The Barclay's 2012-13 International Dance Series

“Dance first.

Think later.”

Paul White in Meryl Tankard’s “The Oracle.” Photo by Regis Lansac.

- Samuel Beckett

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2012-13 INTERNATIONAL CONTEMPORARY DANCE SERIES

Epic. Lyrical. Sensual. Bold.

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BARCLAY THEATRE

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The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

IRVINEBARCLAYP R E S E N T S 1. From the President.......................................................................................3 The 2012-13 Contemporary Dance Series

3. Akram Khan Company.................................................................................4

October 10, 2012 (London, England)

Sofia Barbiero of Spellbound Dance Company photo by Marco Bravi

4. Stephen Petronio Company.........................................................................8

November 14, 2012 (New York, New York)

5. Spellbound Dance Company.....................................................................11

April 2, 2013

(Rome, Italy)

6. Ballet BC......................................................................................................14

May 11, 2013 (Vancouver, British Columbia)

A special performance!

In honor of the 100th anniversary of The Rite of Spring

7. Meryl Tankard’s The Oracle.......................................................................17

February 26, 2013 (Australia)

2. Introducing Movementum..........................................................................20

Series support provided by the

Cheng Family Foundation

In support of dance

8. How to Subscribe.......................................................................................22 9. Dance at the Barclay..................................................................................24 10. A Thank You to our Dance Supporters.....................................................26

IRVINE BARCLAY P R E S E N T S

The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

“Dance first...

Samuel Beckett was a Nobel Prize author, not a dancer. Yet he understood that dance has the innate ability to connect all people and cultures whether in ceremony, celebration, social setting or the theater.

This season, get connected by dance.

... Think later.”

IRVINE BARCLAY P R E S E N T S

The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

Akram Khan Company Akram Khan, artistic director London, England www.akramkhancompany.net

October 10, 2012

Akram Khan’s Vertical Road photo by Laurent Ziegler

Wed at 8pm

Epic dance theatre.

sponsored by

Kari and Michael Kerr

IRVINE BARCLAY P R E S E N T S

The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

“More and more, I am pulled reluctantly towards a strong horizontal current, which is a place where time is moving at

Akram Khan

such high velocity, that even our breath is forced to accelerate just in order for us humans to survive. And I have always believed, that it is in our slow exhalation, where the sense of this deep spiritual energy resides. In a world moving so fast, with the growth of technology and information, I am somehow inclined to photo by Laurent Ziegler

move against this current, in search of what it might mean to be connected not just spiritually, but also vertically.”

- Akram Khan

Akram Khan is one of the most acclaimed choreographers of his generation working in Britain today. Born in London into a family of Bangladeshi origin, he began dancing at seven and studied with the renowned kathak dancer and teacher Sri Pratap Pawar.

Khan began presenting solo performances of his work in the late 1990s, maintaining his commitment to classical kathak as well as developing modern work. He was Choreographer-in-Residence and later Associate Artist at the Southbank Centre London. Khan is currently an Associate Artist of MC2: Grenoble and Sadler’s Wells, London.

DESH (2011), Khan’s first full-length contemporary solo, is a partautobiographical work which is at once intimate yet epic. Khan’s latest contemporary ensemble work Vertical Road (2010) and recent creation Gnosis

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(2009), where he combined his classical Indian and contemporary dance roots, received critical acclaim and continue to tour worldwide.

Khan’s notable company works are bahok (2008), originally produced in collaboration with National Ballet of China; Variations (2006), a production with London Sinfonietta in celebration of Steve Reich’s 70th birthday; ma (2004), with text by Hanif Kureishi; Kaash (2002), a collaboration with artist Anish Kapoor and composer Nitin Sawhney.

Besides his company work, Khan also created duets: In-I (2008) with Oscarwinning actress Juliette Binoche, Sacred Monsters (2006) with internationally acclaimed dancer Sylvie Guillem, and award-winning zero degrees (2005) with Sidi Larbi Cherkaoui in collaboration with Antony Gormley and Nitin Sawhney.

The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

Vertical Road is Akram Khan’s most recent ensemble work. Khan has assembled a cast of performers from across Asia, Europe and the Middle East. A specially commissioned score by long-term collaborator, composer Nitin Sawhney, Vertical Road draws inspiration from Sufi tradition and from Persian poet and philosopher Rumi.

Exploring man’s nature, his rituals and the consequences of his actions, Vertical Road becomes a meditation on man’s journey to grace.

‘I died from minerality and became vegetable; And from vegetativeness I died and became animal.

I died from animality and became man.

Then why fear disappearance through death?

Next time I shall die Bringing forth wings and feathers like angels; After that, soaring higher than angels What you cannot imagine, I shall be that.’ (Rumi)

Vertical Road

Artistic Director/Choreographer Composer Lighting Designer Costume Designer Producer Technical Director Set conceived by

Akram Khan Nitin Sawhney Jesper Kongshaug Kimie Nakano Farooq Chaudhry Fabiana Piccioli Akram Khan, Kimie Nakano, Jesper Kongshaug

Material devised and performed by Eulalia Ayguade Farro, Konstandina Efthymiadou, Salah El Brogy, Ahmed Khemis, Yen-Ching Lin, Andrej Petrovic, Elias Lazaridis, Sung Hoon Kim

Vertical Road 3 minute trailer

Co-produced by ADACH (Abu Dhabi Authority for Culture and Heritage), Curve Leicester, Sadler’s Wells London, Theatre de la Ville Paris, National Arts Centre Ottawa, Mercat de les Flors Barcelona

Sponsored by COLAS

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The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

5:41PM BST 07 Oct 2010

Vertical Road Sadler’s Wells, review

A visceral evening of choreography that will rejuvenate even the most weary viewer’s love of dance.

Rating: * * * *

By Sarah Crompton

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There are nights when I wonder why I spent so much of my life watching dance – and other nights so visceral and original that I have no doubts.

Akram Khan’s new work Vertical Road definitely falls in the latter camp.

Created for a wonderful company of eight, it is a meditation on spirituality, on the difficulty of pursuing the “vertical road” towards truth and enlightenment when engrossed and in thrall to the “horizontal path” of contemporary life.

If that sounds dull and difficult, any doubts are dispelled by an opening in which, to the sound of running water, the huge figure of Salah El Brogy butts his head against a membrane-like skin of silk that hides the back wall. As he moves his arm, ripples spread through the fabric, like waves. In front of him crouch the other seven dancers, bent double and still. In the next scene, they stand with heads bowed.

When El Brogy appears among them, they finally move, pounding clouds of white dust from their draperies, like statutes from some lost world coming to life. To the relentless beat of Nitin Sawhney’s powerful score, they twitch and whirl in ritualised movement, their legs heavy, arms fierce and fast.

They look other-worldly and mystical, interacting with El Brogy, who seems to take the role of a searcher for truth, both teacher and taught. The dance is relentless, thrilling and compelling.

It is sometimes hard to follow and slightly loses momentum about twothirds of the way through. But its quality lies in the way Khan and his committed performers have embodied in dance the thought he is pursuing. And the end, where El Brogy is again in a spotlight, convulsively reaching up to heaven as his body roots him to the floor, is incredibly moving.

The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

Stephen Petronio Company Stephen Petronio, artistic director

November 14, 2012 Wed at 8pm

Fashion, music and art collide.

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The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

The Stephen Petronio Company photo by Sarah Silver

New York, New York stephenpetronio.com

Stephen Petronio “There’s a visceral thrill to Stephen Petronio’s choreography that is unlike anything offered by other contemporary choreographers…a superb craftsman who knows how to build and layer a dance, pace the whiplash speed and ….create intriguing configurations through spatial patterns…the movement, with its improbable juxtapositions, seems to pour across the stage…” - The New York Times Stephen Petronio (Artistic Director/Choreographer) was born in Newark, New Jersey, and received a BA from Hampshire College in Amherst, MA, where he began dancing in 1974. Initially inspired by the dancing of Rudolf Nureyev and Steve Paxton, Petronio was the first male dancer of the Trisha Brown Company (1979 to 1986). He has gone on to build a unique and powerful language of movement in a career that spans over 25 years. He has received numerous accolades, including a John Simon Guggenheim Fellowship, as well as awards from the Foundation for Contemporary Performance Arts, New York Foundation for the Arts, an American Choreographer Award, and a New York Dance and Performance “Bessie” Award.

He has created over 35 works for his company, and has been commissioned by some of the world’s most prestigious modern and ballet companies, including William Forsythe’s Frankfurt Ballet (1987), Deutsche Oper Berlin (1992), Lyon Opera Ballet (1994), Maggio Danza Florence (1996), Sydney Dance Company (2003, full evening), Norrdans (2006), the Washington Ballet (2007), and The Scottish Ballet (2007).

His company repertory works have been set on The Scottish Ballet, Norrdans in Sweden, Dance Works Rotterdam, National Dance Company of Wales, X Factor Dance Company in Edinburgh, Ballet National de Marseille, Ballet de Lorraine, and London Contemporary Dance Theater.

In Spring 2009 Stephen completed an evening-length work, Tragic Love for 30 dancers in collaboration with composer Ryan Lott (aka SON LUX) for Ballet-deLorraine. The dance premiered in Montpellier, France June 27, 2009. He completed another new work with Ryan Lott titled By Singing Light, for the National Dance Company of Wales that premiered in Cardiff in October 2010. New projects include The Social Band, a commission for Other Shore Dance Company in New York that premiered on February 10, 2011 at the Historic Asolo Theatre in Sarasota, Florida and Prometheus Bound, a musical for the American Repertory Theater, in collaboration with director Diane Paulus (HAIR), writer and lyricist Steven Sater (Tony award, Spring Awakening) and composer Serj Tankian (Grammy award, lead vocalist “System of a Down”), which had its premiere on March 4, 2011. Stephen is currently working on a memoir with a working title, “Notes from A Life in Motion.”

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The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

Stephen Petronio is widely regarded as one of the leading dance makers of his generation. New music, visual art and fashion collide in his dances producing powerfully modern landscapes to be experienced by all the senses. He has built a body of work with some of the most talented and provocative artists in the world including a variety of leading composers, visual artists and fashion designers.

Founded in 1984, Stephen Petronio Company has performed in 26 countries throughout the world, and over 35 New York City engagements including 15 seasons at The Joyce Theater.

UNDERLAND

New York premiere 2011 Awarded a 2010 NEA American Masterpieces grant Concept and Choreography: Music:

Stephen Petronio Nick Cave

Architecture of Loss 3 min trailer

Courtesy of EMI Music, Film & TV and Mute Song Ltd

Music Producer: Soundscape: Costumes: Visual Design:

Tony Cohen Paul Healy Tara Subkoff Ken Tabachnick

The West Coast Premiere of

THE ARCHITECTURE OF LOSS

Premiered in New York at The Joyce Theater, March 2012 A co-production between Stephen Petronio Company and The Nordic House (The Faroe Islands) Concept and Choreography: Stephen Petronio Music: Valgeir Sigurðsson

with contributions from Nico Muhly Costumes: Guðrun & Guðrun Visual Design: Rannvá Kunoy Lighting Design: Ken Tabachnick

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The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

U.S. debut tour

Spellbound Dance Company Mauro Astolfi, artistic director Rome, Italy www.spellboundance.com

April 2, 2013

Lush and lyrical.

Spellbound Dance Company photo by Cristaldo Cristiani

Tues at 8pm

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The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

Mauro Astolfi “Once in a while we can talk about dance meant as art, an art which is able to restore the holy meaning of beauty.”

- Raffaella Sole, “Tutto danza”

Mauro Astolfi is the Artistic Director and Founder of Spellbound Dance Company.

Before founding the company in 1994, Astolfi trained and danced for many years in the United States, Italy, and London.

Spellbound Dance Company has been presented by dance festivals across the globe, including: Tanzmesse in Dusseldorf, Germany, the Les Temps d’Aimer La DanceBiarritz, France, the Vitebsk Festival of Modern Choreography, Belarus, Aachen Schrittmacher Festival, Germany, Madrid en Danza, and many others.

The company has been supported by the Italian Ministry of Culture since 2000. In 2006, Astolfi received a major commission by the International Festival of Maiori (Italy) to create new choreography for Carmina Burana. To date, the work has toured over one hundred times, including performances at prestigious performing arts centers in Italy including Teatro Goldoni (Venice), Teatro Fraschini ( Pavia), Teatro Verdi (Pisa), Teatro Marucelli (Orvieto), Teatro Tito Marrone (Trapani), Teatro Comunale (CarpiModena) and Teatro delle Palme (Naples) among others. Additional commissions include the creation of Don Giovanni (2008) for the Venice Biennale, and For Her for the Picasso Foundation of Malaga. During the 11/12 season, Astolfi was invited to create a new work for River North Dance Chicago.

In addition to his work for Spellbound Dance Company, Astolfi has choreographed original works for companies such as the Italian aerial dance Kitonb Theatre Company, Amsterdam Theaterschool (The Netherlands), Szegedi Kotrars Ballet (Hungary), Leipziger Ballet (Germany) and Balleto di Roma (Italy). When not creating new works, Astolfi also teaches extensively in Italy as well as internationally in dance centers in Tokyo, Paris, New York, Zürich, Stockholm, Amsterdam, and Los Angeles.

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The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

Founded in 1994 and lead by artistic director, Mauro Astolfi, Spellbound Dance Company, in Rome, is Italy’s premier contemporary dance troupe. The company’s unique movement vocabulary is described as poetic, emotive, and dynamic. Bodies create shifting geometries through space with equal amounts of athleticism and elegance. Spellbound has charmed audiences throughout the world with performances at dance festivals in Italy, Spain, Croatia, Serbia, Germany, Austria, Belarus, France and Thailand.

LOST FOR WORDS A mixture of graceful fluidity and stunning virtuosity, Astolfi’s Lost for Words is an abstract reflection on the role of language in human relations, echoing the dissonance embedded in a culture of communication dominated by empty words.

Spellbound Dance Company

Downshifting 3 min trailer

Direction and Choreography: Mauro Astolfi Light designer: Marco Policastro Dancers: Sofia Barbiero, Alessandra Chirulli, Maria Cossu,

Marioenrico D’Angelo, Marianna Ombrosi, Giacomo Todeschi Music: Loscil (“The Making of the Grief Point”)

H.I.F Biber (“The Guardian Angel”)

DOWNSHIFTING Downshifting (2009) occupies a space of great simplicity and sparseness. Directly commenting on personal choice and will, “Downshifters” are those who opt for another trajectory and imagine an alternative future in order to realize life more fully. It is a dance of pure, lush movement free from restraint and rich in passion and emotion.

Direction and Choreography: Mauro Astolfi Dancers: Maria Cossu, Marianna Ombrosi, Alessandra Chirulli,

Giuliana Mele, Gaia Mattioli, Sofia Barbiero, Marioenrico D’Angelo, Giacomo Todeschi, Michelangelo Puglisi

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The presentation of Spellbound Dance Company is made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundtion and additional funding from The Andrew W. Mellon Foundation.

The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

Bold and innovative repertoire

Ballet BC

Emily Molnar, artistic director Vancouver, Canada www.balletbc.com

May 11, 2013 Sat at 8pm

sponsored by

Sonnet Technologies

IRVINE BARCLAY P R E S E N T S

The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

Ballet BC in Les Chercheurs de Dieu

U.S. debut tour

“…a highly original dance language, fluid and complex…exhilarating to watch” –Dance Europe

Named as one of Canada’s “new generation of ballet sensations” (MacLean’s Magazine), Molnar is a graduate of the National Ballet School and a former member of the National Ballet of Canada; a soloist with the Frankfurt Ballet, where she created and performed an extensive repertoire under director William Forsythe; and most recently a principal dancer with Ballet BC. Molnar worked closely with former Ballet BC Artistic Director John Alleyne in the creation of Puck in The Fairie Queen and Persephone in Orpheus, receiving national acclaim in both productions. “Molnar’s movements in these final moments have as much to say about the foolish heart as any of Shakespeare’s Midsummer’s Night does.” (Michael Scott, Vancouver Sun) In 2003 her role as Puck was adapted to film by the CBC and continues to be aired on national television.

Molnar is an internationally respected and critically acclaimed artist who has worked and toured extensively throughout Europe, Asia, Mexico, Canada and the US. She has created and performed several works as a choreographer and solo artist, including commissions for Ballet BC, Alberta Ballet, Ballet Mannheim, Ballet Augsburg, Cedar Lake Dance, Pro Arte Danza and Morphoses/The Wheeldon Company, among others. Her most recent works include Dedica, a new work for Ballet BC’s celebration gala Ignite and Songs of a Wayfarer for Alberta Ballet. This season Molnar will create a new work for Ballet BC inspired by Icelandic cellist and composer Hildur Gundnadottir that will premiere in March 2012.

In 2005, Molnar was invited to participate in The New York City Choreographic Institute where she worked with dancers from The New York City Ballet. Molnar has worked closely with mentor Margie Gillis through her own solo work, in performing Gillis’ Speak and M.Body.7, and in collaborating on Breathing in Bird Bones.

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The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

photo by Valerie Lacaze

Emily Molnar

Founded in 1986, Ballet BC is heading in a bold new direction under the leadership of Emily Molnar, former dancer with the National Ballet of Canada and William Forsythe’s Ballet Frankfurt. The company’s 16 dancers boast exceptional classical and contemporary training and practically leap off the stage with striking individuality and passionate commitment. Ballet BC will make its soCal debut with a program encompassing two of Europe’s most gifted choreographers including France’s Mehdi Walerski and Italy’s Jacopo Godani.

Petite Céremonie

Premiere : February 17, 2011 BalletBC Choreography : Medhi Walerski Music: Mozart, Puccini, Rogers & Hart, Vivaldi Costumes: Linda Chow Lighting: Bonnie Beecher Originally created for Ballet BC, this ballet is a powerful and poetic fullcompany piece by rising European dance star Medhi Walerski. Inspired by the idea of ‘life in a box,’ it explores a range of dimensions, culminating in a surprising and delightful mix of dance and theatre, full of imagery and adventure, a dazzling landscape of movement and ideas. Dance Europe calls Walerski an “original voice” who makes dances that are “out of this world...a dreamlike experience. A dream you never want to wake from.”

Walerski is a dancer with The Netherlands Dance Theatre and a former member of the Paris Opera Ballet, Nice Opera Ballet and the Ballet du Rhin in Mulhouse.

A.U.R.A. (Anarachist Unit Related to Art) Choreography, Lights, Costumes: Music:

Jacopo Godani 48Nord

Italian choreographer Jacopo Godani has created works for many international companies, among them Netherlands Dance Theatre, The Royal Danish Ballet, Les Ballets de Monte Carlo and The Royal Ballet of Flanders, making him one of the most sought after choreographers on the planet. He makes his Canadian debut with A.U.R.A., originally commissioned by Ballet Mainz and set to a dynamic score by German electroacoustic duo 48nord. The work showcases his explosive style, captivating in its raw and unbound energy. By taking full advantage of the articulation of the highly trained physical body while at the same time staying true to innovation, Godani successfully gets “...dancers to take their bodies and brains farther.”

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The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

A special subscriber add-on!

In honor of the 100th Anniversary of The Rite of Spring

Meryl Tankard’s

The Oracle from Australia

February 26, 2013 Tuesday at 8pm Performed by

Paul White Concept/direction Choreography Set/video design

Paul White in Meryl Tankard’s The Oracle photo by Régis Lansac

Music

Intimate and sensual

Produced/toured by

Meryl Tankard

Meryl Tankard, Paul White

Régis Lansac

Igor Stravinsky Joao Rodriguez Esteves

Performing Lines

www.meryltankard.com Please note that this performance contains nudity and adult themes.

The Oracle was originally commissioned by the Sydney Opera House and the Malthouse Theatre in Melbourne. It has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body; and by the Keir Foundation. Original development assistance through Critical Path’s Responsive Program in partnership with UNSW.

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The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

This sensual and intense dance work by celebrated choreographer

Meryl Tankard, featuring virtuoso dancer Paul White, explores the

conflicting forces of nature and man, masculinity and femininity, violence and nurturing, strength and vulnerability. Inspired by

the sometimes disturbing human forms in Scandinavian artist Odd Nerdrum’s work, The Oracle is set to Stravinsky’s seminal

composition for the infamous 1913 ballet The Rite of Spring, which caused riots at its Paris premiere. The intensity of the subject,

the power of the complex, rhythmic musical score and the stark

and brooding aesthetic deliver an atmosphere of coiled-spring emotions and conflict in this haunting and critically acclaimed work.

Meryl Tankard – Director, Choreographer Meryl Tankard began her career as a dancer with the Australian Ballet. After three years she left the company to join Pina Bausch’s Wuppertaler Tanztheater and danced with the company as a principal soloist for a period of ten years, creating roles in Cafe Muller, Kontakthof, Arien, and 1980, among others. Meryl returned to Australia and in 1989 established her own dance company in Canberra.

From 1993 to 1999 she was Artistic Director of the Australian Dance Theatre in Adelaide, creating a rich and diverse body of full-length works including Furioso, Possessed, Aurora, Songs with Mara, Two Feet, Rasa and Inuk; as well as touring extensively to Europe, USA, UK and Asia. Under Meryl’s directorship, ADT was the first Australian company to be invited to the prestigious Brooklyn Academy of Music (BAM) in New York. Since 2000 Meryl has worked freelance, creating the opening segment of the Olympic Games Ceremony in Sydney, Bolero for the Lyon Ballet , Merryland and Petrushka for Netherlands Dance Theatre 3 and 1, Wild Swans for The Australian Ballet and most recently Cinderella for Leipzig Ballet. She has also choreographed for London’s West End and for Disney on Broadway. She is currently developing a music theatre work MAD and developing a script for a feature film.

IRVINE BARCLAY P R E S E N T S

The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

19 September 2009

An exceptional role that absorbs and consumes

by Jill Sykes There has to be talent and skill and creative inspiration. But sometimes you have to believe the stars were aligned to bring artistic elements together at a particular moment to make something extraordinary. The Oracle is such a piece.

It is danced by Paul White, who also shares the choreographic credit with Meryl Tankard, director and driver of the original idea. Regis Lansac has done the set and video design - and almost 100 years ago Igor Stravinsky composed the music, The Rite of Spring.

White’s athleticism shapes much of the movement, emphasising the theme of ancient rites, and the classical male beauty of his musculature is etched into fine detail by the lighting of Damien Cooper and Matt Cox. Yet he can create a character of feminine delicacy, as he does in a lyrical sequence with a long velvet cape.

The Oracle begins with a video to an 18th-century Magnificat by Joao Rodrigues Esteves, giving Lansac a solo opportunity to establish a curiously surreal vision in which moving images of White are mirrored, divided and multiplied to nightmarish effect. Religious iconography is given a heathen thrust.

White glides on to the stage on his back in darkness, ready to muster all his forces when the sound of Rite begins to uncurl - in a thrillingly restrained performance by the London Philharmonic Orchestra.

Restraint is the key to the success of The Oracle. It is packed with references to past and present in style and content - from Martha Graham’s whirling skirt to a best-selling novel dealing with the darker side of religion - yet the perfect pace of their unraveling makes the slow build-up to a dramatic climax totally engrossing.

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The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

Paul White in Meryl Tankard’s The Oracle photo by Régis Lansac

White is an exceptional dancer. Chunky and muscular, he is also a sports aerobics champion. These two qualities of movement come together in a performer of great sensitivity and considerable daring in responding to possibilities suggested by dance directors and choreographers. In this work, he is so absorbed by the role that at times he appears consumed by it. The thrill of sensing something “other” is an echo of one of The Oracle’s inspirations, Vaslav Nijinsky, who choreographed the original Rite in 1913 and whose personal suffering is also depicted here.

m u t n e m ove ng Introduci

M

IrvineBARCLAYpresents

has enjoyed recent growth in both its dance program and audience. In conjunction with this forward momentum, we are pleased to announce Movementum, a program of support specifically for contemporary dance. By supporting Irvine Barclay Theatre through Movementum, you will be demonstrating your desire to encourage the availability of dance on our stage, to the community, and in the classroom. Supporters will receive benefits geared just for dance lovers!

Members of Movementum will receive dance-specific benefits as well as the regular benefits of Barclay membership at the appropriate level of contribution.

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Join your fellow dance fans and make a gift to Movementum!

We hope to see you next season.

It’s a great one!

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Benefits

Movementum

Friends (up to $99)

 Recognition as a Movementum supporter.  Essays for Movementum members. Commissioned by the Barclay and written by an expert in the field of dance, these essays will give insight into, and insider information about, the programs appearing as part of the Barclay’s dance season.

Supporters ($100 - $249)

 The benefits listed above, plus...  Recognition at the appropriate level in the Barclay’s program magazine for one year

Enthusiasts ($250 - $999)

Program Partners ($5,000 - $9,999)

 All of the benefits listed above, plus...  6 complimentary tickets to your choice of performance(s) in the current season

(some exclusions apply).

Presenting Partners/Sponsors ($10,000)  All of the benefits listed above, plus...

 Recognition as sponsor of a Barclay presentation, including print recognition, on-site signage, and a sponsorship reception.  Receive 10 complimentary tickets to your underwritten performance, or in combination with other performances.

 All of the benefits listed above, plus...  2 one-time Gold Bar passes, each pass good for up to two people for one performance of your choice. The mezzanine-level Gold Bar provides complimentary wine, champagne and snacks and is open one hour prior to performances and during intermission(s) of select IrvineBARCLAYpresents concerts and attractions.

Bravo Barclay Patron ($1,000 - $4,999)

 All of the benefits listed above, plus...  Invitations to special “meet the artist” and sponsorship receptions in the theatre’s Jade Room, when offered.  2 Gold Bar passes for a year. Each pass allows holder and guests access to the Gold Bar for an entire year to any performance offering a Gold Bar. The mezzanine-level Gold Bar provides complimentary wine, champagne and snacks and is open one hour prior to performances and during intermission(s) of select IrvineBARCLAYpresents concerts and attractions.

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oin

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m u t n e m e v o M We hope you will become a part of Movementum when you subscribe.

Just let the box office agent know that you would like to make a donation to Movementum. Your participation at any level helps sustain dance.

If you have any questions, or would like to join separately from your ticket purchase, please contact: Julia Foster, Chief Development Officer (949) 854-4186 or foster@thebarclay.org

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Subscribe now!

1. Akram Khan Company

Wed., October 10, 2012 at 8pm

Single Tickets: $32-$43, + vip gold seats

2. Stephen Petronio Company Wed., November 14, 2012 at 8pm

Single Tickets: $29-$39, + vip gold seats

3. Spellbound Dance Company Tues., April 2, 2013 at 8pm

Single Tickets: $29-$39, + vip gold seats

4. Ballet BC

Sat., May 11, 2013 at 8pm

Single Tickets: $32-$43, + vip gold seats

Plus, a special dance option!

In honor of the 100th anniversary of The Rite of Spring

5. Meryl Tankard’s The Oracle

Four-Show Subscription - Save $20 Package C:

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Shows 1-4

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$380

(reg $400)

Five-Show Subscription - Save $25 Includes The Oracle

Package C:

Shows 1-5

$119

(reg $144)

Package B:

Shows 1-5

$146

(reg $171)

Package A:

Shows 1-5

$171

(reg $196)

Gold Package:

Shows 1-5

$407

(reg $432)

Rachel Prince of Ballet BC photo by Michael Slobodian

Tues., February 26, 2013 at 8pm Single Tickets: $22-$32

Gold Package includes: • VIP center orchestra seating rows C-F • Admission to the private Gold Bar • Complimentary drinks • Invitations to special events A reduced $2 per ticket charge is applied to all subscription orders.

IRVINE BARCLAY P R E S E N T S

The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

How to Subscribe: Online Go to our website at www.thebarclay.org Choose the Contemporary Dance Series from the list of events.

Click on the Subscribe Now button and choose your seats.

•

Phone •

Call the box office at: (949) 854-4646 x1

Hours: Mon-Fri 10am to 6pm; Sat & Sun noon to 4pm

In Person

• Visit the box office at:

4242 Campus Drive, Irvine CA 92612

Hours: Mon-Fri 10am to 6pm; Sat & Sun noon to 4pm

Single tickets will go onsale in mid-September.

Join Movementum

Support the best in contemporary dance and education by adding a donation to your ticket order. A gift in any amount is greatly appreciated.

IRVINE BARCLAY P R E S E N T S

The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

20+ Years of Dance at the Barclay Alberta Ballet in The Fiddle and the Drum photo by Charles Hope

Dance is an art form whose unique essence is capable of inspiring deep emotional response among viewers and participants alike. Its power resides in the body regardless of nationality, status, language or culture. In its diverse and eclectic forms, it appeals as mass entertainment or as high art, and everywhere in between.

The theatre has presented over 80 different American and international contemporary, traditional and folkloric companies, including many debuts and premieres.

As a producer, the Barclay has created numerous editions of the New World International Flamenco Festival, curated a week-long Hawai’ian festival involving nearly

IRVINE BARCLAY P R E S E N T S

a hundred Hawi’ian and mainland artists, and provided administrative and marketing support for the National Choreographers Initiative since its inception in 2004.

As a facility, the Barclay is host to a diverse group of local dance companies including Festival Ballet Theatre, Backhausdance, Arpana Dance Company, Maple Ballet and the former Ballet Pacifica. Because of its ideal size, scale and sight-lines for dance, the theatre is also a desired venue by educational programs and local studios.

UCI has created impressive work here. The Wooden Floor has presented a fully-produced recital performance every year since the theatre’s opening in 1990. Each June, local studios including Focus Dance Center, Pacific Dance

Center, and Classical Dance Center present thousands of children in year-end recitals.

Outreach programs have included residencies, master classes and workshops, daytime performances for school audiences, lectures and demonstrations. Examples range from the extraordinary performance/residency of Eliot Feld’s Ballet Tech in co-operation with St. Joseph Ballet’s (now The Wooden Floor), to the Contemporary Dance Immersion program for high school and UCI dance students organized by UCI faculty and supported by IrvineBARCLAYpresents.

The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

1990-1991

Hubbard Street Dance Chicago Maria Benítiz Spanish Dance Co.

1991-1992

José Greco Flamenco

1992-1993

Bebe Miller Company Hubbard Street Dance Chicago Dayton Contemporary Dance Co. Joe Goode Performance Group Maria Benítiz Spanish Dance Co.

1993-1994

Parsons Dance Company Lar Lubovitch Dance Company LINES Ballet Donald Byrd/The Group

1994-1995

Mark Morris Dance Group Parsons Dance Company Susan Marshall Dance Company Pilobolus Dance Theatre Le Ballet National du Senegal

1999-2000

Eliot Feld: Ballet Tech La La La Human Steps Parsons Dance Company Doug Varone and Dancers

2000-2001

Streb/Ringside Pilobolus Dance Theatre Sasha Waltz Garth Fagan Dance

2001-2002

Joe Goode Performance Group Mark Morris Dance / Yo-Yo Ma Hubbard Street Dance Chicago Dayton Contemporary Ballet American Indian Dance Theatre New World Flamenco Festival Companía Domingo Ortega Yaelisa & Caminos Flamencos Companía Bélen Maya

2002-2003

Compagnie Maguy Marin Hubbard Street Dance Chicago Paul Taylor Dance Company Stephen Petronio Dance Company Ballet Folklorico de Chile Dancers & Musicians of Bali

Sean Curran Dance Company Ballet Preljocaj Momix Philadanco Trinity Irish Dance Company Music & Dance of Manipur New World Flamenco Festival Companía Juana Amaya Yaelisa & Caminos Flamencos Companía Andrés Marin

1996-1997

2003-2004

1995-1996

Bill T. Jones/Arnie Zane Dance Co. Parsons Dance Company Joe Good Performance Group Les Ballets Jazz de Montreal

1997-1998

Rosas Streb/Ringside Batsheva Dance Company Mark Morris Dance Group La Tania Flamenco Ensemble

1998-1999

Ballet Preljocaj Hubbard Street Dance Chicago Mark Morris Dance Group Momix

Hubbard Street Dance Chicago Pandit Birju Maharaj Krasnoyarsk National Dance Company of Siberia New World Flamenco Festival Jerez Puro Israel Galvan & Company Antonio Canales

2004-2005

2005-2006

Savion Glover: Classical Savion Julio Bocca: Boccatango Seoul Performing Arts Company National Choreographers Initiative New World Flamenco Festival Los Farrucos Y Una Batita de Cola Companía Antonio el Pipa

2006-2007

Richard Alston Dance Company Joe Goode Performance Group Les Grands Ballets Canadiens Compania Nacional de Danza II Ballet Folklórico de Mexico Hungarian State Folk Ensemble Les Ballets Africains National Choreographers Initiative New World Flamenco Festival Companía Juana Amaya Sin Fronteras / Savion Glover Companía Rafaela Carrasco

2007-2008

Jazz Tap Ensemble Whirling Dervishes of Turkey Tango Fire Cois Ceim Dance Company Shen Wei Dance Arts Mark Morris’ Dido & Aeneas Rubberbandance Group National Choreographers Initiative New World Flamenco Festival Companía Maria José Franco Andrés Peña & Pilar Ogalla Companía Juan Ogalla

2009-2010

Bill T Jones/Arnie Zane Dance Co. Grupo de Rua Akram Khan Dance Company Alberta Ballet Virsky Ukranian Natl Dance Co. Dulsori National Choreographers Initiative

2010-2011

Ballet Preljocaj Momix Hubbard Street Dance Chicago Aszure Barton & Artists Tango Inferno National Choreographers Initiative

2011-2012

Semana Flamenka Eastman: Babel Colin Dunne: Out of Time La La La Human Steps: New Work Diavolo Dance Theater Pilobolus National Choreographers Initiative

2012-2013

Akram Khan: Vertical Road Stephen Petronio Company Meryl Tankard’s The Oracle DanceBrazil Noche Flamenca Spellbound Dance Company Ballet BC

2008-2009

Joe Goode Performance Group Aspen Santa Fe Ballet National Choreographers Initiative New World Flamenco Festival Somos Flamencos Companía Antonio el Pipa

Hawaii Festival Ulukou: Waikiki Revisited Eddie Kamae & Sons of Hawaii Ke Aka: Reflections Hapa Maui National Choreographers Initiative Mudra by Elizabeth McQueen

sculpture on display in the Barclay lobby

IRVINE BARCLAY P R E S E N T S

The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646

Movementum Supporters Irvine Barclay Theatre thanks the following major dance supporters

Maria Cossu of Spellbound Dance Company

Cheng Family Foundation An Anonymous Fund of the Orange County Community Foundation Drs. Francisco and Hana Ayala Bobbi Cox Kari and Michael Kerr Simon Foundation for Education and Housing Sonnet Technologies, Inc. Lynda Thomas Irvine Barclay Theatre also thanks all of the following contributors to the Dance Initiative during the last year: Anonymous Jordan Aquino Paul Belfiglio Scott Berry Alnoush Bidrousian Jeanne Billhartz Darci Bodin Nira Brand Randall and Andrea Brown Cecily Burke and David Taussig Patricia Cahill Lino Camacho Tom Cleveland Robert Coffee Dariana Cruz Mayur Deshpande Jacqueline Dew

IRVINE BARCLAY P R E S E N T S

D. Michael Duggan Christine Fluor and Walter Scacchi Paul Frank Mark Franzen Anthony Garcia Lloyd Goldwater Juan and Maribel Gonzalez Jeremy Hahn Jeng Halili Valerie and Michael Harris Shannon Humphries Amelie Hunter Karen Isenberg Jodi Johnson Patrick Johnson Irina Krapf Sergey and Tatyana Kupriyanova

Dr. Nathaniel and Sally Kurnick Lynette Laroche Tracy Laulhere Catherine Leung Rebecca Lewis, Ph.D. Hsin-Chieh Li Stephen Ludwig John Makinson Sarah Markman J.D. Mars Mr. and Mrs. Duane Mauzey Althea McMurrian Nanette and Gary Price Barbara Proud Stephanie Reich Linda and Herbert Schwarz James Sellers

Roman Slizynski Michael Smith Kim Southcott Laura Stearns James E. Stewart Liz Stillwell Daniel and Jeannette Stokols Tina Strickland Hank Taylor Charles Tiernan Michael Tucker Steven Voznick Laura Wan Virginia Weddle Akiko Yamaguchi

The 2012-13 Contemporary Dance Series • www.thebarclay.org • (949) 854-4646