Program Book

2017-18 JAKE SHIMABUKURO September 8, 2017 USAF: AIRMEN OF NOTE September 25, 2017 HUBBARD STREET DANCE CHICAGO:

40TH ANNIVERSARY TOUR

September 30, 2017

Hubbard Street dancers Ana Lopez and Florian Lochner, concept by Alejandro Cerrudo. Photo by Quinn B Wharton.

PRESERVATION HALL LEGACY QUINTET WITH IRMA THOMAS October 6, 2017 PIAF! THE SHOW October 12, 2017

“City National helps keep my financial life in tune.”

So much of my life is always shifting; a different city, a different piece of music, a different ensemble.

I need people who I can count on to help keep my financial life on course so I can focus on creating and sharing the “adventures” of classical music. City National shares my passion and is instrumental in helping me bring classical music to audiences all over the world. They enjoy being a part of what I do and love. That is the essence of a successful relationship.

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Michael Tilson Thomas Conductor, Educator and Composer Hear Michael’s complete story at cnb.com/Barclays

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City National Bank is a subsidiary of Royal Bank of Canada.

WELCOME IT IS MY PLEASURE TO WELCOME YOU TO THE NEW SEASON AT THE BARCLAY.

Have you felt the new energy at Irvine Barclay Theatre? We’ve made a lot of exciting changes in the last year, and more are underway. In fact, we have increased our programming by 20% for 2017–18!

Our signature Contemporary Dance series is back, along with an expanded Jazz at the Barclay series, and our popular British theater screenings from London. Some familiar faces will grace our stage for the first time including Broadway icons Chita Rivera and Tommy Tune, TV star Jane Lynch and jazz greats Arturo Sandoval and Branford Marsalis.

We are also thrilled to introduce some new talents to southern California like the extraordinary young soprano Alyson Cambridge, American Roots fusion band, the Bumper Jacksons, and Broadway’s Mandy Gonzalez, who currently stars as Angelica Schuyler in the mega-hit Hamilton.

I especially want to thank our new season sponsor, City National Bank, for its enthusiastic support of the new season. We look forward to working together to make Orange County an even better place to live.

Please take our new Patron Guide, available in the lobby. There is a lot to discover in the coming year. We hope you will join us.

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

Board of Directors CHAIR Ken Rohl Chairman/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

James C. Lindberg, MD, MBA Chief Medical Officer PersonalCare Physicians, LLC

Lynn Schott Mayor Pro Tem City of Irvine

Terry McDonald Community Leader

Michelle Grettenberg Deputy City Manager City of Irvine

William Parker Professor Emeritus Physics and Astronomy University of California, Irvine

Mickie L. Shapiro Community Leader

Sean Joyce City Manager City of Irvine

Penelope Parmes Partner Troutman Sanders LLP

HONORARY Donald P. Wagner Mayor, City of Irvine

Karen Cahill Community Leader

Carla Furuno Senior Vice President & Regional Manager City National Bank

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

Gary Singer Senior Advisor RSI Holding LLC

Howard Gillman, Ph.D. Chancellor, UCI IRVINE BARCLAY THEATRE | 3

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Like new home designs that range in price from the high $500,000s to the high $1,000,000s.

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Come visit our parks and homes. We’re located near the intersection of Great Park Blvd and Ridge Valley. Turn on Great Park Blvd from Sand Canyon Ave and then left at Ridge Valley.

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© 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. (8/17)

9/8

JAKE SHIMABUKURO September 8, 2017 | Cheng Hall This program is presented without an intermission.

JAKE SHIMABUKURO Jake Shimabukuro can still vividly remember the first time he held a ukulele, at age four. It was an encounter that would shape his destiny and give the world one of the most exceptional and innovative uke players in the history of the instrument — an artist who has drawn comparisons to musical titans such as Jimi Hendrix and Miles Davis.

“My mom played, and I kept bugging her to teach me,” he recalls. “So one day we sat down on the floor and she put her old Kamaka ukulele in my hands. I remember being so nervous.

Then she showed me how to strum the strings and taught me my first chord. I fell in love with the ukulele immediately. From that day on, you had to pry the instrument away from me in order to get me to do anything else.”

That first brush with musical fate took place in Honolulu, Hawai’i, where Jake was born and still makes his home. Growing up, he studied and played a number of other musical instruments — drums, piano and guitar. “But none of those instruments spoke to me the way the ukulele did,” he says. “There was something about the uke that was different. Music was my passion, but I had no idea that I could make it as a musician. I always thought that maybe I’d be a school teacher and incorporate music into the classroom, rather than being on a stage performing in front of people.”

Of course, Shimabukuro would end up performing on many of the world’s most renowned stages. Starting his career in Hawai’i, he took his inspiration from some of the islands’ great uke players — Eddie Kamae, Ohta-San and Peter Moon. But he quickly expanded his scope from there, drawing influences from across the musical spectrum.

“As I got older,” he says, “I realized that I could also learn from guitar players, drummers, violinists, pianists, singers and even dancers.

And then I started to observe athletes. Athletes are artists too. I was heavily influenced by people like Bruce Lee and Michael Jordan — applying their philosophy and intense, mental focus to music performance.”

As a member of the group Pure Heart, Shimabukuro became a local phenomenon.

From Hawai’i, his fame spread to Japan. He was signed to Epic Records (Sony/Japan) in 2001 as a solo artist. It was the start of what would become a deep catalog of solo albums, noted for their dazzling fretwork, ambitious repertoire and wistful melodicism. And in 2005,

IRVINE BARCLAY THEATRE | 5

Shimabukuro became an international phenomenon when a video of him performing the George Harrison song “While My Guitar Gently Weeps” went viral on YouTube.

“At the time, I didn’t even know what YouTube was,” Jake laughs. “Nobody did, especially in Hawai’i. But I had some friends who were going to college on the mainland and they sent me a link to the video. By the time I saw it, it already had millions of views. My name wasn’t even on it then. All it said was ‘Asian guy shreds on ukulele,’ or something like that. That’s what opened up the doors to touring in North America, Europe, Asia and beyond. It was a big turning point for me.”

By adapting a guitar hero anthem for the ukulele (Eric Clapton had played lead guitar on the Beatles’ original recording), Shimabukuro made a significant statement: The ukulele, with its humble four strings and modest two-octave range, is an instrument limited only by the imagination and creativity of the person playing it. Along with his own original compositions, Jake became noted for his solo uke arrangements of such varied pieces as Queen’s “Bohemian Rhapsody,” Schubert’s “Ave Maria” and Leonard Cohen’s “Hallelujah.”

“A lot of those are just songs that I really love,” he says.

“I’d sit at home and work out how to play some of them on the ukulele. A lot of it is for my own curiosity. I always wondered, ‘Man, what would “Bohemian Rhapsody” sound like on a ukulele?’ And then it’s my stubborn nature not to give up until I’d figured out how to do it.”

Widespread acclaim brought high-visibility collaborations with a wide range of artists including Yo-Yo Ma, Jimmy Buffett, Bette Midler, Cyndi Lauper, Jack Johnson, Ziggy Marley, Dave Koz, Michael McDonald, Bela Fleck and the Flecktones, Tommy Emmanuel and Marty Friedman. Jake Shimabukuro has topped Billboard’s World Music Chart on numerous occasions, and has sold out prestigious venues

too

and festivals such as the Hollywood Bowl, Lincoln Center, Sydney Opera House, Wolf Trap, Bonnaroo, SXSW, and the Playboy Jazz Festival. He even played for Queen Elizabeth II at The Royal Variety Performance in Blackpool, England.

Shimabukuro’s busy touring schedule — 140 dates a year — is complemented by a rich and varied catalog of albums that capture the many moods of the uke. His most recent CD, Nashville Sessions, is one of his most adventurous, multifaceted and engaging records to date, blending elements of jazz virtuosity with heartfelt melodicism.

A husband and father of two, Jake balances his stellar career with family life and community service. He travels to schools around the world spreading positive messages to young people, encouraging them to live drug free and find their passion — just as he did at age four when his mother gave him his first ukulele lesson. In the time since then, he has played a key role in the current revival of interest in the ukulele.

“When I first started touring the mainland,” he recalls, “everybody would say, ‘Oh man, I didn’t know you could play that kind of music on that thing.’ But now there are so many iconic artists playing the ukulele, like Paul McCartney, Eddie Vedder, Train, Jimmy Buffett, Michael McDonald, Dave Mathews and Taylor Swift. Even popular cartoons like Peg + Cat and SpongeBob SquarePants have ukulele soundtracks.

The popularity of the ukulele keeps growing every year.

And I’m constantly discovering new sounds, styles and expressive possibilities within the instrument through projects like the Nashville Sessions album. By the time we finished that recording, I already had tons of ideas for the next album. I can’t wait to get back into the studio and experiment some more.”

Artist Representation: United Talent Agency 9336 Civic Center Drive Beverly Hills, CA 90210

s u o l e v r Ma s for Word

starring Emmy and Tony Award winner

A

of Celebration

Keith David 2017-18 thebarclay.org | 949.854.4646

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A swingin’ journey into the life of a music icon

le

Nat King Co

Oct

19

at 8pm

9/25

USAF: AIRMEN OF NOTE September 25, 2017 | Cheng Hall This performance will include a 15-minute intermission.

Media Sponsor:

Colonel Larry H. Lang

SAXOPHONES

TROMBONES

Captain Dustin M. Doyle

SMSgt Tyler Kuebler, lead alto Agoura Hills, CA.

MSgt Ben Patterson, lead Sapulpa, OK.

MSgt Tedd Baker, first tenor Marshfield, MA.

TSgt Kevin Cerovich, third Overland Park, KS.

Commander and Conductor Officer in Charge

CMSgt Kevin Burns

Chief of the Airmen of Note

MSgt Ben Patterson Music Director

TSgt Michael Cemprola, second alto Philadelphia, PA.

MSgt Grant Langford, second tenor Chapel Hill, N.C. MSgt Doug Morgan, baritone Grove City, PA.

TRUMPETS

SMSgt Brian MacDonald, lead Ft. Lauderdale, FL. CMSgt Kevin Burns, split lead Cleveland, TN.

TSgt Luke Brandon, third Philadelphia, PA. TSgt Logan Keese, fourth Houston, TX

MSgt Jeff Martin, second Newton, KS.

TSgt Ben Polk, bass Greenbush, ME.

RHYTHM

TSgt Chris Ziemba, piano Buffalo, N.Y. MSgt Geoff Reecer, guitar Arlington, VA.

TSgt Cameron Kayne, bass Williamsville, N.Y.

TSgt David McDonald, drums Decatur, IL.

VOCALIST

TSgt Paige Wroble Broadalbin, N.Y.

AUDIO ENGINEER MSgt David Graves Eugene, OR.

IRVINE BARCLAY THEATRE | 7

USAF: AIRMEN OF NOTE The Airmen of Note is the premier jazz ensemble of the United States Air Force. Stationed at Joint Base AnacostiaBolling in Washington, D.C., it is one of six musical ensembles that comprise The U.S. Air Force Band. Created in 1950 to continue the tradition of Maj. Glenn Miller’s Army Air Forces dance band, the current band consists of 18 active duty Airmen musicians including one vocalist.

ing the “Note” in concert with legendary icons of jazz. Each year, the series is broadcast to millions over National Public Radio, independent jazz radio stations, satellite radio services and the internet. In addition, the “Note” produces and delivers recorded music to millions of fans worldwide each year through hundreds of media outlets. The group’s holiday recording, Cool Yule, reached #2 on the JazzWeek Jazz Chart.

The Airmen of Note’s commitment to musical excellence has earned the respect of the foremost jazz artists from around the globe, leading to many collaborative performances and recordings with such luminaries as Dizzy Gillespie, Joe Williams, Sarah Vaughan and Doc Severinsen. In 1990, the Airmen of Note established the Jazz Heritage Series, featur-

In 2017, the U.S. Air Force celebrates 70 years of service to our nation and The U.S. Air Force Band continues to vigorously support and reflect the core values of all American Airmen throughout the world.

Through the years, the Airmen of Note has presented its own brand of big band jazz as well as more contemporary forms of jazz to audiences via annual tours across the United States, deployments around the world and local performances throughout metropolitan Washington, D.C. For smaller, more intimate venues, the Airmen of Note Combo and various individual musicians perform to support military and civilian ceremonial and diplomatic events.

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As part of The U.S. Air Force Band, The Airmen of Note honors those who have served, inspires American citizens to heightened patriotism and service, and positively impacts the global community on behalf of the U.S. Air Force and the United States. The excellence demonstrated by these Airmen musicians is a reflection of the excellence displayed by Airmen stationed around the globe. Each member is proud to represent all Airmen, whose selfless service and sacrifices ensure the freedoms we enjoy as citizens of the United States of America.

CHIEF MASTER SERGEANT KEVIN BURNS Chief Master Sgt. Kevin Burns is the split lead trumpeter with the Airmen of Note, The United States Air Force Band, Washington, D.C. In addition to his performing duties, he is the flight chief of the Airmen of Note. A native of Cleveland, Tennessee, his Air Force career began in 1993 when he was assigned to the Band of the West, Lackland AFB, San Antonio, Texas.

Chief Burns began his music studies at Lee College in Cleveland, Tennessee. He finished at Oral Roberts University in Tulsa, Oklahoma, where he completed a Bachelor of Music degree in performance and a Master of Business Administration degree.

various music groups while attending Lee College. Since 1988, Chief Burns has been actively arranging and recording horn tracks for over 60 contemporary Christian albums and many commercial/jingle projects including several for ESPN and ABC Sports.

Chief Burns has performed with such major artists as Natalie Cole, Ray Charles, Mel Torme, Diane Schurr, Jack Jones, Vic Damone, Cab Calloway, Burt Bacharach, Al Hirt, Phil Driscoll, The Lettermen, Rita Moreno, The Temptations and the Four Tops.

Prior to entering the Air Force, Chief Burns played lead trumpet with the nationally televised Richard Roberts Live and Expect a Miracle television shows in Tulsa, Oklahoma.

He also was a featured soloist with the San Antonio Symphony, the Oklahoma Sinfonia/Tulsa Pops, the Tulsa Ballet, the Bartlesville Symphony, Ms. Oklahoma Pageant Orchestra, and worked extensively with various big bands and jazz combos. Prior to moving to Oklahoma, Chief Burns was the lead trumpeter for the 1985 Tennessee All State Jazz Band, toured the entire continental U.S. with The Spurrlows from Florida, and toured Europe and the eastern U.S. with

Pacific Symphony POPS 2017-18 Season tickets start at just $35 per concert! Order now for best seating!

Celebrate the Holidays with Seth MacFarlane Dec. 22-23

David Foster with Special Guests Oct. 13-14

A Tribute to Ella Nov. 3-4

Pink Martini March 23-24, 2018

Cirque de la Symphonie April 6-7,2018

Saturday Night Fever - Music of the Bee Gees June 8-9, 2018

Valentine’s Day with Christopher Cross Feb. 16-17, 2018

PacificSymphony.org (714) 755-5799 IRVINE BARCLAY THEATRE | 9

the

Barclay Irvine Barclay Theatre

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9/30

HUBBARD STREET DANCE CHICAGO:

40TH ANNIVERSARY TOUR September 30, 2017 | Cheng Hall This performance will include two 15-minute intermissions.

Sponsored by:

An anonymous fund of the Orange County Community Foundation

Artistic Director Glenn Edgerton

Rehearsal Director Jessica Tong

Resident Choreographer Alejandro Cerrudo Production Manager Scott Nelson Company Manager LaMar Brown

Founding Artistic Director Lou Conte

Hubbard Street Dance Chicago Dancers Craig D. Black Jr., Jacqueline Burnett, Rena Butler, Alicia Delgadillo, Kellie Epperheimer, Michael Gross, Elliot Hammans, Alice Klock, Myles Lavallee, Adrienne Lipson, Florian Lochner, Ana Lopez, Andrew Murdock, Minga Prather, David Schultz, Kevin J. Shannon Hubbard Street Dance Chicago 1147 West Jackson Boulevard Chicago, Illinois 60607 312-850-9744 | hubbardstreetdance.com

Media Sponsor:

PROGRAM Cloudline Choreography: Robyn Mineko Williams Music: Jherek Bischoff, Emitt Rhodes, Sufjan Stevens, Julie London, Olafur Arnalds, Alice Sara Ott Sound Design: Loosebrains Lighting Design: Burke Brown Costume Design: Branimira Ivanova

Music by Jherek Bischoff: “Eyes,” from the album Scores: Composed Instrumentals, recorded by Brassland, published by Nettwerk One B Music US. Music by Emitt Rhodes: “Lullabye,” from the album The Emitt Rhodes Recordings (1969 – 1973), courtesy of Universal Music Group, published by Manifesto Records. Music by Sufjan Stevens: “Now That I’m Older,” from the album Age of Adz, recorded by Asthmatic Kitty Records, published by New Jerusalem Music. Music by Arthur Kent and Sylvia Dee: “The End of The World,” as performed by Julie London, from the album The Very Best of Julie London, courtesy of Universal Music Group, published by Music Sales Corp.

Music by Ólafur Arnalds: “Letters of a Traveller,” as performed by Ólafur Arnalds and Alice Sara Ott, from the album The Chopin Project, courtesy of Universal Music Group, published by Nettwerk One B Music US. INTE R MISSIO N

Facebook + YouTube / HubbardStreetDance Twitter + Instagram @HubbardStreet

IRVINE BARCLAY THEATRE | 11

ViolinCello

(Duet from Multiplicity. Forms of Silence and Emptiness.)

Choreography: Nacho Duato Music: Johann Sebastian Bach Costume Design: Nacho Duato Lighting Design: Brad Fields Staging: Africa Guzmán

Music by Johann Sebastian Bach: “Suite No. 1 in G major, BWV 1007,” as performed by Anner Bylsma, from the album Bach: 6 Suites for Cello, BWV 1007-1012, courtesy of Sony Music Entertainment. Organization and Production: Carlos Iturrioz c/o Mediart Producciones SL (Spain). © 1997 NACHO DUATO, all rights reserved.

Jardi Tancat Choreography: Nacho Duato Music: María del Mar Bonet Set Design: Nacho Duato Costume Design: Nacho Duato Lighting Design: Nicolás Fischtel Staging: Africa Guzmán Choreographer’s Assistant: Pablo Piantino

“Water, we asked for water; And You, oh Lord, You gave us wind; And You turn Your back to us; As though You will not listen to us.”

This appeal is portrayed in the powerful movements of three couples, who are occupied with the sowing, planting and threshing of the barren Catalonian land.

Music by María del Mar Bonet: “Cançó D’Es Collir Olives,” “Cançó D’Esterrossar,” and “Fora D’Es Sembrat,” from the album María del Mar Bonet, “Tonada De Treure Aigo” “Tonada De Treure Aigo,” from the album Saba de Terrer, “La Canço de Na Ruixa Mantells,” from the album Jardi Tancat, courtesy of Sony Music Entertainment.

Organization and Production: Carlos Iturrioz c/o Mediart Producciones SL (Spain). © 1997 NACHO DUATO, all rights reserved.

INTE R MISSIO N

One Flat Thing, reproduced Choreography, Lighting and Stage Design: William Forsythe Music: Thom Willems Costume Design: Stephen Galloway Technical Consultant: Tanja Rühl Staging: Ayman Aaron Harper, Cyril Baldy, Amancio Gonzalez, Mario Alberto Zambrano

One Flat Thing, reproduced begins with a roar: Twenty tables, like jagged rafts of ice, fly forward and become the surface, the underground and the sky inhabited by a ferocious flight of dancers. This pack of bodies rages with alacrity, whipping razor-like in perilous waves. Its score, by composer and longtime Forsythe collaborator Thom Willems, begins quietly before becoming a gale, gathering sonic force as the dancers’ bodies produce a voracious and detailed storm of movement.

Created for and premiered by Ballett Frankfurt, February 2, 2000 at Bockenheimer Depot, Frankfurt am Main, Germany. First performed by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, October 15, 2015. Original music by Thom Willems. Used by permission of Thom Willems. Hubbard Street’s acquisition of One Flat Thing, reproduced is sponsored by the Harris Theater for Music and Dance, with support from Sandy and Jack Guthman through the Imagine campaign. Lead Individual Sponsors of this series are Jay Franke and David Herro. Additional support is provided by Individual Sponsors Sara Albrecht, Pam Crutchfield, Patti Eylar and Charles Gardner, and Richard L. Rodes.

ABOUT HUBBARD STREET DANCE CHICAGO

CHOREOGRAPHERS

Hubbard Street Dance Chicago’s core purpose is to bring artists, art and audiences together to enrich, engage, educate, transform and change lives through the experience of dance.

Celebrating Season 40 in 2017–18, under the artistic leadership of Glenn Edgerton, Hubbard Street continues to innovate, supporting ascendant creative talent while presenting repertory by internationally recognized living artists. Hubbard Street has grown through the establishment of multiple platforms alongside the Lou Conte Dance Studio — now in its fifth decade of providing a wide range of public classes and pre-professional training — while extensive Youth, Education, Community, Adaptive Dance and Family Programs keep the organization deeply connected to its hometown. Visit hubbardstreetdance.com for artist profiles, touring schedules, and much more.

Nacho Duato, born in Valencia, Spain, started professional ballet training with the Rambert School in London at 18, expanding studies at Maurice Béjart’s Mudra School in Brussels and completing his dance education at The Alvin Ailey American Dance Center in New York. In 1980, Duato signed his first professional contract with the Cullberg Ballet in Stockholm and a year later Jiří Kylián brought him to the Nederlands Dans Theater in Holland, where he was quickly incorporated into company and repertoire. His first choreographic attempt in 1983 turned into a major success: Jardí Tancat, set to Spanish/ Catalan music by compatriot Ma del Mar Bonet, won him the first prize at the International Choreographic Workshop (Internationaler Choreographischer Wettbewerb) at Cologne.

Duato has created more than a dozen works for the two companies of Nederlands Dans Theater and in 1988 was named

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Hubbard Street dancers Emilie Leriche and Kevin J. Shannon, concept by Alejandro Cerrudo. Photo by Quinn B Wharton.

resident choreographer next to Hans van Manen and Jiří Kylián.

His ballets form part of the repertoire of such companies as Paris Opera, Cullberg Ballet, Nederlands Dans Theater, Les Grands Ballets Canadiens, Deutche Opera Ballet, Australian Ballet, Stuttgart Ballet, Ballet Gulbenkian, Finish Opera Ballet, The Royal Ballet, The Singapore Ballet, Tulsa Ballet Theatre, Pacific Northwest Ballet, San Francisco Ballet, The Washington Ballet, Hubbard Street Dance Chicago, North Carolina Dance Theatre, The Boston Ballet, The Gothenburg Ballet, The Royal Swedish Ballet, The Royal Danish Ballet, Northern Ballet, Ballet du Capitole, Ballet du Rhin, Teatro Comunale Florence, National Ballet of Portugal, The Norwegian National Ballet, New National Theatre Tokyo, the Universal Ballet, Stars Foundation Ballet, American Ballet Theatre, Tulsa Ballet, Staatsballet Berlin, Bolshoi Ballet, etc. From June 1990 to July 2010, Nacho Duato was the artistic director of Compañía Nacional de Danza (Madrid, Spain). In 1995, he received the Chevalier dans l’Ordre des Arts et des Lettres, which is annually given by the French Embassy in Spain. In 1998, the Spanish government awarded him the Golden Medal of Merit in the Fine Arts. In 2000, at the Stuttgart Opera, he received the Benois de la Danse, one of the most prestigious international awards for choreography, presented by the International Dance Association for his ballet Multiplicity, Forms of Silence and Emptiness. In January 2011, he assumed the position of artistic director of Mikhailovsky Ballet (Saint Petersburg, Russia). In 2014, he became the intendant and artistic director of Staatsballet Berlin.

William Forsythe was raised in New York and initially trained in Florida with Nolan Dingman and Christa Long. He danced with the Joffrey Ballet and later with the Stuttgart Ballet, where he was appointed resident choreographer in 1976. Over the next seven years, he created new works for the Stuttgart ensemble and ballet companies throughout Europe and the United States. In 1984, he began a 20-year tenure as director of Ballett Frankfurt, where he created works such as Artifact (1984), Impressing the Czar (1988), Limb’s Theorem (1990), The Loss of Small Detail (1991, in collaboration with composer Thom Willems and designer Issey Miyake), Eidos: Telos (1995), Endless House (1999), Kammer/Kammer (2000) and Decreation (2003). After the closure of Ballett Frankfurt in 2004, Forsythe established a new, more independent ensemble, The Forsythe Company, founded with the support of the German states of Saxony and Hesse, the cities of Dresden and Frankfurt am Main,

and private sponsors. His works are prominently featured in the repertoires of virtually every major ballet company in the world, including the Mariinsky Ballet, New York City Ballet, San Francisco Ballet, the National Ballet of Canada, London’s Royal Ballet and the Paris Opéra Ballet. Awards received by Forsythe and his ensembles include four New York Dance and Performance “Bessie” Awards and three Laurence Olivier Awards in the U.K.; he has been conveyed the title of Commandeur des Arts et Lettres by the government of France; and he has received the German Distinguished Service Cross, the Wexner Prize, the Golden Lion of the Venice Biennale, the Samuel H. Scripps / American Dance Festival Award for Lifetime Achievement, and the Swedish Carina Ari Medal.

Forsythe has also been commissioned to produce architectural and performance installations by, among others, architect-artist Daniel Libeskind, ARTANGEL, Creative Time, and the Staatliche Kunstsammlungen Dresden (SKD). As an educator, Forsythe is regularly invited to lecture and give workshops at universities and cultural institutions. He is an Honorary Fellow at the Laban Centre for Movement and Dance in London, and holds an Honorary Doctorate from The Juilliard School in New York City.

Forsythe is currently a professor of dance and artistic advisor for the Choreographic Institute at USC Glorya Kaufman School of Dance. Visit williamforsythe.de to learn more.

Robyn Mineko Williams began her career at River North Dance Chicago, followed by twelve seasons as a member of Hubbard Street Dance Chicago, during which she performed choreography by renowned artists, including Ohad Naharin, Jiří Kylián, William Forsythe and Johan Inger, and originated roles in new works by Jorma Elo, Sharon Eyal, Twyla Tharp and Lar Lubovitch, among others. She began making her own work in 2001 through Hubbard Street’s Inside/Out Choreographic Workshop and has since created multiple premieres for Hubbard Street’s main company and HS2. Williams has made work for Atlanta Ballet, Grand Rapids Ballet, GroundWorks Dance Theater, Thodos Dance Chicago, and Visceral Dance Chicago; and has presented at venues such as The Kennedy Center, the American Dance Festival, and the Joyce Theater.

Dance Magazine named Williams one of “25 to Watch” for 2014. She was one of two winners in 2012 of Northwest Dance Project’s Pretty Creatives International Choreographic Competition. In 2013, she received the Princess Grace

IRVINE BARCLAY THEATRE | 13

Choreographic Fellowship and was selected as an emerging choreographer for Springboard Danse Montréal. In 2015, she completed a Princess Grace Foundation Works in Progress Residency at the Baryshnikov Arts Center and received a Choreography Mentorship Co-Commission Award from the Princess Grace Foundation in support of HS2 + Manual Cinema’s Mariko’s Magical Mix: A Dance Adventure. In 2016, Williams launched her independent project, Undercover Episodes. She was selected as one of NewCity’s “Players 2016: 50 People Who Really Perform for Chicago;” and was named Best Choreographer in 2016 Best of Chicago by Chicago magazine.

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

Lou Conte (Founding Artistic Director), after a performing career that included roles in Broadway musicals such as Cabaret, Mame and How to Succeed in Business Without Really Trying, established the Lou Conte Dance Studio in 1974. Three years later, he founded what is now Hubbard Street Dance Chicago.

Originally the company’s sole choreographer, he developed relationships with emerging and world-renowned dance makers Lynne Taylor-Corbett, Margo Sappington and Daniel Ezralow as the company grew. Conte continued to build Hubbard Street’s repertoire by forging a key relationship with Twyla Tharp in the 1990’s, acquiring seven of her works as well as original choreography. The company then became an international enterprise with the inclusion of works by Jiří Kylián, Nacho Duato and Ohad Naharin. Throughout his 23 years as the company’s artistic director, Conte received numerous awards, including the first Ruth Page Artistic Achievements Award in 1986, the Sidney R. Yates Arts Advocacy Award in 1995, and a Chicagoan of the Year award from Chicago magazine in 1999. In 2003, Conte was inducted as a laureate into the Lincoln Academy of Illinois, the state’s highest honor; and in 2014, he was named one of five inaugural recipients of the City of Chicago’s Fifth Star Award.

He has been credited by many for helping raise Chicago’s international cultural profile and for creating a welcoming climate for dance in the city, where the art form now thrives.

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HUBBARD STREET DANCE CHICAGO DANCERS Jacqueline Burnett received classical ballet training in Pocatello, Idaho from Romanian ballet master Marius Zirra, with additional summer training at Ballet Idaho, Brindusa-Moore Ballet Academy, the Universal (Kirov) Ballet Academy, The Juilliard School and the San Francisco Conservatory of Dance. She graduated magna cum laude with departmental honors from the Ailey School and Fordham University’s joint program in New York City in 2009, while an apprentice with Hubbard Street. She was promoted to the main company in August 2009 and is a 2011–12 Princess Grace Honorarium recipient.

Craig Black finished his sixth season with Aspen Santa Fe Ballet prior to joining Hubbard Street Dance Chicago in the fall of 2017. The California native was captain of the San Jose High School’s nationally ranked dance team. Craig received his BFA from The Juilliard School, where he was awarded the 2010 Princess Grace Award in Dance. He won the 2011 Lorna Strassler Award for Student Excellence at Jacob’s Pillow Dance Festival.

Craig’s summer programs were at Springboard Danse Montréal, Nederlands Dans Theater, and the Pillow.

Rena Butler hails from Chicago, Illinois. She has danced with Kyle Abraham/Abraham.In.Motion, Bill T. Jones/Arnie Zane Company, David Dorfman Dance, Manuel Vignoulle−M/motions, Yara Travieso, The Kevin Wynn Collection, and Pasos Con Sabor Salsa Dance Company. She began her studies at The Chicago Academy for the Arts, studied overseas at Taipei National University of the Arts in Taiwan, and received her BFA from SUNY Purchase Conservatory of Dance. She has acted as repetiteur for Kyle Abraham/Abraham.In.Motion and Bill T. Jones/Arnie Zane Company. Rena’s choreographic work has been featured at the The Ailey School (the official school of Alvin Ailey American Dance Theater) BFA program, the Joffrey Ballet School in New York, the Young Choreographer’s Festival in NYC, the New Orleans Museum of Modern Art in collaboration with world-renowned jazz composer, Terence Blanchard, and CHTV Stories television program in Switzerland.

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

Kellie Epperheimer began her dance training in 1988 at the Academy of Dance and Civic Ballet of San Luis Obispo, and attended training programs at the Joffrey Ballet School and The Juilliard School in New York City. A founding member of Cedar Lake Ensemble (later Cedar Lake Contemporary Ballet), she joined Hubbard Street 2 in January 2005, and was promoted to the main company in January 2007.

Hubbard Street dancer Jessica Tong, concept by Alejandro Cerrudo. Photo by Quinn B Wharton.

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

Elliot Hammans began his formal dance training in 2008 with Robert Sher-Machherndl and continued his ballet and modern dance education with Moving People Dance in Santa Fe, New Mexico, under the direction of Curtis Uhlemann. Hammans joined Moving People Dance Company as an apprentice in 2010, trained on full scholarship at the Alonzo King LINES Dance Center in San Francisco, and attended Hubbard Street Dance Chicago’s 2011 and 2012 Summer Intensives. Following one season with Cherylyn Lavagnino Dance and studies abroad at Austria’s Tanzzentrum SEAD (Salzburg Experimental Academy of Dance), Hammans earned his BFA in Dance in 2014 from Tisch School of the Arts at NYU. He has performed works by choreographers Sean Curran, Gail Gilbert, Crystal Pite, Kendra Portier and Nathan Trice. Hammans joined Hubbard Street 2 as a full company member in August 2014 and was promoted to Hubbard Street’s main company in August 2016.

Alice Klock began dancing at age 11. She trained at Interlochen Arts Academy from 2003 to 2007, and in Alonzo King LINES Ballet and Dominican University of California’s joint BFA program from 2007 to 2009. Klock joined Hubbard Street 2 in September 2009 and was promoted to the main company in September 2011. Klock creates original works in watercolor and mixed media as a visual artist; as a choreographer, she has contributed to the Nexus Project and Visceral Dance Chicago, in addition to premiering multiple pieces through Hubbard Street’s danc(e)volve: New Works Festival and the annual Inside/Out Choreographic Workshop.

Visit klockonian.tumblr.com to learn more.

Myles Lavallee began his training in Arizona at various dance schools and later studied at the School of American Ballet in New York City for two years. In 2011, Myles joined Ballet Arizona, where he danced for 4 seasons under the direction of Ib Andersen. In 2015, Myles joined Les Grands Ballets Canadiens de Montréal. There he performed works by Ohad Naharin, Stephan Thoss, Jean-Christophe Maillot, Ken Ossola, Shen Wei and Jiří Kylián. Myles has also choreographed for Ballet Arizona for the Artist Relief Fund Benefit and Innovations performance, as well as for Les Grands Ballets in À Suivre. Myles has performed as a guest artist with Robert Dekkers’ Post:Ballet in San Francisco. This is his first season with Hubbard Street Dance Chicago.

Adrienne Lipson began her dance training in London, Ontario under the tutelage of Jennifer Swan, and continued her studies at Ryerson University, where she received a BFA with honors upon her graduation in spring 2013. While in Toronto, Lipson performed with Typecast Dance Company and was a founding member of Rock Bottom Movement. Lipson attended the ProArteDanza Summer Intensive and Kenny Pearl’s Emerging Artists Summer Intensive, in addition to training programs at Hubbard Street Dance Chicago, LADMMI (L’École de Danse Contemporaine de Montréal), Jacob’s Pillow Dance Festival and Springboard Danse Montréal, where she performed works by choreographers Aszure Barton, Barak Marshall and Robyn Mineko Williams. Lipson joined Hubbard Street 2 as an apprentice in August 2013, was promoted to full HS2 company member in August 2014, and joined Hubbard Street’s main company in August 2016.

Florian Lochner trained at Ballettschule Malsam in Schwäbisch Hall, Germany, and the Staatliche Hochschule für Musik und Darstellende Kunst in Mannheim, where he was the recipient of its Birgit Keil Dance Foundation scholarship.

Lochner earned his master’s degree in the performing arts and joined Gauthier Dance Company in Stuttgart in 2011, performing works by numerous choreographers including Mauro Bigonzetti, Jiří Bubeníček, Alejandro Cerrudo, Alexander Ekman, Itzik Galili, Eric Gauthier, Marco Goeke, Johan Inger, Jiří Kylián, Christian Spuck, Cayetano Soto, Philip Taylor, Stephan Thoss, Paul Lightfoot and Sol León. He received a “Best of the Season” nomination in Germany’s Dance for You Magazine in September 2013, and joined Hubbard Street in August 2015.

IRVINE BARCLAY THEATRE | 15

Ana Lopez began her formal training at Conservatorio de Danza Diputacion de A Coruña. Upon graduating Isaac Diaz Pardo High School, she continued her training at Centro Internacional de Danza Carmen Roche. Prior to joining Hubbard Street in January 2008, Lopez danced with Joven Ballet Carmen Roche, with Compañía Nacional de Danza 2 in works by Nacho Duato and Tony Fabre, and at Ballet Theater Munich under the directorship of Philip Taylor. She was named one of Dance Magazine’s “25 to Watch” for 2012.

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

Minga Prather, a Dallas native, is a graduate of Booker T. Washington High School for the Performing and Visual Arts, under direction of Lily Weiss. She was named a 2014 winner

in Modern Dance by the National YoungArts Foundation. Minga is currently finishing up her senior year in the Ailey/Fordham BFA program, and will graduate with Fordham University’s Class of 2018. In addition to training with The Ailey School, she has performed as a guest artist with Alvin Ailey American Dance Theater and Nimbus Dance Works during their 20162017 season. She has danced alongside Grammy winner Erykah Badu, and was featured on Vogue.com in the Fashion Week 2017 collection video. Prather joined Hubbard Street in 2017.

David Schultz began training at the Grand Rapids Ballet School in Michigan, and subsequently spent four seasons dancing with its company, Grand Rapids Ballet. Schultz joined Hubbard Street 2 in September 2009 and was promoted to the main company in August 2011. He is the recipient of the 2012 Princess Grace Award.

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

North American Representation: Sunny Artist Management Ilter Ibrahimof, Director ilter@sunnyartistmanagement.com

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10/6

PRESERVATION HALL LEGACY QUINTET WITH IRMA THOMAS October 6, 2017 | Cheng Hall This performance is presented without an intermission.

Sponsored by:

Media Sponsor:

THE PRESERVATION HALL LEGACY QUINTET WITH IRMA THOMAS

Gregg Stafford Trumpet

Freddie Lonzo Trombone

Joe Lastie, Jr. Drums

Calvin Johnson Reeds

Christopher Vaughn Piano, Organ

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ABOUT PRESERVATION HALL LEGACY QUINTET The Preservation Hall Legacy Band represents a tradition that started in 1963, when Preservation Hall first opened in the French Quarter. This brand-new band is comprised of some of the most revered alumni of the Hall, many of whom have toured the world with The Preservation Hall Jazz Band for decades. As the world-renown Preservation Hall Jazz Band continues its exciting exploration of the boundaries of New Orleans jazz, the Preservation Hall Legacy Band has formed, with the help of the non-profit Preservation Hall Foundation, to help maintain a connection with the traditional aspects of the Hall’s musical legacy.

MUSICIANS

Gregg Stafford (Trumpet) is coined “The last trumpet player in New Orleans” for a reason. He has dedicated his career to preserving the traditional New Orleans jazz music.

His trumpet playing is steeped in tradition. In his youth, however, he had no desire to become a musician. By chance, his high school band leader needed a trumpet player and recruited Stafford. Nine months later, he started marching in parades. He was sixteen years old, and at that time, in the late 1960’s, brass band music was for “old men.” But Stafford had grown up watching brass bands and loved practicing tunes at home. He began playing in the E. Gibson Brass Band with childhood friends Tuba Fats Lacen and Michael Myers and subsequently in Danny Barker’s Fairview Baptist Church Band. Stafford also played in the Young Tuxedo Brass Band, which he went on to lead, the Olympia Brass Band, and the touring Preservation Hall Jazz Band. Decades before he began playing regularly at Preservation Hall, Stafford came by to hear the music. But he absorbed much more from the musicians he thought of as fathers — Louis Cottrell, Harold Dejan, Albert Walters, Jack Willis, Teddy Riley and many more. These men taught him about history, pride and values.

Stafford says music holds the people and the community together; every time he plays, he holds audiences in rapture.

Freddie Lonzo (Trombone). Born and raised in New Orleans’ Uptown neighborhoods, Freddie was exposed to the music of the streets at a very young age. Having cemented his desire to play New Orleans jazz, these early Second Line parades would later offer him his first professional gig with EG Gabon and Doc Paulin’s Band. A true master of every style of New Orleans music, from marching brass to modern jazz, Freddie’s first appearances with Preservation Hall date back to the mid-eighties when he toured and played with Percy Humphrey and Kid Sheik.

Joe Lastie, Jr. (Drums). Born and raised in the Lower Ninth Ward, Joe comes from a long line of family members equally dedicated to music and the church. Having played his first job with a rhythm section backing the Desire Community Choir, he would go on to study jazz with Willie Metcalf at the 18 | IRVINE BARCLAY THEATRE

Dryades Street YMCA with classmates Wynton and Branford Marsalis. After a brief move with his family to Queens, New York, Joe returned to New Orleans where he was invited to substitute on drums at Preservation Hall in 1989. He’s been a regular with the band ever since.

Calvin Johnson (Reeds) is a saxophonist, composer and bandleader born and raised in New Orleans, Louisiana.

Calvin’s paternal grandfather, George Augustus “Son” Johnson, was a musician who led WPA bands during the Great Depression and taught musicians at the Grumswald School of Music in New Orleans. Son Johnson and Mrs. Johnson gave birth to 11 children, which included five boys and six girls. Of those five boys, four were musicians, including the late clarinetist/saxophonist Ralph Johnson of the Preservation Hall Jazz Band. Calvin sharpened his skills at the New Orleans Center for Creative Arts (NOCCA). His expansive touring history ranges from top local venues to international festivals performing with Dirty Dozen Brass Band, Harry Connick Jr., Irvin Mayfield & the New Orleans Jazz Orchestra, and Big Sam’s Funky Nation, to name a few.

His diverse musical career spans from traditional, contemporary, Brass Band and avant-garde jazz; to funk, and hip - hop. Calvin Johnson does not simply play; he embodies the sentiment of the saxophone — strong, resonant and a testament to the unique vibrancy of New Orleans’ spirit.

Christopher Vaughn (Piano, Organ) is the musical heir to the late and great gospel organist and vocalist Leon Vaughn and found his way to Preservation Hall through his cousin, the drummer Joe Lastie. A performer since the age of 13, Chris has regularly performed at a number of churches around New Orleans, including the New Saint Mark Baptist Church, the St. Paul Baptist Church, and is currently the Minister of Music at the First Evangelist Baptist Church in Central City, New Orleans. In addition to performing in spiritual settings, Mr. Vaughn traditionally performs with Little Zion Baptist Church Choir at the New Orleans Jazz & Heritage Festival and alongside the Preservation Hall Legacy Band.

IRMA THOMAS

Irma Thomas remains one of America’s most distinctive and classic singers, a treasure from the golden age of soul music who remains as compelling and powerful as ever. As Don McLeese wrote in his review of her Grammy-winning 2006 album, After the Rain, “Most singers who have been recording as long as Thomas resort to tricks, mannerisms, and show-off displays, but she remains the anti-diva, a stylist of exquisite understatement whose every note rings true and hits home.”

Irma first achieved prominence with a string of 1960’s hits such as “Time Is On My Side,” (later covered by the Rolling Stones), “It’s Raining” and “Wish Someone Would Care.”

She toured extensively across the South with her band, The Toronados. Yet, her life has not been without its share of

In 2009, Rounder Records celebrated this remarkable milestone in Irma Thomas’s career with the release of The Soul Queen of New Orleans: 50th Anniversary Celebration, which features 3 new songs, 9 highlights from her Rounder catalog, and 3 tracks recorded as a guest for special projects on other labels.

hardship and challenge. Pregnant at age 15, she was forced by her father into what she calls a “shotgun marriage.” After the devastating effects of Hurricane Camille in 1969, when she was a single mother with four children to support, she moved her family to Los Angeles and worked for a time at a Montgomery Ward store, recording and performing only intermittently.

Upon returning to Louisiana in the 1970’s, she slowly rebuilt her reputation as The Soul Queen of New Orleans, signing with Rounder in 1986. In 2005, while she was working in Austin, Texas, Hurricane Katrina flooded her home and destroyed all her possessions, along with her nightclub, The Lion’s Den. She and her husband, Emile Jackson, have rebuilt their home (she may have been one of the few who had flood insurance!). In the wake of the tragedy and loss that Katrina brought, her career has enjoyed an unprecedented upswing.

In 2006, After the Rain, recorded in rural Maurice, Louisiana only weeks after Katrina, won Irma her first Grammy (as well as a Blues Music Award for Soul-Blues Album of the Year and many other accolades). In 2008, Simply Grand won a Grammy nomination, as well as another Soul-Blues Album of the Year award. Irma had previously garnered Grammy nominations for her live album, Simply the Best! and her collaboration with Marcia Ball and Tracy Nelson, Sing It!, both on Rounder. Many career highlights have followed her Grammy triumph, including her appearance with Stevie Wonder at the 2008 New Orleans Jazz and Heritage Festival.

In 2009, she was inducted into the Blues Hall of Fame.

There are many other bright sides to Irma’s story. After she graduated from Delgado College in 2001 at the age of 61, the school initiated the Irma Thomas Wise Women Center.

“We provide counseling to young women, and the occasional young man, who may be unsure of the possibilities of furthering their educations,” she explained. “We provide encouragement, and I share my own struggles.”

For the first time since 1990’s live album, Irma and producer Scott Billington chose to record with her working band, The Professionals, a group of New Orleans R&B veterans (who might have a lesson or two for younger neo-soul musicians to learn!). The three new tracks include the up-tempo “Got to Bring it With You” (co-written by Fabulous Thunderbirds front man Kim Wilson), and the newly-written but ever so classic soul ballad, “Let It Be Me.” Irma and her longtime keyboard player Warner Williams co-wrote a new blues song, “Your Ship Has Sailed.” These songs showcase Irma in her classic element, with no click tracks, auto-tuning or other studio tricks. Nobody does it better.

Other highlights include her joyful interpretation of Dan Penn’s “I’m Your Puppet” (from her Rounder album My Heart’s in Memphis), and her deep reading of the Tom Jans song “Loving Arms,” originally released on the I Believe To My Soul collection on the Hear Music label. A more obscure track is “There Must Be a Better World Somewhere,” recorded as part of a tribute album to the great songwriter Doc Pomus on Rhino Records.

This album also marked the 25th year that Irma and Rounder VP of A&R had worked together, an artist/producer partnership that must be something of an industry record.

Scott Billington: “It’s been a great privilege to work with Irma as we imagine each new recording, and to help her find the right songs. I think we’ve discovered quite a few good ones over the years, and it’s always a thrill to hear her transform each song.”

Irma summed up her career in a conversation with New Orleans writer Jeff Hannusch, “I really haven’t thought a lot about being in show business that long because I’m having so much fun right now. Recently, I’ve gotten a lot of acclaim and it’s all humbling. The Grammy Award was especially prestigious, but I’m truly honored and humbled by them all.

I might slow up a bit in the future, but I don’t ever foresee retirement. I know 50 years is a long time, but when you’re doing something you really love, you don’t think about the years.”

Artist Representation: Columbia Artists Management LLC 1790 Broadway New York, NY 10019

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10/12

PIAF! THE SHOW October 12, 2017 | Cheng Hall This performance will include a 15-minute intermission.

Produced and Directed by

Gil Marsalla

Anne Carrere Singer

Philippe Villa Piano

Guy Giuliano Accordion

Daniel Fabricant Double Bass

Laurent Sarrien

Percussion, Xylophone

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ABOUT PIAF! THE SHOW With a million tickets sold in more than 30 countries and acclaimed reviews worldwide, Piaf! The Show – a musical celebration of the life and music of the legendary French chanteuse Edith Piaf – returns to America as part of the extended world tour. The highlight of the American leg of a 400-performance global tour was the special presentation at Carnegie Hall on January 6, 2017 on the 60th anniversary of Edith Piaf’s last performance at the famous venue.

Conceived and directed by the Nice-based theatrical maverick Gil Marsalla and starring Anne Carrere, a young French performer hailed as “Edith Piaf’s legitimate musical heiress,” Piaf! The Show premiered in 2015 as a tribute to “The Swallow of Montmartre” on the centennial of her birthday and was inspired by the award-winning movie La Vie En Rose. In two 45-minute acts, the show narrates the rags-to-riches story of the Parisian singer’s career through her unforgettable songs, complemented by a visual tapestry

SONG LIST ACT I Comme un Moineau (Marc Hely/Jean Lenoir) © Les Nouvelles Editions Meridian

La Java de Cezigue (René Paul Grotte/Jean Eblinger) © SEMI Les Mômes de la Cloche (André Decaye/Vincent Scotto) © Editions Fortin L’Accordéoniste (Michel Emer) © SEMI

Entre Saint-Ouen et Clignancourt (Eugene Sablon/ Maurice Thireau) © Editions Francis Salabert

Elle Fréquentait la Rue Pigalle (R. Asso/L. Maitrier) © 1939 by Editions Beuscher Arpège

La Goualante du Pauvre Jean (René Rouzaud/Marguerite Monnot) © Beuscher Arpège et Wolfsohn Jacques Editions Les Amants d’un Jour (Lyrics: Claude Delécluse and Michelle Senlis. Music by Marguerite Monnot) © 1957 - Editions Beuscher Arpege Je m’en Fous Pas Mal (Michel Emer) © Masspacher André Georges

Paris (André Bernhem) © 1949 - Editions Raoul Breton C’est un Gars (Pierre Roche/Charles Aznavour) © Editions Raoul Breton

Mon légionnaire (Raymond Asso/Marguerite Monnot) © SEMI 22 | IRVINE BARCLAY THEATRE

of previously unreleased photographs and images of famous Parisian locations of the Edith Piaf era.

Gil Marsalla, producer and director of Piaf! The Show, first met Anne Carrere in 2014, when she auditioned for another of his productions, Paris! The Show. Captivated by her skills and natural charisma, Marsalla offered her the role of Edith Piaf in his new production. “I have worked in show business – on and off stage – for 25 years and mounted shows around the world. But to this day, Anne Carrere is my greatest artistic discovery yet. Don’t you dare touch or polish her, she is a diamond that you want to keep raw – such is the nature of her pure and natural talent…,” says Marsalla of his leading lady. Equally impressed with Carrere were Piaf’s longtime collaborators, composer Charles Dumont, Ginou Richer, Piaf’s personal secretary, and singer Germaine Ricord, who described Anne’s skills as “that of Edith Piaf at the top of her career.”

Mon Vieux Lucien (Michel Rivgauche/Charles Dumont) © Les Nouvelles Editions Meridian La Fête Continue (Michel Emer) © 1949 by Editions Beuscher Arpège

Bravo Pour le Clown (H. Contet/Louiguy) © 1953 Louiguy et Henti Contet © 1998 Editions Beuscher Arpège et Longfellow Music

Les Flons Flons du Bal (Charles Dumont/Michel Vaucaire) © Editions Francis Salabert ACT II Mon Manège à Moi (Jean Constantin/Norbert Glanzberg) © Les Nouvelles Editions Meridian

Jezebel (Wayne Shanklin/Adaptation: Charles Aznavour and Raoul Breton) © Warner Chappel Music France, Catalogue Pigalle Intersong Les Feuilles Mortes (Jacques Prévert/Joseph Kosma)

L’Homme à la Moto (Jerry Leiber, Mike Stoller/Adaptation: Jean Drejac) © Jerry Leiber Music, Mike Stoller Music/ Sous Editeur: Sony/ATV Music Publishing France Padam... Padam... (Norbert Glanzberg/Henri Contet) © Francis Salabert Editions

La Foule (Original Lyrics by Enrique Dizeo. French Lyrics

by Michel Rivgauche. Music by Angel Cabral) © 1957 Editions Metropolitaines

Les Mot d’Amour (Michel Vaucaire/Charles Dumont) © Les Nouvelles Editions Meridian

Hymne à l’Amour (Edith Piaf/Marguerite Monnot) © 1949 Editions Raoul Breton Mon Dieu (Michel Vaucaire/Charles Dumont) © Les Nouvelles Editions Meridian La Vie en Rose (Edith Piaf/Louiguy) © 1946 Editions Beuscher Arpège

Non, Je ne Regrette Rien (Michel Vaucaire/Charles Dumont) Milord (Marguerite Monnot/Joseph Mustacchi) © Francis Salabert Editions

ANNE CARRERE

Anne Carrere (Singer) made her debut in large-scale musical theatre as the star of Piaf! The Show. A native of Puget Ville, a small town in the South of France, she began preparing for a stage career in her early teens, studying voice, acting, and a variety of vocal and dance styles at the renowned art school, Salon-de-Provence. She later pursued classical musical training, playing flute and piano. Before pursuing her passion for the traditional French chanson, Anne participated in numerous French talent competitions and TV shows, showcasing her singing and dancing skills.

GIL MARSALLA Gil Marsalla (Director and Producer) has been studying music since the age of 14 and has a rewarding career as a musician, music director, conductor and artistic director.

He has been successfully producing musical and theatrical shows and large-scale events for the past 20 years, most recently with his own production company Directo Productions, which he founded in 2001 with the goal of supporting and presenting emerging French artists. Since 2007, he has been touring his productions worldwide and has successfully presented his shows to sold-out houses in New York, Los Angeles, Washington, Tokyo, Moscow, and many other international locations on four continents.

Among his recent producing credits are Formidable Aznavour (2017) and Paris, Le Spectacle (2016).

Artist Representation: The Awesome Company 1440 Louisiana Ave Unit B New Orleans, LA 70115

IRVINE BARCLAY THEATRE | 23

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

We thank the City for its generous support.

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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.

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Staff Jerry Mandel, Ph.D. President

Gary Payne

Karen Wood

Karen Drews Hanlon

Lori Grayson

Ginny W. Hayward

Production & Facilities Manager

Helena Danovich

Development Assistant

Chief Operating and Finance Officer Artists & Contracts Manager Administration Manager Board Liaison

Lu Bauer

Box Office Manager

Josh Roberts

General Manager

Jeff Stamper Tim Owens

Associate Production Manager

Robin Darling

Patron Services Manager

Director of Marketing and Communications

Communications Assistant Program Book Editor

Tracy Porco

Social Media and Outreach Marketing

Director of Development

Fatima Rizvi

Michael Halpern

Senior Development Consultant

Assistant Box Office 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 Robin Follman-Otta Carla Furuno Haskell & White LLP HumanKind Philanthropic Fund Toni and Terry McDonald National Endowment for the Arts William and Janice Parker Family Fund Penelope Parmes Rohl LLC – Kenneth and Helene Rohl Sonnet Technologies, Inc. Richard and Elizabeth Steele Fund

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Trisha Steele Elizabeth C. and Thomas T. Tierney

BRAVO BARCLAY PARTNER $5,000 – $9,999

The Allergan Foundation Roland and Jaquelynn Beverly Erika Dadura-Crane and Marc Crane Gartley Charitable Foundation Fund Hyatt Regency Maui Resort and Spa Hyatt Regency Waikiki Resort and Spa Jerry and Whitney Mandel New England Foundation for the Arts Salwa and Sabri Rizkalla Michelle Rohe Gary and Melanie Singer BRAVO BARCLAY BENEFACTOR $2,500 – $4,999

Linda I. Smith Foundation St. Matthew’s Montessori School

Frank Wagner and Lynn O’Hearn Wagner Western States Arts Federation Judy and Wes Whitmore BRAVO BARCLAY PATRON $1,000 – $2,499

The Beall Family Foundation Scott and Cheryl Berry Douglas Bradley Carol and Les Elliot Bruce Kerr and Ann Patterson Dr. Paul and Mrs. Ellen Lee Carl Neisser Peter and Alexandra Neptune Albert and Tricia Nichols Fund Bruce and Esmeralda Ogilvie Susan Rhodes and Goran Matijasevic Thomas Roddel Joel B. Rothman Chiyo and Stanton Rowe David Scott and Gayle Widyolar Simon Foundation for Education and Housing Diane Stovall Majid and Sohaila Zarrinkelk

ENCORE CIRCLE ENTHUSIAST $250 – $999 Oscar R. Aguirre Richard Alexander AmazonSmile Foundation Brien Amspoker and Ellen Breitman Diane and Dennis Baker Robert and Delphi Ballinger Lindy Balmer Craig Boardman Leia Bowers Clifford and Jennifer Cheng Karen and Bruce Clark Mary Cobb John Coyne Michael and Kathy Dogali Scott and Monica Duggan Roger du Plessis Gary Fabian Frederic and Aviva Forster Melissa and Michael Fox Mark A. Franzen Mike Fuhr Charles and Janet Henze Richard and Sara Hess IBM Matching Grants Program Judy and Terry Jones Yvonne and Damien Jordan

Carl D. and Margaret E. Kelleher Bill and Carolyn Klein Martin G. Langer Vicki and Richard Lee Leslie Levine Robert D. and Pat MacDonald Leonard and Joalyn Mushin Mike and Pat Noggle Orange County Community Foundation Robert Parker PayPal Giving Fund Suzanne T. Peltason Dr. Stephen M. Rochford Francie Rope Deborah and Frank Rugani Nancy Lee Ruyter Aloha R. Saxon Frances Segal Ellen and Vasily I. Semeniuta Nancy Smith Thomas and Marilyn Sutton Synchrony Financial Law Offices of Jeri E. Tabback Vendini, Inc. Kathy Vickers and Jeremy Freimund Craig Wickwire Charles and Marilyn Wright Kurt Youngs

Stephen Biskar Suzanne Boras Lupe Borboa Seth Brindis and Stephanie Reich Douglas T. Burch, Jr. Linda and Roland Bye David Calica Harold and Eleanor Carpenter Judith Cassedy-MacPherson Gerald Castillo Grace Chen Rita R. Chenoweth Denise Chilcote Deanna Choi Michael and Kate Clark Joseph L. and Kathleen Y. Coleman Martin Cooper Kenneth J. Craig, Jr. Nancy Cramer Anahid Crecelius Madeleine and Alan Crivaro Hilary Davis and Dr. Sandy Ratner Dr. Edward Deeb Donna Di Bari Joan M. Donahue Mara Dragos Don and Linda Dressler Jacolyn Dudley Rad and Toni Dwyer James Evans Peggie Fariss Cathie Fields Ruby Foo Carol Foster Roberta Fox Elisabeth and Lester Fruth Keri Fujii Ismael Garcia Peter and Anne Garrell Marcella Gilmore and Edward Muehl S. Glass Family

Ben and Sandie Goelman Janice Groh Paul and Nancy Groner Sanjiv and Geeta Grover Jim and Berri Harris Carole S. Harrison Jon Healing Anthony Houghton Robert Ingold Gary and Linda Globerman Jackson Korey Jorgensen Judy Kaufman and George Farkas Jeannine Kouns Kerry Krisher Charles Kristenson Arthur S. Kroll Dr. and Mrs. John LaGourgue Tracy Laulhere Benjamin and Sunny Leos Eugene and Deanna Litwer Anne Llewellyn Joe Lowden Christian and Sharon Maas Christian Markey Albert Martinez Natalia Martinez-Ware Colette Matsui Duane and Kathleen Mauzey Jaklyn Rae McClendon Michael and Susan McGuire Jodi Meade Lauri and Mike Mendenhall Michael L. and Nancy Meyer Don and Terri Milder Defoe Miller William Miller David Moehring John and Marjorie Murray Roy and Gwen Nakabayashi Reiko and Mitsuhiko Nakano Susan Naples Steven Nelson

Catherine Ngo Huey Yann Ooi Danielle Peterson Leo and Sheila Pinsky Peter and Ursula Piotrowski Edward Quilligan Elaine Ramsay Wallace Realini Claudia Redfern Dennis Repp Cynthia Reynolds Theodore and Virginia Robins Diane Sagey De Anne Sbardellati Jack and Katharine Schoellerman Jeff and Linda Schulein Louise Schwennesen Todd Seidner Joyce Shadburn Lori Shapiro Gordon Sheldall Gilbert Singh Frederick Smith Smith-Walker Foundation John L. Smith and Mary Anne Anthony-Smith Kathy Soderlund Dorothy J. Solinger Hugh Stevenson Ingrid Strayer Richard and Jane Sungaila Celia and Julio Taleisnik Keith Tate Johanna Tilley Abril Turner Steven and Carolyn Watanabe Kim Waterson William Weiberg Brian West Diane Wick Richard and Barbara Wilkes Shara and David Witkin

NATIONAL CHOREOGRAPHERS INITIATIVE

Bronny Daniels 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 Debra Maxwell Sharon McNalley Nancy Meyer Ed Moen and Janek Schergen John and Marjorie Murray Mr. and Mrs. Mitsuhiko Nakano Carl Neisser Tom and Marilyn Nielsen Northern Trust Bank of California 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

ENCORE CIRCLE SUPPORTER $100 – $249 Michele and Richard Africano Mahvash Ahangi Robert Allgeier Debbie Aslanian Jim Aust George and Linda Bauer Craig Behrens Ernestina and Charles Benson Jeannie Berryman Richard H. Bigelow

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 Betsy Andrews and Alex Moad Mrs. Alan V. Andrews Diane and Dennis Baker Ballet Barres West William H. Bardens Dr. Michael Bear Beau Corps Studio Paul Blank Theodore Bradshaw Laurie and Bart Brown David and Beverly Carmichael Bobbi Cox Sophia and Larry Cripe

IRVINE BARCLAY THEATRE | 27

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