Volunteer Usher Corps

(Listing as of September 29, 2015) hubbardstreetdance.com

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INFORMATION HARRIS THEATER FOR MUSIC AND DANCE

Rental information: If you have any questions about the Harris Theater, including rental of the facility, group tours, or volunteer opportunities, please call the administrative office Monday through Friday, 9AM–5PM, at 312.334.2407.

Ticket purchases: To purchase tickets, visit HarrisTheaterChicago.org. Call or visit our Box Office at 312.334.7777 Monday through Friday, 12–6PM or until curtain on performance days. For group tickets for 10 or more people, call our Sales Office at 312.334.2419.

In consideration of other patrons and the performers: Please turn off all cell phones.

Photography is not permitted in the Theater at any time. Film or digital images will be confiscated or deleted by the Harris Theater house staff; violators will be subject to a fine. Latecomers will be seated at the discretion of the house management. Smoking is prohibited within the Harris Theater.

For your safety: Please take a moment and note the nearest exit. In the event of an emergency, follow the directions of the Harris Theater house staff. In the event of an illness or injury, inform the Harris Theater house manager.

Accessibility: Infrared assisted listening devices are available from the Harris Theater house staff.

The Theater is equipped for easy access to all seating levels for patrons needing special access.

Please advise the Box Office prior to the performance for any special seating needs.

Parking: Discounted parking validation is available for all ticket holders using the Millennium Park Garage. A validation machine is located next to the Box Office on the Orchestra Level, as you enter the Theater lobby.

Lost and found: Retrieved items will be held for 30 days with the Harris Theater house staff at 312.334.2403.

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Fall Series 2015

STUDIO RENTALS

Conveniently located in Chicago’s West Loop, the Lou Conte Dance Studio has plenty of space to fit your needs! Our state-of-the-art facilities and studio spaces are available for auditions and rehearsals, as well as photo and video shoots. Studios are equipped with mirrors, sprung Marley floors, pianos and high-quality sound systems.

LCDS has rented its studios to more than 90 organizations, hosting auditions and rehearsals for musicals, dance companies and internationally renowned performers such as: American Ballet Theatre Beyoncé Carnival Cruises Dancing with the Stars Disney’s The Lion King The Julliard School Pilobolus Riverdance San Francisco Ballet School Universal Studios Japan Wicked

America’s Best Dance Crew Busch Gardens The Color Purple Destiny’s Child Goodman Theatre Mamma Mia! Princess Cruise Lines River North Dance Chicago Savion Glover Urban Bush Women

Call 312-850-9766 to make your studio reservation today.

YOUTH DANCE PROGRAM For ages 18 months–18 years

CREATIVE. TECHNICAL. COMPREHENSIVE.

Hubbard Street Dance Chicago is among the most original forces in contemporary dance. The Youth Dance Program provides an in-depth dance education that focuses on creativity and the techniques that support contemporary dance. Study at Hubbard Street with Academy and Open Studio training options.

Photo by Todd Rosenberg.

FIND THE TRACK THAT’S RIGHT FOR YOU. email: youth@hubbardstreetdance.com phone: 312-850-9744 ext. 139 62hubbardstreetdance.com/YouthDance Fall Series 2015

PENINSULA MUSIC FESTIVAL PRESENTS

February Three Chamber Concerts to Warm Your Musical Soul!

All Concerts Held at Shepherd of the Bay Lutheran Church at 2:00 p.m. $25 General Admission Seating per Concert February Fest Subscription $60 $5 Students/ Children

Saturday, February 13 Igor Yuzefovich, Violin

Saturday, February 20 Eric Olson, Oboe Ellen Olson, Viola Judith Jackson, Piano

Saturday, February 27 Janet Sutter, Violin Karen Nelson, Violin Judith Jackson, Piano

FEBRUARY FEST DETAILS AND ORDERING:

www.musicfestival.com • 920-854-4060

THE DANCE CENTER

2015/16 SEASON

USE CODE HSDC15 FOR 15% OFF SINGLE TICKETS (LIMIT 2 PER PURCHASE)

Stephen Petronio Company

Urban Bush Women

October 1, 2 & 3, 2015 | 7:30PM

February 18, 19 & 20, 2016 | 7:30PM

Natya Dance Theatre

Joe Goode Performance Group

October 22, 23 & 24, 2015 | 7:30PM

March 10, 11 & 12, 2016 | 7:30PM

Camille A. Brown & Dancers

Rennie Harris & Michael Sakamoto

November 5, 6 & 7, 2015 | 7:30PM

March 31, April 1 & 2, 2016 | 7:30PM

Giordano Dance Chicago

FOR TICKETS CALL 312.369.8330 OR VISIT COLUM.EDU/DANCECENTERPRESENTS

February 4, 5 & 6, 2016 | 7:30PM

1306 S. Michigan Ave., Chicago, IL 60605

LIKE WHAT YOU SAW? SPREAD THE WORD! @HubbardStreet

HubbardStreetDance

#FallForForsythe

64 Fall Series Hubbard Street2015 Dancers Penny Saunders and Jesse Bechard in Quintett by William Forsythe. Photo by Cheryl Mann.

DANCE WITH US

Claire Bataille, Director Lou Conte, Founder

Photos by Todd Rosenberg.

Movers of all ages and abilities are welcome to dance year-round at the Lou Conte Dance Studio. With more than 70 classes each week, we’ve got moves for everyone from absolute beginners to seasoned professionals.

ballet jazz modern tap contemporary

African hip-hop musical theater Dance Latin Groove BeMovedÂŽ

Lou Conte Dance Studio at the Hubbard Street Dance Center 1147 W. Jackson Blvd.

Chicago, Illinois 60607 312-850-9766

Pilates yoga jazz funk Vixen Workout

To learn more and to register for the Fall Session, visit hubbardstreetdance.com/LCDS 312-850-9744 Jane Ellen Murray Foundation The Patti Selander Eylar Scholarship Fund Official Provider of Physical Therapy

Dancer Development Patron

hubbardstreetdance.com

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WFM

News, weather, and the greatest hits of the last 500 years… Every morning on 98.7WFMT and wfmt.com.

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CRAIN’S IS PROUD TO BE THE SEASON 38 MEDIA SPONSOR FOR

HUBBARD STREET DANCE CHICAGO

Crain’s is a long-time supporter of the Chicago arts as well as the publisher of the Chicago Symphony Orchestra, The Goodman Theatre and The Joffrey Ballet program books.

For program book information contact Chris Janos at ) 312-280-3132 or 8 cjanos@crain.com hubbardstreetdance.com

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WINTER SERIES DECEMBER 10-13 Crystal Pite brings the U.S. company premiere of Solo Echo to Hubbard Street, alongside the Harris Theater debut of Waxing Moon

by Robyn Mineko Williams, a world premiere by Penny Saunders, and new work for Hubbard Street 2 by 2015 International Commissioning Project choreographer Yin Yue.

Upgrade your Fall Series tickets to a two-pack subscription and save.

Crystal Pite

Robyn Mineko Williams

Penny Saunders

Yin Yue

hubbardstreetdance.com/winter 312-850-9744 Hubbard Street Dancers Jacqueline Burnett and Andrew Murdock in Waxing Moon by Robyn Mineko Williams. Photo by Todd Rosenberg.