Program Book

2017-18

HOW I BECAME A PIRATE February 11, 2018

BUMPER JACKSONS February 25, 2018

CAMERON CARPENTER February 28, 2018

PHILHARMONIC SOCIETY

SMETANA TRIO March 1, 2018

WELCOME IT IS MY PLEASURE TO WELCOME YOU TO THE BARCLAY.

Irvine Barclay Theatre is defined by its innovative and adventurous arts programming, and the events in this program book represent the eclectic performances that make the Barclay such a special place in which to appreciate the performing arts.

Whether you’re experiencing the enchanting family programming of How I Became a Pirate, listening to the maverick organist, Cameron Carpenter, and his first-of-its-kind, internationally mobile digital organ, or enjoying the American roots fusion band, the Bumper Jacksons, the Barclay’s adventurous music and family-friendly events always leave a lasting impression. And as always, the Philharmonic Society of Orange County provides a rich musical experience with the Smetana Trio.

We are indebted to all who help us maintain this unique community resource: our staff and our Board of Directors; our public partners – the City of Irvine and UCI; and you, the audience. I especially want to thank our season sponsor, City National Bank, for its enthusiastic support.

Please check out our Patron Guide, available in the lobby. There is a lot to discover in the New Year. We hope you will join us.

Jerry Mandel, Ph.D. President, Irvine Barclay Theatre

Board of Directors CHAIR Ken Rohl Founder Rohl LLC Ramona Agrela Associate Chancellor University of California, Irvine Francisco J. Ayala Professor and National Medal of Science Laureate University of California, Irvine Stephen Barker Dean, Claire Trevor School of the Arts University of California, Irvine

Karen Cahill Community Leader

Michelle Grettenberg Deputy City Manager City of Irvine Sean Joyce City Manager City of Irvine Jennifer Klein Community Leader

Jeff Lefkoff Associate Provost and Executive Vice Chancellor University of California, Irvine

James C. Lindberg, MD, MBA Chief Medical Officer PersonalCare Physicians, LLC Terry McDonald Community Leader

William Parker Professor Emeritus Physics and Astronomy University of California, Irvine Penelope Parmes Parmes Law, Inc. Lynn Schott Councilmember City of Irvine

Mickie L. Shapiro Community Leader Gary Singer Senior Advisor RSI Holding LLC

Lynn O’Hearn Wagner Community Leader HONORARY Donald P. Wagner Mayor City of Irvine

Howard Gillman, Ph.D. Chancellor University of California, Irvine IRVINE BARCLAY THEATRE | 3

Life will be different here.

Welcome to Great Park Neighborhoods.

With more ways to love where you live. Like new home designs that range in price from the high $500,000s to the high $1,000,000s.

The top-rated Irvine Unified School District.

Creative parks. Connected trails. And a frontrow seat to the Orange County Great Park.

Come visit our parks and homes. Our trails and schools. Our front porches and fun events.

To get here, turn on Great Park Blvd from Sand Canyon Ave and then left at Ridge Valley.

GreatParkNeighborhoods.com 949.523.2057

© 2017 Heritage Fields El Toro, LLC. All rights reserved. Great Park Neighborhoods, the bicycle logo, and “Life Will Be Different Here” are registered trademarks of Heritage Fields El Toro, LLC (“Heritage Fields”) dba Great Park Neighborhoods used for the marketing of new home neighborhoods in Irvine, California. Five Point Communities Management, Inc. (“Five Point”) is the development manager of Great Park Neighborhoods. Neither Heritage Fields nor Five Point is designing, constructing or offering homes for sale in Great Park Neighborhoods. All proposed amenities are subject to change without notice. Lifestyle photography does not reflect any ethnic or racial preference. (1/18)

2/11

HOW I BECAME A PIRATE February 11, 2018 | Cheng Hall This program is presented without an intermission.

PRODUCED BY DALLAS CHILDREN’S THEATER ON TOUR Book, Music & Lyrics by Janet Yates Vogt & Mark Friedman Based on the book by Melinda Long Illustrations by David Shannon

Directed & Choreographed by K. Doug Miller Musical Direction Adam C. Wright

Scenic & Props Design Scott Osborne Lighting Design Jason Lynch

Costume Design Lyle Huchton

Stage Manager / Technical Director John Michael Moss II

Audio Engineer / Asst. Technical Director Daniel Bergeron

Producer / Tour Director Sally Fiorello

DCT PRODUCTION DEPARTMENT Director of Production & Design Scott Osborne Associate Production Manager Matt Grevan Technical Director Josh Smith

Assistant Technical Director Jeffrey Stanfield

Staff Master Electrician Jason Monmaney Production Staff Rebecca Bongiorno Ziggy Renner Troy Carrico

Production Interns Kelsie Leflore Elizabeth Williams Cameron Collis Eric Armstrong

THE CAST Jeremy Jacob Alex Altshuler

Swill the Pirate Lloyd Harvey II Max the Pirate John Kelley

Captain Braid Beard Seven Miller Pierre the Pirate Nolan Spinks

Sharktooth the Pirate Michael Stimac Special Thanks to Sandy Clark Travel

National Tour Sponsor

Dallas Children’s Theater’s Production Staff is responsible for all sets, costumes, lighting, props, furniture, scenic painting, sound, and special effects used in this production.

How I Became a Pirate: The Musical is presented through special arrangement with Theatrical Rights Worldwide, 1180 Avenue of the Americas, Suite 640, New York, NY 10036, www.theatricalrights.com Federal copyright laws prohibit the photographing and video or audio recording of this production.

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include the local productions and national tours of Stuart Little; The True Story of the 3 Little Pigs; Click, Clack Moo: Cows That Type; and Giggle, Giggle Quack. He also directed A Charlie Brown Christmas, Alexander and the Terrible, Horrible, No Good, Very Bad Day, and was associate director and choreographer for Twas the Night Before Christmas and Miracle on 34th Street at DCT. Mr. Miller is a professional union stage and broadcast actor, and has directed at most professional theaters in the Dallas/Fort Worth area and Oklahoma. Mr. Miller also served as performance director for Barney & Friends (PBS) for several seasons. “Ahoy, ‘thar matey! Enjoy the show!”

MEET THE DIRECTORS Robyn Flatt (DCT Founder & Executive Artistic Director) co-founded Dallas Children’s Theater (DCT) in 1984 with start-up funds of $500. Under her artistic leadership, the theater’s creative and operational stature has grown over the past 30 years to reflect its current annual budget of more than $4 million. Her theatrical career has brought her acclaim as a professional director, actor and lighting designer. During her tenure as a member of the Dallas Theater Center Resident Company, she served as assistant artistic director, as well as director of Theater-in-the-Parks.

She holds an M.A. degree from Baylor University and studied with Etienne Decroux, Juana Laban and Hanya Holm. Ms. Flatt’s many acting credits include two roles she created for award-winning world premiere productions: Dewey Dell in Journey to Jefferson and Martha Ann Sickenger in Preston Jones’ The Oldest Living Graduate. Her directing credits at DCT include several world premiere adaptations by Linda Daugherty of Steven Kellogg’s story books: Adventures of Huckleberry Finn, The Miracle Worker; Island of the Blue Dolphins; and other critically acclaimed productions such as And Then They Came for Me and To Kill a Mockingbird. She has served on the boards of AATE, ASSITEJ/USA and CTFA. She is a recipient of The 500, Inc.’s prestigious Ken Bryant Visionary Award, Dallas Historical Society’s 1999 Excellence in Community Service for Creative Arts, the 2002 Leon Rabin Standing Ovation Award, and the Excellence in Nonprofit Management Award. Ms. Flatt is a member of the College of Fellows of the American Theatre and was recently the treasurer of the Children’s Theatre Foundation of America.

She was nominated by The Dallas Morning News arts staff for both the 2010 and 2015 Texan of the Year Award. Robyn was honored in 2016 with the Orlin Corey Award for Artistic Excellence from the American Alliance for Theatre and Education.

K. Doug Miller (Director / Choreographer) is the director of the Musical Theater Conservatory and a resident director at Dallas Children’s Theater. His directing credits at DCT 6 | IRVINE BARCLAY THEATRE

Adam C. Wright (Musical Director) is a local composer, vocal arranger, orchestrator and performer. He has been music directing in the Dallas metroplex since 1997, including the U.S. premieres of Soho Cinders and Closer to Heaven at Uptown Players, as well as productions at Theatre Three, Contemporary Theatre of Dallas, and MainStage Irving-Las Colinas. Previous productions at DCT include Click, Clack, Moo: Cows That Type; Junie B. Jones; Diary of a Worm; a Spider, and a Fly; The Musical Adventures of Flat Stanley; and Fancy Nancy: The Musical. Original projects include Fire and Blood with book and lyrics by Andy Long, which premiered on October 2013 at Richland College; A Taste of Beauty; Project Youth; Another Night at the Crescent; Isabella’s Treasure and a stage adaptation of If a Frog Had Wings, a children’s book by Beth Ryan and Michael Albee. Adam is on the teaching faculty of the Dallas Children’s Theater, and is an accompanist and co-teacher for the musical theater classes at Booker T. Washington High School, Richland College, Mountain View College and KD College. He was Betty Buckley’s Dallas rehearsal pianist for her 2012 cabaret show, The Other Woman: The Vixens of Broadway.

Sally Fiorello (Producer / Tour Director) began her association with Dallas Children’s Theater in 1984 and has since served as a director, designer, actor and consultant for numerous DCT productions. In 1998, she joined the staff as producing director of the national touring company. How I Became a Pirate marks her twentieth touring production in a distinguished line of shows, which includes the nationally acclaimed And Then They Came for Me, Most Valuable Player and A Midnight Cry: The Underground Railroad to Freedom, which she also directed. Sally also spearheaded DCT’s inclusion in the 2006 Shanghai International Children’s Culture and Arts Expo in Shanghai, China. She has worked as a designer and/or performer with The Haymarket Theater, Pegasus Theatre, the Dallas Symphony, The Dallas Opera, Bootstraps Comedy Theater and the Broadway touring production of Patio/Porch. As a master puppeteer and senior designer with the critically acclaimed Kathy Burks Theatre of Puppetry Arts, Ms. Fiorello has performed throughout the country and served as art director for the award-winning children’s television pilot, Discovery Outpost.

Ms. Fiorello is a recipient of the Dallas Theater Critics Forum Award.

MEET THE TOURING COMPANY Alex Altshuler (Jeremy Jacob / Dance Captain) is thrilled to be making her DCT debut in How I Became a Pirate!

A graduate of the University of Central Oklahoma, her acting credits include such roles as Annette in Saturday Night Fever, Kristine in A Chorus Line and Graziella in West Side Story. Thanks to Doug, Sally, my parents, and the DCT team.

Lloyd Harvey II (Swill the Pirate / Company Manager) is a professional theater, commercial and print artist. This is his first tour, and he couldn’t be happier! As an actor, he has worked throughout the Dallas/Fort Worth metroplex area with numerous theaters, including Casa Mañana, Jubilee Theatre, Uptown Players, WaterTower Theatre, Ohlook Performing Arts Center, Artisan Center Theater, Fort Worth Theatre, Contemporary Theatre of Dallas, and Dallas Children’s Theater. He is represented by the Kim Dawson Agency.

John Kelley (Max the Pirate) is pleased to be touring with Dallas Children’s Theater after an 11-year hiatus. Last seen as The Stinky Cheese Man in the international touring production of The Stinky Cheese Man and Other Fairly Stupid Tales, How I Became a Pirate marks his fifth tour. John holds a master’s degree in playwriting and is a Marine Corps veteran of Desert Storm.

Steven Miller (Captain Braid Beard) is thrilled to be making his debut with Dallas Children’s Theater as Captain Braid Beard. Steven attended the University of Southern California and graduated with a major in theater arts and a double minor in cinematic arts and musical theater. Since returning to Dallas, he has appeared in several productions, including Bye Bye Birdie as Albert Peterson (Firehouse Theatre); A Man of No Importance as Rasher Flynn (Brick Road Theatre); and The Producers as Franz Liebkind (Garland Summer Musicals). Steven would like to thank his mom, Susan, his grandparents, Gerald and Virginia, and his girlfriend, Lindsey, for their love and support.

Nolan Spinks (Pierre the Pirate) is excited to be working with Dallas Children’s Theater for the first time and to be part of this amazing cast and crew. A native of Evansville, Indiana, he graduated with a degree in acting from the University of Southern Indiana, where he appeared in such roles as Jesus in Godspell, Hanschen in Spring Awakening and Leo Irving in In the Next Room. Since moving to the Dallas Fort Worth area, he has worked with Winspear Opera House and Brick Road Theatre. Most recently, he performed the roles of Jason in Bare and Ram’s dad in Heathers 101: High School Edition at Ohlook Performing Arts Center in Grapevine, Texas. Nolan would like to thank you all for coming, and hopes you enjoy this show as much as he and his crew have enjoyed putting it together.

Michael Stimac (Sharktooth the Pirate) is delighted to be traveling with Dallas Children’s Theater’s How I Became a Pirate. He received a B.F.A. in Theatre from the University of Wisconsin Oshkosh, earning a Kennedy Center commendation for acting. His credits include A Midsummer Night’s Dream, The Merry Wives of Windsor, Clybourne Park and The Seafarer. Since moving to Dallas, he has appeared in productions at Shakespeare Dallas, Shakespeare in the Bar, and is excited to be working in his first show with Dallas Children’s Theater.

John Michael Moss II (Stage Manager / Technical Director) continues his association with DCT’s national tour, where he first served as assistant stage manager and ensemble member for the 2008–09 production of Mufaro’s Beautiful Daughters. He served as the stage manager and technical director for the 2014–15 tour of The Musical Adventures of Flat Stanley, the 2015–16 tour of The BFG, and last season’s tour of Mufaro’s Beautiful Daughters. A highly skilled artist/ technician, John has worked in numerous capacities for many different theaters and performing arts organizations, including Dallas Theater Center, Theater Britain, Lone Star Circus, and Wagon Wheel Theatre in Warsaw, Indiana.

Daniel Bergeron (Audio Engineer / Assistant Technical Director) is excited to make his debut with DCT On Tour!

He is an award-winning sound designer and audio engineer, mixing and designing shows in the Dallas Fort Worth area since 2010. Danny studied theater at the University of North Texas and has been working professionally in the field since then. He has worked with numerous theaters, including Theatre Three, WaterTower Theatre, Undermain Theatre, and Dallas Theater Center. He hopes that you learn the proper pirate jargon, but more importantly, have fun and enjoy the show!

Artist Representation: Holden & Arts Associates P.O. Box 49036 Austin, Texas 78765 www.holdenarts.org 512-477-1859

IRVINE BARCLAY THEATRE | 7

Eva

Yerbabuena

“ enough explosive energy to fuel a rocket ship

“

- The Stage (UK)

Arturo

Sandoval

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2/25

BUMPER JACKSONS February 25, 2018 | Cheng Hall This performance is presented with a 20-minute intermission.

BUMPER JACKSONS The Bumper Jacksons are hot and sweet, painting America’s story from the streets of New Orleans to the hollers of the Appalachian Mountains, to their vibrant, beloved cities of Baltimore and Washington, DC. Unafraid to scrap together new sounds from forgotten 78’s, the Bumper Jacksons boldly and elegantly balance paying homage to the traditions while fashioning their own unique, DIY style. Honored as the region’s 2015 Artist of the Year and Best Folk Band from 2013 to 2015 at the Washington Area Music Awards, the Bumper Jacksons are playfully creative with their originals and are re-imagining roots music with both power and tenderness.

Bursting at the seams with some of the richest threads of old America, Bumper Jacksons bring you into the center of a party where everyone’s invited, and the dance floor never sleeps.

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Jess Eliot Myhre (Clarinet, Vocals, Washboard, Songwriting).

A native Floridian, Jess Eliot grew up singing in church and swinging from banyan trees. After performing in hip-hop and funk bands at Wesleyan University, she moved to New Orleans and became mesmerized by the big, uproarious glory of the old sounds of the street bands and second lines.

She dusted off her lonely old clarinet, built herself her iconic frog washboard, and turned a 180 towards the traditional.

She now performs all over east of the Mississippi, playing her original songs and traditional American roots music in performance halls, swing dances, contradances and square dances, house concerts, and busking in your city’s streets.

She’s a two-time winner of the Mid-Atlantic Song Contest in the jazz and vocal categories.

Chris Ousley (Guitar, Vocals, Tenor Banjo, Songwriting).

A Maryland boy, Chris tramped off to the hills of western Pennsylvania to study the three B’s: books, beer and banjos.

There he woodshedded with old hill cats in barns outside of abandoned steel and coal towns, playing any instrument he could take a turn on; hitting mountain trails, biking over rough terrain, rafting down rivers, all with a bottle of whiskey and a banjo on his back. Chris’s deep jazz pocket and graceful Kentucky-style banjo is only outmatched by the snarlyness of his beard. He was the one bold enough to believe that he and Jess could make music for a living and is solely responsible for all of the shenanigans that embody the Bumper Jacksons. Together, Chris and Jess Eliot formed the core of the Bumper Jacksons in 2012. Their initial meeting fueled a riotous impromptu jam on the lawn of a radical bike house in Washington, DC.… The music never quit since.

Alex Lacquement (Bass, Harmony Vocals) swears that it was beautiful sirens who lead him to the upright bass at the impressionable age of 17. With lots of practice under his belt and two degrees in music education from Eastman (M.M.) and James Madison University(B.A.), he has found a home laying down some groovy bass lines with the Bumper Jacksons. His first music love, which lead him to the upright bass, was jazz music, something he studied vigorously.

Years later, he found himself chasing every opportunity to play some happy thumping lines with bluegrass and oldtime string bands. Alex is now an invaluable third leg of the Bumper Jacksons, tasked not only with bass-playing duties and helping with arrangements, but also keeping Chris in line for over three years now.

Dan Samuels (Drums, Suitcase Percussion). It’s clear that a man whose birth took place in a speeding car (headed to the hospital in Trenton, NJ) was meant for a life on the road and keeping people on their toes. What better way to do this than being the drummer and suitcase percussionist (in training) for the Bumper Jacksons? As the newest member of the group, Dan brings a wealth of diverse musical chops and expressions from his time in the Baltimore-based funk/ soul/hip-hop groups. When Dan isn’t playing on stage with

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the BJ’s, he can be found in Baltimore working on his AfroCuban folkloric suitcase percussion, organizing community events and concerts, or on his roof trying desperately to turn his thumb from brown to green.

Dave Hadley (Pedal Steel Guitar) grew up in rural Northwest Illinois. He heard a pedal steel guitar being played for the first time at the local music store and became completely obsessed with the sounds that the instrument could create.

He bought one, and would sometimes lock himself in a room and practice for eight hours a day during summer vacation, playing along to a stack of albums of various genres. Since then, he’s played and recorded with hundreds of artists and musicians, adding unique sounds and textures to the music.

Dave is not only a pedal steel monster, but has donned the very-important caps of “The Captain,” “The Rainman” and “Ray-of-Sunshine Hadley” (helping drive the band van Olga on tour, giving us the weather report, and being resident cynic) for four years now.

Joseph Brotherton (Trumpet, Harmony Vocals, Bird Calls).

Born in Nashville, Tennessee, Joe has had the soul of bluegrass, gospel and American roots music bursting from his heart and out through his horn since the tender age of eight. He is the newest addition to the Bumper Jacksons and is an honorary alumni of the Pinellas County Center for the Arts, and a veteran of the U.S. Marine Corps as an E-5 Sergeant with a Navy Achievement and a National Service Medal. He has performed with some of the greats like Aaron Neville, Doctor John, Nicholas Payton, Roy Hargrove, Ron Blake, Neal Caine, Benito Gonzales, Gregory Porter, Buster Williams, Cindy Blackman-Santana, Ddendyl Hoyt and Kermit Ruffins. Perhaps most importantly, though, Joe has the supernatural ability to summon various species of birds and insects at will. He’s working on getting them to do his bidding, and once he does, world domination is imminent.

Artist Representation: Opus 3 Artists 470 Park Avenue South 9th Floor North New York, NY www.opus3artists.com

2/28

CAMERON CARPENTER

FEATURING THE INTERNATIONAL TOURING ORGAN February 28, 2018 | Cheng Hall This performance will include a 15-minute intermission.

ArtsReach activities in conjunction with Cameron Carpenter are sponsored by

CAMERON CARPENTER Cameron Carpenter is the world’s most visible organist, and the first ever organist nominated for a Grammy Award for a solo album. He is a virtuoso composer/performer who is smashing the stereotypes of organists, organ music and classical music. He has the largest and most diverse repertoire of any organist in the world. Since receiving a master’s degree from The Juilliard School in New York in 2006, he has performed at venues including the Royal Albert Hall, the Leipzig Gewandhaus, Melbourne Town Hall,

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Tchaikovsky Hall in Moscow, Davies Hall in San Francisco, and many others. He performs regularly with the Los Angeles Philharmonic, the San Francisco Symphony, the Berlin Philharmonic and the National Symphony Orchestra.

His first major work for organ and orchestra, “The Scandal,” Op. 3, was commissioned by the Cologne Philharmonie and premiered on New Year’s Day 2011 by the Deutsche Kammerphilharmonie under the direction of Alexander Shelley.

Carpenter’s latest album, All You Need is Bach, was released

by SONY in 2014 and topped the Billboard classical charts at No.1 in the U.S. and on the European charts.

Carpenter travels with the one-of-a-kind International Touring Organ (ITO), a project ten years in the making. The world’s first truly artistic digital organ, its sophisticated technology reproduces the sounds of the finest historical organs, providing Cameron an unprecedented degree of flexibility in performances spaces and in his concert repertoire, which is already among the largest and most diverse of any organist in the world.

THE INTERNATIONAL TOURING ORGAN

True to its name, Cameron Carpenter’s International Touring Organ isn’t stationary. Since its debut in 2014, it has become Carpenter’s instrument of choice, quickly eclipsing the pipe organ. “It’s where my heart lies,” he says.

The International Touring Organ is the eighth organ by Marshall & Ogletree, the Needham, Massachusetts organ builders redefining the digital organ as an instrument of artistic significance. Its concept is simple: innovate the relationship between organ and organist. While the uniqueness of each pipe organ is part of its collective magic, it is impossible to perform the same music regardless of where the organist plays, as any violinist can do with a single instrument. Therefore, Marshall & Ogletree has sampled sounds from many traditional pipe organs, including many of Cameron’s favorite instruments — from the cathedral to the Wurlitzer. These come together in an organ designed not for size, limitless variety, or to model any particular pipe organ, but rather to make a great organ internationally mobile — an idea impractical or impossible by other means. The true scale of its ambitiousness can be seen in its console and extensive touring sound system.

These insure the organ’s consistency from venue to venue, both as the home instrument of the artist it was built for and an ultimate acoustical experience for the listener.

“One of the things that is so important about this International Touring Organ, and one of its great trump cards — one of the things that the pipe organ can never provide — is a sense of psychological home,” Carpenter says. “I can call up sounds from the organ that in some sense first made me want to do what I’m doing.”

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The entire organ assembles in less than three hours and travels in a single large truck; identical European and American sound systems (housed in Berlin, Germany and Needham, MA) make it internationally mobile. Its sound system is a massive complex of specially sourced sound support and amplification equipment housed in mobile, location-adaptable touring cases. The organ console is assembled manually and hydraulically from only six modular parts, and like the sound system, travels in purpose-built robust touring cases.

A maverick in the traditional world of organ building, Marshall & Ogletree shot to prominence in 2003 with their Opus 1 at Trinity Church near Wall Street in New York City, a landmark organ controversial for having replaced the former Aeolian-Skinner pipe organ damaged by debris on September 11, 2001. Unique among organ builders, the firm’s principals are also acclaimed organists — Douglas Marshall, a competition-winning former student of Virgil Fox, and David Ogletree, a Curtis Institute graduate. www.marshallandogletree.com

Cameron Carpenter appears by arrangement with Columbia Artists Music LLC. Mr. Carpenter records exclusively for Sony Classical.

Artist Representation: Columbia Artists Music, LLC 1500 Broadway New York, NY 10036 www.camimusic.com

Your gift is really an investment.

An investment • In our community • In our youth • In the future of the arts in Orange County Irvine Barclay Theatre has been serving the community for over two decades as a leading presenter of diverse and exceptional artists, offering award-winning educational programs, and providing a state-of-the-art venue for community arts and cultural organizations.

Together we can continue creating a stronger, more vibrant community, nurturing tomorrow’s leaders with innovative arts education programs, encouraging the development of emerging artists, and of course, presenting powerful performances that will move, touch, and inspire audiences of all ages and backgrounds.

Every gift, no matter the size, makes a difference and is deeply appreciated.

Please invest with us today!

For information contact: Lori Grayson, Director of Development grayson@thebarclay.org | 949.854.4186 | 949.527.2700

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Enjoy Great Music with Pacific Symphony Classical, Pops, Family & Holiday Concerts The

Magic Flute

Video Games Odyssey March 17 • 10 & 11:30 a.m.

The Magic Flute Feb. 22, 24 & 27 • 8 p.m.

Pinchas Zukerman March 15-17 • 8 p.m.

March 18 • 3 p.m.

Valentine’s Day with Christopher Cross Feb. 16-17 • 8 p.m.

Lantern Festival March 4 • 12 – 6 p.m. FREE!

PacificSymphony.org (714) 755-5799

Haydn’s Creation Go on—just try to find a more joyous, funny, all-around mood-lifting work in the choral-orchestral repertoire than Franz Joseph Haydn’s oratorio The Creation! Since the OCWC and our award-winning friends Men in Blaque (Joseph Huszti, Artistic Director) are both celebrating the 20th anniversaries of our own “creations,” we’re combining forces to bring you a full-scale performance of this most cheerful of masterworks. We’ll sing the work in English and feature a trio of stunning soloists and a full orchestra. “The heavens are telling” you that you won’t want to miss this one!

April 7, 2018 at 7:00 p.m. | April 8, 2018 at 3:00 p.m.

St. Wilfrid of York Episcopal Church 18631 Chapel Lane, Huntington Beach Adults: $35 | Seniors (65+): $30 | Students (with ID): $15 Order tickets online at

www.ocwomenschorus.org Eliza Rubenstein, Artistic Director Sarah Hughes, Assistant Director | Janelle Kim, Piano

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Thursday, March 1, 2018, 8pm Irvine Barclay Theatre

Laguna Chamber Music Series sponsored by

SAM AND LYNDIE ERSAN

SMETANA TRIO Jitka Čechová, piano Jiří Vodička, violin Jan Páleníček, cello

Piano Trio, Op. 3 Allegro ma non troppo Andante Allegro Piano Trio No. 1 in C minor, Op. 8

Alexander von ZEMLINSKY (1871-1942)

Dmitri SHOSTAKOVICH (1906-1975)

- INTERMISSION Piano Trio No. 1 in D minor, Op. 49

Felix MENDELSSOHN (1809-1847)

Molto allegro agitato Andante con moto tranquillo Scherzo. Leggiero e vivace Finale. Allegro assai

THE SMETANA TRIO HAS RECORDED FOR SUPRAPHON AND CUBE BOHEMIA. NORTH AMERICAN REPRESENTATION: KIRSHBAUM ASSOCIATES, INC. 711 WEST END AVENUE, SUITE 5KN NEW YORK, NY 10025 WWW.KIRSHBAUMASSOCIATES.COM

SPONSORED BY

Sam and Lyndie Ersan 1

Photographing or recording this performance without permission is prohibited.

Kindly disable pagers, cellular phones, and other audible devices.

Although rare, all dates, times, artists, programs, and prices are subject to change.

ZEMLINSKY: PIANO TRIO, OP. 3 Alexander Zemlinsky, today a relatively unknown figure, was an important Austrian composer of partly Jewish background. Brahms, and to some extent Mahler, too, admired and encouraged him in his composition, especially that of chamber music.

Zemlinsky was also close with Schoenberg, whom he advised on technical aspects of chamber music. Schoenberg was enthralled with Zemlinsky’s music and lamented the lack of appreciation he was accorded. In 1901, Schoenberg married Zemlimsky’s sister.

Zemlinsky was also well respected as a conductor at the Karlstheater in Vienna, the Vienna Volksoper, the Vienna Opera, the Mannheim Opera, the Berlin State Opera and the Prague German Opera. He became well-known as a perceptive interpreter of Wagner, Bruckner, Mahler, and Schoenberg. Both Schoenberg and Igor Stravinsky considered him the finest conductor they ever heard.

His musical talent became evident at an early age; he he was enrolled at the Gesellschaft der Musikfreunde Konservatorium (Conservatory of the Society of the Friends of Music) to study piano and composition when he was only thirteen. He was greatly influenced by Johannes Brahms, who at the time was serving as President of the Gesellschaft.

Mahler accepted Zemlinsky’s first opera for production in Vienna and conducted its premiere in January of 1900. Together with Schoenberg, Zemlinsky organized the Viennese Union of Creative Musicians. As years passed, Zemlinsky taught the boy-prodigy composer Erich Korngold, and he gave

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ABOuT ThE PROgRAM

freely in a kindly and helpful way to the hypersensitive Anton Webern. Among his other students was Alma Mahler.

After the Nazis came to power in 1938, Zemlinsky was forced to emigrate to America where he died a few years later.

Zemlinsky’s music is imbued with early 20th century flavor, yet it also pays allegiance to tradition, at least harmonically. A nostalgic yearning characterizes much of the work; it does not feature any of the lush, chromatic music being written at this time or the brittle cabaret style of some of the music of these years, but rather relies on the Brahmsian influence of the composer’s time as student at the Vienna Conservatoire.

The well-crafted and pleasing Trio is modeled on Brahms’ Clarinet Trio of 1892. When Zemlinsky showed the work to Brahms in 1895, Brahms was so impressed that he immediately recommended that his own publisher Simrock print the work. Before he would consider publishing the Trio, Simrock insisted that Zemlinsky add a violin part to be interchangeable with the clarinet part so that the work might alternatively be performed by a standard trio, which he strongly believed would be an important way to enhance its sales, but Zemlinsky did not simply arrange the clarinet part for violin. Instead, he wrote a part specifically for the violin, and as a result, almost created two works, each which stands on its own.

The work is basically a Romantic work of conservative nature. The first movement, a large, broad and often dramatic Allegro ma non troppo, owes a debt to Tchaikovsky and Dvořák in its thematic lines and Slavic feel. Its main theme is a heroic melody that Zemlinsky directed to be played warmly and “with swing.” It leads into a wistful second theme with no real break in continuity. In its coda the music’s essentially melancholic nature is prominent.

The second movement, Andante, sounds reminiscent of Mahler in its choice of themes, passionate and sentimental in tone, although the gentle, extended solo piano opening has a decidedly Brahmsian sound. This opening provides thematic material that the other instruments will use in sustained lyrical passages. The violin is featured in an overtly romantic melody in a high register. By the center of the movement, the music becomes slightly faster and very free. The ending includes mixed emotions of resignation and regret, which again hearken back to Brahms.

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The spirited, good-tempered final movement, Allegro, directly features a very Dvořák-like theme that contrasts with the more leisurely ideas that follow. The movement also quotes the main theme from the last movement of the Brahms Trio and includes both passionate and dramatic passages. The instruments bring forth the contrapuntal texture that opens out in the coda when all the themes return as the movement draws towards its end, concluding with three peremptory chords.

Despite its many borrowings and influences, the Trio is appealing and well-constructed. It premiered on December 11, 1896, in Vienna and was published in 1897.

SHOSTAKOVICH: PIANO TRIO NO. 1 IN C MINOR, OP. 8 Shostakovich’s work falls into three periods, and this work is one from his youthful first period. The Trio, the first of only two trios for violin, cello and piano that he was ever to write (the second being the much later Op. 67 which he composed in 1944, as a memorial for a musicologist friend) was composed while Shostakovich was still studying at Petrograd Conservatory. In December 1923, the Trio was performed for the first time at a students’ concert at the conservatory. It is dedicated to Tatiana I. Glivenko, who had become Shostakovich’s friend during his stay at Gaspra in the Crimea in the summer of 1923.

This early and most precocious work proved to be a very useful composition for him, even though he at first thought of it as only an exercise in the sonata form.

When in the year following his writing of it, Shostakovich filed an application to enter the Moscow Conservatory to study composition, the entrance requirement set for him was to have his Trio and several of his cello pieces performed. The professors were so enthusiastic about the Trio in particular that they immediately accepted him, although later his mother convinced him not to enter the Conservatory because of his poor health. It was at the Moscow Conservatory, however, that the Trio was first formally heard in public on March 20, 1925, performed by N. Fedorov, violin; A. Egrov, cello; and Lev Oborin, a young pianist who subsequently had a very successful performing career.

The score of the Trio was not published until Shostakovich’s complete works were issued in 1983.

This Trio bears the earmarks of its composer’s distinctive style, both harmonically and psychologically. Emotional expressions incorporated in the piece are those of painful tension as well as those of sprightly vitality. Although unquestionably a youthful effort, the form of the work, as the jury of the Moscow Conservatory realized, is quite engaging. It follows the sonata form (exposition, development, recapitulation) strictly, and yet it personalizes the form by including a small cycle, whose repeated sections and structural juxtapositions are evocative and in some measure remind one of the chamber music of Robert Schumann.

Three notes (G-flat, F and E) stated by the cello first are subsequently taken up by the other instruments as a motif and become a thematic unifying element of the work, appearing in each of the three parts of the sonata form.

The three sections are each themselves divided into many subsections with freshness and originality and much variety both technically and inventively.

MENDELSSOHN: PIANO TRIO NO. 1 IN D MINOR, OP. 49 The richness and the elegance of Mendelssohn’s melodic invention, the beautifully proportioned extension and development of musical ideas, the rhythmic vigor and the brilliance of his writing for the combination of strings and piano make this one of the composer’s most enthusiastically received chamber works. Mendelssohn composed the work when he was at the height of his career as conductor of the orchestra of Leipzig’s Gewandhaus (or “Drapers’ Hall”) in 1839. Robert Schumann praised it most highly saying that the happiest of all music lovers were those who heard its “enchanting freshness” when it was performed with the composer at the keyboard. “It is the masterpiece of our time, as the trios of Beethoven and Schubert were in their day.

Mendelssohn is the Mozart of the nineteenth century.”

Most of the writing of this work took place during the summer of 1839 when Mendelssohn spent time in Frankfurt with his wife’s family. It was a relaxed period

for him that he described in a letter to a friend as “refreshing. In the mornings I work, then swim or sketch; in the afternoons I play the organ or piano, and afterwards walk in the woods, and then go visiting—or home, where I always find the most charming company.” He completed the score on September 23 in Leipzig, and on February 1, 1840, he and two of his colleagues from his orchestra, Ferdinand David (for whom he later wrote his Violin Concerto) and Karl Wittmann, gave the first performance.

The first movement, Molto allegro ed agitato, is based on two clearly defined, broad themes which the cello introduces that seem, ironically, to be both similar and contrasting. Next comes a rapturously lovely movement in three-part form, Andante con moto tranquillo, in the style of Mendelssohn’s Songs without Words. The third movement is a Scherzo, Leggiero e vivace, in which a single theme is developed into a fanciful, elfin dance. In the Finale, Allegro assai appassionato, the main theme is a gypsy dance that recurs as in a classic rondo.

ABOuT ThE PROgRAM

Before that time, it existed only in the form of a number of autographs in the Soviet Central State Archive for Literature and Art. The reason the work took so long to be published probably is because 22 of the bars of the piano part were missing and not until Boris Tischenko, Shostakovich’s pupil, supplied those measures could the work be considered complete.

—Susan Halpern

ThE SMETANA TRIO The Smetana Trio, founded in 1934 by the legendary Czech pianist Josef Pálenícek, violinist Alexandr Plocek and cellist František Smetana, is today’s foremost Czech chamber ensemble. Currently comprised of Jitka Cechová (piano), Jiří Vodička (violin) and Jan Pálenícek (cello), the Smetana Trio perpetuates the interpretational ideals created by its illustrious predecessors as well as other superlative 20th-century soloists active in chamber music.

“There is nothingroutine about the Smetana Trio’s approach to this engaging repertoire. Every aspect of their interpretation is carefully considered without losing an ounce of spontaneity. Individual lines are remarkable for their focus and beauty, though the powerful sense of ensemble is never sacrificed to individual display.”

—BBC Music Magazine In spring 2017, the Smetana Trio was voted to win the BBC Music Magazine Chamber Award for its recording of the complete trios by Bohuslav Martinů, released by Supraphon Records in March 2015. The acclaimed recording received other recognition, including BBC Music Magazine’s June 2016 Recording 3 IRVINE BARCLAY THEATRE | 17

ABOuT ThE ARTISTS

of the Month, Sunday Times Recording of the Week, Diapason d'Or award, and a review on theArtsDesk.com saying, “This is the greatest chamber disc I’ve heard in ages, and I can’t imagine a better introduction to Martinů's music.” Following a successful North American tour in the 2014-15 season, the Smetana Trio returns to the United States in spring 2018 for a ten-city tour with a program that includes piano trios

by Zemlinsky, Shostakovich, and Mendelssohn.

Highlights from this sprawling tour include performances at the Philadelphia Chamber Music Society, The Phillips Collection in Washington, D.C., the Philharmonic Society of Orange County, Duke Performances Chamber Arts Series, the Chicago Chamber Music Society, and the Da Camera Society in Los Angeles.

The Smetana Trio has toured extensively as both chamber music ensemble and orchestral soloists, working with conductors such as Jirí Belohlávek, Libor Pešek, John Axelrod, Michael Boder, Tomáš Hanus and Stanislav Vavrínek and orchestras such as the Bamberg Symphony Orchestra, Orchestra della Svizzera italiana Lugano, Orchestre National des Pays de la Loire, Prague Symphony Orchestra, Prague Philharmonic, Chamber Philharmonic Orchestra Pardubice and Moravian Philharmonic Orchestra Olomouc. Festivals and concert series include Cambrai, Aix-en-Provence and Nice in France, and Munich, Würzburg and Tübingen in Germany. In 2015 the Smetana Trio toured South America with performances in Lima, Medellin, Rio de Janeiro as well as a performance of the Beethoven Triple Concerto with the Brazilian Symphony Orchestra.

With an impressive discography of nearly a dozen albums recorded exclusively for Supraphon since 2000, the group’s recordings include an album featuring the complete piano trios of Shostakovich and Ravel, and an all-Dvořák disc which received BBC Music Magazine’s Chamber Award for 2007 and the French Diapason d'Or. Additional discs include works by Smetana, Tchaikovsky, Mendelssohn and Schubert.

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17 18 THE

SEASON

uPcOMINg cONcERTS MARCH 2018 2

Jake Shimabukuro, ukulele

3 & 8 High School Orchestra Festivals 9

Academy of St Martin in the Fields

21

Zurich Chamber Orchestra

29

San Francisco Symphony

APRIL 2018 5

Joyce Yang, piano with Aspen Santa Fe Ballet

16

Boston Pops Orchestra

MAY 2018 9

Yuja Wang, piano

26

Kayhan Kalhor and Brooklyn Rider

JUNE 2018 3

James Ehnes, violin with Orion Weiss, piano

19

Mormon Tabernacle Choir and Orchestra at Temple Square

TIcKETS AND INFORMATION

949.553.2422 PhILhARMONIcSOcIETY.ORg 4 18 | IRVINE BARCLAY THEATRE

Concerts at Renée and Henry Segerstrom Concert Hall, Segerstrom Center for the Arts (RHS), Irvine Barclay Theatre (IBT), Laguna Playhouse (LP), and Musco Center for the Arts (MC).

Although rare, all dates, times, artists, programs, venues & ticket prices are subject to change.

BOARD OF DIRECTORS OFFICERS

Kimberly Dwan Bernatz

Stephen Amendt

Immediate Past Chairman

Chairman, CEO

Secretary/Treasurer

EXECUTIVE COMMITTEE

John W. Benecke

Jane K. Grier

Rande Shaffer

Development

Member-at-Large

Orange County Youth Symphony

Sabra Bordas

Donna L. Kendall

Douglas H. Smith

Nominating

Member-at-Large

Hung Fan

Marlene Nielsen

Dr. Daniel Stein

President, The Committees

Member-at-Large

Laguna Beach Music Festival

Foundation

Elaine P. Neuss Concerts

Douglas T. Burch, Jr. Gary Capata Mary Chelius

Joanne Fernbach John Flemming Margaret M. Gates

Judy Michel Barbara Roberts David Troob

PRESIDENT AND ARTISTIC DIRECTOR

John Mangum

ABOUT THE PHILHARMONIC SOCIETY OF ORANGE COUNTY Since its inception in 1954, the Society has presented the world's most acclaimed symphony orchestras, chamber ensembles, soloists and international artists for the enjoyment and appreciation of Orange County audiences. The Society's Youth Programs, one of the most extensive music education programs of its kind in the country, are offered free of charge to schools, students and parents, and each year reach more than 160,000 students from first grade through high school.

The Committees of the Philharmonic Society are the Society's principal fundraising and volunteer force.

More than 80,000 hours of in-kind service are provided each year by the 800 volunteer members in implementing and evaluating the music education programs.

The Committees also present a wide variety of fundraising events, including the Philharmonic House of Design and the Huntington Harbour Cruise of LightsÂŽ.

For more information, please visit us at www.PhilharmonicSociety.org

ADMINISTRATIVE STAFF ARTISTIC OPERATIONS Alex Nelson Production Coordinator Kathy Smith Piano Technician

ABOuT ThE PhILhARMONIc SOcIETY

Noel Hamilton

DEVELOPMENT Ronald G. Dufault VP of Development Talayeh Hamidi Director of Events & Corporate Engagement Halim Kim Director of Annual Campaign Shawna Wolf Development & Patron Services Associate EDUCATION Nancy Warzer Brady VP of Education and Community Engagement Eli Peterson Director of Volunteer Services Madeline Fields Huntington Harbour Office Manager FINANCE Roan Alombro Director of Finance Celine Ocampo Accounting Associate MARKETING AND PUBLIC RELATIONS Chantel Chen Uchida VP of Marketing and Public Relations Jean Hsu Director of Marketing Marie Songco-Torres Sr. Marketing and Public Relations Associate Marika Suzuki Marketing and Public Relations Intern PATRON SERVICES Jonathan Mariott Director of Patron Services Randy Polevoi Musical Concierge

5 IRVINE BARCLAY THEATRE | 19

FRIENDS

The Philharmonic Society of Orange County gratefully acknowledges the following donors for their generous support of the Fund for Music during the past twelve months. These contributions make up the difference between the income generated from ticket sales and the actual cost of bringing the world’s finest orchestras, soloists and chamber ensembles to Orange County and inspiring 160,000 K-12 students each year with quality music programs. Gifts range from $60 to more than $100,000, and each member of the Philharmonic Society plays a valuable role in furthering the mission of this organization.

HONORARY SEASON SPONSOR

Drs. Hana and Francisco J. Ayala • Disneyland Resort • Catherine Emmi Colburn Foundation • Sam and Lyndie Ersan • Donna L. Kendall Foundation Barbara Roberts • Mrs. Michelle Rohé • Elizabeth Segerstrom The Segerstrom Foundation • The Committees of the Philharmonic Society • Anonymous (1)

CHAIRMAN’S CIRCLE

The Crean Foundation • Ann and Gordon Getty Foundation • Mr. and Mrs. Milton S. Grier, Jr. The Isidore & Penny Myers Foundation • Dr. and Mrs. Howard Jelinek Phillip N. and Mary A. Lyons • Mr. and Mrs. Douglas H. Smith

PRESIDENT’S CLUB Bette and Wylie Aitken Eleanor and Jim Anderson Pete and Sabra Bordas Mr. Warren G. Coy The Dirk Family Disneyland Resort Mr. and Mrs. James A. Driscoll Karen and Don Evarts Mrs. Joanne C. Fernbach First American Trust Kimberly Dwan Bernatz Mr. John D. Flemming and Mr. Mark Powell

PLATINUM BATON Mr. Douglas T. Burch, Jr. Dr. and Mrs. Richard D. Campbell

GOLDEN BATON

6

Mr. and Mrs. William F. Podlich Richard and Deborah Polonsky Ralph Lauren Corporation Dr. and Mrs. Chase Roh Mr. and Mrs. David Rosenberg Schumann|Rosenberg LLP Segerstrom Center for the Arts Shanbrom Family Foundation South Coast Plaza Ms. Dea Stanuszek Dr. Daniel and Jeule Stein Mr. and Mrs. David Troob U.S. Bank Mr. Stephen Amendt

Wells Fargo – The Private Bank Mr. and Mrs. Noel Hamilton Anonymous

Helen and Fritz Lin Drs. Armine and Vahe Meghrouni Macy’s

Elizabeth and Justus Schlichting Dr. Steven Sorenson

Carolyn and Bill Klein Mr. David H. Koontz and Mr. James J. Brophy Regina and John Mangum Mr. and Mrs. Anthony Mastrangelo Mr. and Mrs. Michael Morris Mr. and Mrs. Michael D. Nadler Mr. Thomas Nielsen Marcia Kay and Ron Radelet Mr. Michael D. Ray Elizabeth Gordon Reinhold

Mr. and Mrs. James G. Reynolds Mr. and Mrs. Philip E. Ridout Ms. Howard Roop Ellen and Vasily I. Semeniuta Dr. Emmanuel Sharef Mr. and Mrs. John Stahr Diane and Michael Stephens Robert A. and Sandra E. Teitsworth Dr. and Mrs. Fritz C. Westerhout Gayle Widyolar and David Scott Anonymous (2)

Mr. and Mrs. William F. Kroener III Vincent “Tim” and Sharon Le Pore Vicki Lee Peggy and Alex Maradudin Mr. and Mrs. Orville L. Marlett Millstream Fund City of Mission Viejo Mr. and Mrs. Mark Moore Pat and Ken Morgan Ms. Teresa Nichols Marlene and Chris Nielsen Mr. Patrick Paddon The PIMCO Foundation Dr. and Mrs. Paul Qaqundah Mr. Christopher Quilter Mr. and Mrs. Walter Rados

Walter Rios Eva and Fred Schneider Mr. and Mrs. Lawrence S. Spitz Morgan Stanley Elizabeth and Richard Steele Fund Lynda Thomas Mrs. Judy Tschetter Chantel and Andrew Uchida Dr. Nancy E. Van Deusen The Vlahakis-Hanks Family Chava and Ted Wortrich Anonymous (3)

($6,000+) Richard Cullen and Robert Finnerty Mrs. Sigrid Hecht

GAIL AND ROBERT SEBRING

David and Trudi Gartley The William Gillespie Foundation Anita and Denis Halton The Hanauer Family Foundation Elizabeth F. Hayward and Robert M. Carmichael Milli and Jim Hill Gary and Betsy Jenkins The Jane Deming Fund Ms. Elizabeth Jones

($1,200+)

Dr. and Mrs. Daniel L. Abbott David Anderson Barbara and Jerry Andes Dr. and Mrs. Ruben Baghdassarian John W. Benecke The Boeing Company Gilbert and Ildiko Butler Foundation Dr. and Mrs. David Casey Mrs. Linda Lipman Cassuto Elizabeth and Ming Chang Mr. and Mrs. Stewart A. Clark Mrs. William L. Cook Dr. Frank A. D'Accone Ms. Carol Dalton Disney Worldwide Services, Inc. Mr. and Mrs. Neil B. Donavan 20 | IRVINE BARCLAY THEATRE

Margaret M. Gates—In memory of family Joan Halvajian Maralou and Jerry M. Harrington Jewish Community Foundation of Orange County Joann Leatherby and Dr. Greg Bates Macy's Charitable Contributions Mrs. Michael McNalley National Endowment for the Arts Elaine and Carl Neuss Pacific Life Foundation Lauren and Richard Packard Philharmonic Foundation

($3,000+)

American Business Bank Mr. and Mrs. James Alexiou Diane and John Chimo Arnold Mr. Gary Capata Charles Schwab Dr. and Mrs. Shigeru Chino Suzanne and David Chonette Marjorie and Roger Davisson Hung Fan and Michael Feldman Frome Family Foundation

SILVER BATON

($10,000+)

Mr. Roger Duplessis Ron and Marti Erickson Mr. and Mrs. Donald French JoAnn and Peter Fuerbringer Gluck Bradley Foundation Mr. and Mrs. Philip Gold Mr. and Mrs. Michael S. Gordon Mr. and Mrs. Carl Greenwood Wanda Gwozdziowski Bonnie and William S. Hall Mr. and Mrs. Don Harrell Ellen Pickler Harris and Ron Harris Carole and Joseph Innes Dr. and Mrs. Tae S. Kim Mr. and Mrs. Louis J. Knobbe Cathy and David Krinsky

List current as of 12/11/17 Full listing of donors appears in all Segerstrom Center for the Arts program books.

IRVINE BARCLAY THEATRE | 21

Celebrate Music at UCI Friday, May 18, 2018, 8:00 p.m.

An exciting, fast-paced evening of musical performances by the Department of Music at Claire Trevor School of the Arts’ students and faculty, including instrumental and vocal ensembles of all sizes, diverse forms of traditional classical music and jazz, and new works by UCI composers. A family-friendly evening of performances to celebrate the arts and music at UCI.

Box Office (949) 824-2787 | www.arts.uci.edu/tickets Pictured: Kei Akagi, Kojiro Umezaki, Dr. Seth Houston and the UCI Chamber Singers. Photo by Paul R. Kennedy.

The City of Irvine plays an invaluable role in the successful operation of Irvine Barclay Theatre.

We thank the City for its generous support.

22 | IRVINE BARCLAY THEATRE

Irvine Barclay Theatre is truly your home for the arts.

We exist to serve you and yours – to provide inspiration, education, and a cherished space to celebrate life through the arts.

Our mission is to broaden the scope, availability and appreciation of the arts in Orange County and with your support, we are creating a stronger, more vibrant community by: • Nurturing

students of all ages with innovative ArtsReach programs

• Providing

a cost-effective, professional venue for dozens of cultural groups, school programs and youth arts organizations

• Offering

a distinctive selection of powerful performances that move, touch and inspire audiences of every generation, at affordable prices.

We can’t fulfill this vision for the community alone! The theater’s impact depends upon the investment of time, talent and resources of generous patrons like you.

Please support the Barclay today!

Contact Lori Grayson, Director of Development grayson@thebarclay.org | 949.854.4186

An Anonymous Fund of the Orange County Community Foundation

IRVINE BARCLAY THEATRE | 23

Photo: Nina Wurtzel

Hula, Opera & Organs, Oh my!

Dance Theatre of Harlem. Keith Saunders, Ballet Master.

This season, Irvine Barclay Theatre is significantly expanding its ArtsReach programming with an especially eclectic menu of unique experiences for lucky participants. From reimagined Americana to traditional hula, from classical opera to the world’s first and only International Touring Organ, these innovative educational programs connect featured main-stage artists with students of all ages in the most inspiring and transformative ways.

Stressing hands-on interaction, the Barclay is creating once-in-a-lifetime experiences that foster greater appreciation and understanding of the arts.

This season’s ArtsReach features: • Contemporary Dance with Hubbard Street Dance Chicago, Diavolo, Dance Theatre of Harlem, Aspen Santa Fe Ballet, and flamenco great, Eva Yerbabuena.

• American Jazz with the musicians and master teachers of Metta Quintet and their highly-acclaimed JazzReach program.

• Classical Opera with Metropolitan Opera star, Alyson Cambridge.

• Music & Technology with organ virtuoso, composer-performer, Cameron Carpenter.

• Cultural Traditions with authentic hula royalty, Ha-lau O Kekuhi.

Photo: Ken Ewen

• Reimagined Americana with the award-winning Bumper Jacksons.

• Chamber Music with OC’s famed Trio Celeste.

Former Hubbard Street Dancer Meredith Dincolo teaching a master class.

These ArtsReach events offer students unparalleled access to experience the arts with the Barclay’s acclaimed, main-stage artists. Activities like master classes, in-school workshops, behind-the-scenes tours, and family shows are fun and educational ways that pique interest and participation. Local schools clamor to participate because these programs inspire young people to explore the arts and help them develop stronger minds, increased confidence and competence, and essential emotional intelligence.

Please join our generous Barclay ArtsReach supporters who understand and appreciate the contributions such programs make to the community. To learn more, please contact us at (949) 854-4607.

24 | IRVINE BARCLAY THEATRE

For Your Information Ticket Services Order online 24/7 at www.thebarclay.org or www.facebook.com/IrvineBarclay/events

Call the Box Office at 949.854.4646 Monday through Friday from 10am until 6pm; Saturday and Sunday from noon until 4pm. On days of a performance, the Box Office remains open through intermission. MasterCard, VISA, American Express, and Discover accepted.

Late Seating To prevent disruption of a performance in progress, patrons who have not entered the theatre when the performance begins may be asked to wait in the lobby until there is a suitable interval.

Ushers Ushers are located at each auditorium entrance and at designated stations in the lobby. Please consult an usher if you need assistance. If you are interested in joining the usher staff, please contact the Patron Services Manager at: 949.854.4193; darling@thebarclay.org.

Public Parking Parking is provided for a fee in the structure located at the corner of West Peltason and Campus Drive.

Restrooms Restrooms are located on the main lobby level near the box office. Drinking fountains are located on either side of the main lobby staircase and on the second level.

Listening Devices Listening devices for amplifying stage sound are available at the concessions bar free of charge.

Cellular Phones, Beepers, Watch Alarms As a courtesy to all patrons, please turn these units to off or non-audible before the performance begins.

Cameras and Recording Equipment The taking of photographs and use of any mechanical or digital recording devices are strictly prohibited.

Children Children are welcome. However, not all events are appropriate for small children. A paid ticket is required for everyone entering the theatre, including infants and children.

The box office can provide advice regarding an event’s suitability.

Theatre Tours Backstage tours of the Barclay are offered through the theatre’s ArtsReach program. For information, or to reserve tours for schools or community groups please call 949.854.4193.

Irvine Barclay Theatre Online Get the latest information on what’s happening at Irvine Barclay Theatre by joining the Barclay’s E-list to receive email updates and special offers. Go to the Barclay’s website at www.thebarclay.org or email us at info@thebarclay.org.

Follow us on social media

/IrvineBarclay

Staff Jerry Mandel, Ph.D. President

Gary Payne

Karen Wood

Karen Drews Hanlon

Lori Grayson

Ginny W. Hayward

Production & Facility Manager

Communications Assistant Program Book Editor

Development Associate

Chief Operating and Finance Officer Manager of Programming, Artists & Contracts

Lu Bauer

Box Office Manager

Josh Roberts

Assistant Box Office Manager

General Manager

Jeff Stamper Tim Owens

Associate Production & Facility Manager

Robin Darling

Director of Communications

Helena Danovich Tracy Porco

Social Media & Outreach Marketing

Director of Development

Fatima Rizvi

Michael Halpern

Senior Development Consultant

Patron Services Manager

Ingrid Strayer

Finance Assistant IRVINE BARCLAY THEATRE | 25

Annual Fund for

THANK

EXCELLENCE

YOU

Irvine Barclay Theatre gratefully acknowledges the generous contributions of our donors who help support the “big talent” in our “small hall.” Gifts to the Annual Fund for Excellence assist the Barclay in presenting an international roster of performers while keeping tickets reasonably priced. They also support our ArtsReach programs provided to the schools at little or no cost and “family-friendly” programming on stage. The Barclay’s mission also embraces making its beautiful facilities available to diverse community organizations, UCI, and other educational institutions.

Thank you to all of our generous donors listed here for their contributions during the previous 12 months! If you would like to join the ranks of those who make it all possible at the Barclay, you may make a donation online at www.thebarclay.org or call 949.854.4607.

PUBLIC PARTNERS

City of Irvine University of California, Irvine BRAVO BARCLAY PRESENTING SPONSOR $10,000+

An Anonymous Fund of the Orange County Community Foundation Drs. Francisco and Hana Ayala Bruce and Karen Cahill City National Bank Haskell & White LLP HumanKind Philanthropic Fund Jennifer Klein Toni and Terry McDonald National Endowment for the Arts William and Janice Parker Family Fund Penelope Parmes Rohl LLC – Kenneth and Helene Rohl

26 | IRVINE BARCLAY THEATRE 26 | IRVINE BARCLAY THEATRE

Sonnet Technologies, Inc. Richard and Elizabeth Steele Fund Trisha Steele Frank Wagner and Lynn O’Hearn Wagner BRAVO BARCLAY PARTNER $5,000 – $9,999

The Allergan Foundation Roland and Jacquelynn Beverly Gartley Charitable Foundation Fund Hyatt Regency Maui Resort and Spa Hyatt Regency Waikiki Resort and Spa New England Foundation for the Arts Salwa and Sabri Rizkalla Gary and Melanie Singer

BRAVO BARCLAY BENEFACTOR $2,500 – $4,999

Dr. Paul and Mrs. Ellen Lee Peter and Alexandra Neptune Albert and Tricia Nichols Fund Andrei’s Conscious Cuisine Amy Opfell and Vladimir Lange and Cocktails Susan Rhodes and Anonymous Goran Matijasevic James and Dolores Kase Thomas and Barbara Roddel Jerry and Whitney Mandel Chiyo and Stanton Rowe Mike Peak Nancy Smith Linda I. Smith Foundation St. Matthew’s Montessori School Western States Arts Federation Diane Stovall Judy and Wes Whitmore BRAVO BARCLAY Gayle Widyolar and David Scott PATRON $1,000 – $2,499 Majid and Sohaila Zarrinkelk Douglas Bradley ENCORE CIRCLE Ellen Breitman and ENTHUSIAST Brien Amspoker $250 – $999 Carol and Les Elliot Michele and Richard Africano Bill and Marjorie Fleming Oscar R. Aguirre Frederic and Aviva Forster Richard Alexander Diane and Dennis Baker David and Janet Henze Robert and Delphi Ballinger Jack and Joy Kayajanian Lindy Balmer Liza Krassner

Richard Bergstrom Scott and Cheryl Berry Craig Boardman Leia Bowers Clifford and Jennifer Cheng Denise Chilcote Karen and Bruce Clark Michael and Kathy Dogali Roger du Plessis Scott and Monica Duggan Gary Fabian and Deb Solon Melissa and Michael Fox Mark A. Franzen Mike Fuhr IBM Matching Grants Program Judy and Terry Jones Dave and Peggy Kelleher Bill and Carolyn Klein Vicki and Richard Lee Leslie Levine Chunhong Li Lauri and Mike Mendenhall Mike and Pat Noggle Bruce and Esmeralda Ogilvie Robert Parker PayPal Giving Fund Suzanne T. Peltason Yvette Pergola Dorcas Preston Stephen M. Rochford Francie Rope Joel B. Rothman Deborah and Frank Rugani Nancy Lee Ruyter Diane Sagey Aloha R. Saxon Louise Schwennesen Smith-Walker Foundation Hugh Stevenson and Jan Burns Thomas and Marilyn Sutton Synchrony Financial Target Marilyn and Angelo Vassos Vendini, Inc. Kathy Vickers and Jeremy Freimund John and Judy Vinke Mary Watson-Bruce Charles and Marilyn Wright

ENCORE CIRCLE SUPPORTER $100 – $249 Mahvash Ahangi Steven and Alexandria Allan Robert Allgeier AmazonSmile Foundation Debbie Aslanian Jim Aust Stuart Baron George and Linda Bauer Linda Berquist Richard H. Bigelow Stephen Biskar Michael and Margaret Bodeau Suzanne Boras Lupe Borboa Bobby R. and Edith S. Brannon Scott Brinkerhoff Margaret and James Brumm Douglas T. Burch, Jr. Linda and Roland Bye David Calica Luisa Cano Harold and Eleanor Carpenter Judith Cassedy-MacPherson Gerald Castillo Grace Chen Rita R. Chenoweth Deanna Choi Michael and Kate Clark William Cline Joseph L. & Kathleen Y. Coleman Martin Cooper Kenneth J. Craig, Jr. Anahid Crecelius Madeleine and Alan Crivaro Hilary Davis and Dr. Sandy Ratner Nancy Dewsbury Donna Di Bari Joan M. Donahue Mara Dragos Jacolyn Dudley Rad and Toni Dwyer James Evans Peggie Fariss Cathie Fields Ruby Foo Carol Foster Roberta Fox Keri Fujii

Ellen Fujikawa Peter and Anne Garrell Margaret Gates Gerald Gibbs S. Glass Family Ben and Sandie Goelman Janice Groh Paul and Nancy Groner Sanjiv and Geeta Grover Carole S. Harrison Jon Healing Barbara Helton Richard and Sara Hess Dan and Nicole Honigman Anthony Houghton Robert Ingold Karen Kewell Jacoby Korey Jorgensen Judy Kaufman and George Farkas Kerry Krisher Arthur S. Kroll Rosa Kwong Dr. and Mrs. John LaGourgue Martin G. Langer Tracy Laulhere Hilary Lemansky Benjamin and Sunny Leos Neal Littlejohn Eugene and Deanna Litwer Anne Llewellyn Joe Lowden John and Louise Ludutsky Christian and Sharon Maas Robert D. and Pat MacDonald Christian Markey Pablo Martinez Natalia Martinez-Ware Christine A. Marx Colette Matsui Duane and Kathleen Mauzey Jaklyn Rae McClendon Michael and Susan McGuire Cindy and John McOwen Jodi Meade Don and Terri Milder Defoe Miller William Miller David Moehring Hiroko and Yoshiharu Moriwaki John and Marjorie Murray Roy and Gwen Nakabayashi

Reiko and Mitsuhiko Nakano Julie Nakata Susan Naples Steven Nelson Catherine Ngo Huey Yann Ooi Lauren and Richard Packard Jeri Pauloski Danielle Peterson Peter and Ursula Piotrowski Christopher Pollick Edward and Betty Quilligan Sarah Quinn Elaine Ramsay Wallace Realini Claudia Redfern Dennis Repp Cynthia Reynolds Theodore and Virginia Robins Irene A. Sakioka Jack and Katharine Schoellerman Frances Segal Todd Seidner Tully Seymour Joyce Shadburn Lori Shapiro Gilbert Singh John L. Smith and Mary Anne Anthony-Smith Edward Spilsbury Rick Spleen William Spurgeon Ingrid Strayer Richard and Jane Sungaila Celia and Julio Taleisnik Keith Tate Christopher and Lynne Ramsey Ms. Cindy Thomas Johanna Tilley Gary and Peranza Topjon George and Abril Turner Tony and Nancy Vasek Anne Walthall Kim Waterson William Weiberg Diane Wick Richard and Barbara Wilkes Shara and David Witkin George and Flo-Ree Woodruff Kurt Youngs

NATIONAL CHOREOGRAPHERS INITIATIVE

Bobbi Cox Sophia and Larry Cripe Bronwynn Daniels Diane Diefenderfer and David Hanlon Roger du Plessis Gale Edelberg and Bob Butnik Henry and Janet Eggers David Emmes and Paula Tomei Cliff Faulkner and Shigeru Yaji Roberta Fox Mary and Andrew Franklin Sandy and Don French Judith A. Gorski Gale A Granger and Barbara S Granger Dr. and Mrs. Denis Gray Dana Huff Chuck Johnston Dr. Burton L. Karson Joanne and Dennis Keith

Michael Kerr Robert Labaree and Gillian Finley Don and Grace Laffoon Dr. Martin G. Langer Kathryn Lynch and Robert McDonnell Molly Lynch and Alan Andrews Sharon McNalley Nancy Meyer Ed Moen and Janek Schergen John and Marjorie Murray Mr. and Mrs. Mitsuhiko Nakano Carl Neisser Tom and Marilyn Nielsen Anne B. Nutt Marshall Parker John and Charlene Pasko James Penrod Jody Pike Janice and Richard Plastino Dolly A. Platt, Ph.D.

Edward and Diana Putz Salwa Rizkalla Barbara Roberts Robinson Foundation Michelle Rohe Andrew Rose Geoffrey and Debbie Sampson Jack and Katy Schellerman Betty Schweickert Sally Anne and Don Sheridan Igal and Diane Silber Ann Sim Jackie Smiley Richard and Elizabeth Steele Fund Jennifer Szabo Karen and Gary Thorne Barbara and Jack Tingley Max and Peggy Weismair Mary Vensel White and T. Jason White William Gillespie Foundation

As a partner in the annual National Choreographers Initiative, Irvine Barclay Theatre is also pleased to acknowledge all those who support this important contribution to American dance.

Betty B. and Roy Anderson David Anderson Betsy Andrews and Alex Moad Mrs. Alan V. Andrews Diane and Dennis Baker William H. Bardens Dr. Michael Bear Beau Corps Studio Helene Belisle Paul Blank Stacie Brandt Laurie and Bart Brown David and Beverly Carmichael

IRVINE BARCLAY THEATRE | 27

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