BALLEZ GISELLE OF LONELINESS JUNE 10 - 23, 2021
Season Sponsor:
The Joyce Theater Foundation presents
Leadership support for The Joyce Theater Foundation has been provided by the LuEsther T. Mertz Charitable Trust. Leadership support for The Joyce’s presentation of dance is provided by the Doris Duke Charitable Foundation. Leadership support for The Joyce's annual programming is provided by Howard Gilman Foundation. The Joyce's presentation of Ballez is a HARKNESS FIRST Joyce Theater debut, generously supported by The Harkness Foundation for Dance.
The Joyce’s Open Channels Project promoting diverse voices is generously supported by the Rockefeller Brothers Fund. Underwriting support for The Joyce's presentation of Ballez provided by David S. Ivill and Vincent J. Weiner, Jr. Joyce presentations are supported by a grant award from the National Endowment for the Arts; made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; and supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council with special thanks to Speaker Corey Johnson. Giselle of Loneliness was created, in part, with the support of The Joyce’s Artist Residency Center, made possible by lead funding from The Andrew W. Mellon Foundation, Howard Gilman Foundation, LuEsther T. Mertz Charitable Trust, and Doris Duke Charitable Foundation.
ABOUT THE PROGRAM
GISELLE OF LONELINESS Created, Produced, and Directed by Katy Pyle Choreography: Katy Pyle in collaboration with the dancers, after Coralli, Perrot & Petipa Costume Design: Katy Pyle Music: Giselle by Adolphe Adam, performed by The London Symphony Orchestra, Michael Tilson Thomas conductor, 1987, and Tasmanian Symphony Orchestra conductor Nicolette Fraillon, 2015 Lighting Design: Madeline Best Stage Manager: Randi Rivera Wardrobe Supervisor: Ali Lane Rehearsal Assistant to Ms. Panetta: Emma Cohen Host/Christine Darrell: Deborah Lohse Judges: Meg Harper and Janet Panetta Auditionees: Charles Gowin, Maxfield Haynes, MJ Markovitz, Matthias Kodat, Ash Phan, Alexandra Waterbury and Nat Wilson
GI S E L L E AU DI TI ON SCORE S HEET Choose your leading role dancer by filling out the rating sheet. Scan the QR code below or visit this form.
ABOUT THE COMPANY Ballez is lesbians doing ballet. AND Ballez is not just lesbians, it’s all the queers that ballet has left out. Begun in 2011 by genderqueer lesbian choreographer Katy Pyle, Ballez has grown to include a broad community of dancers, audiences, and change-makers. Ballez happens in classes, performances, and conversations in the media that reach millions. Ballez is changing ballet from the inside out. Ballez celebrates the emotionally expressive dancing of queers, dykes, fags, trans, and gender non-conforming dancers whose identities have always been a part of ballet. WE who have been deemed unworthy of the pride, nobility, and belonging in ballet’s centuries long hierarchical history... are coming back into the castle now, to take back the movements, magic, creativity and power that we have always been integral to creating. We’re here to dance, to perform, to learn and to teach, from our own expertise, and thus to change the form of ballet into what it could be: a place of joyful expression, passion, beauty, complexity, diverse representation, and respect. Ballez centers our identities, our dances, our trans, queer, feminist, socialist politics, and our hidden histories within the creation of new story-ballets that update old expectations. Since 2011, we have invited the broader community into our work through open Ballez classes and workshops that share our vision of re-imagined ballet class culture; inviting dancers of all identities and backgrounds into our process to re-imagine all the standard components of a ballet class, but with joy, generosity, play, mutual admiration, and a reflection of our constantly evolving intersectional values. For too long ballet has upheld the values and desires not of its dancers, but of the wealthy, cisheterosexual white male patrons that have dictated its budgets, and thereby, its expression. We’re taking ballet back, for ourselves, and for future generations of dancers, on our own terms, and for our own empowerment.
WHO'S WHO IN THE COMPANY KATY PYLE (Founder, Choreographer) (they/them) is a genderqueer lesbian dancer, choreographer and teacher. Having graduated from UNCSA's high school dance program in 1999, they went on to study at Hollins University, graduating summa cum laude in 2002. Pyle then moved to New York City, where they danced in the works of John Jasperse, Jennifer Monson, Faye Driscoll, Ivy Baldwin, Xavier Le Roy, and many others. From 2009-2014, Pyle was a lead performer and collaborator for Young Jean Lee Theater Company, touring in "Church" and developing and touring "Untitled Feminist Show," for which they were also Dance Captain. Pyle created Ballez in 2011 to return to their love of ballet on their own terms. Ballez pushes classical ballet towards an inclusive future by centering the expression of queer, lesbian, trans, and gender non-conforming people within the creation of large-scale story ballets, open classes, and public conversations. Major works: “The Firebird, a Ballez” Danspace Project, Spring & Fall 2013, “Variations on Virtuosity” American Realness/Abrons, January 2015, “Sleeping Beauty & the Beast” La MaMa, Spring 2016, “Slavic Goddesses” The Kitchen, January 2017, in collaboration with artist Paulina Olowska, and “Ballez Class Everywhere” a free series of Ballez class videos available on YouTube, released Spring 2019. Pyle has taught Ballez at Brooklyn Arts Exchange, Princeton, Sarah Lawrence, Yale, Movement Research, CounterPULSE, NYU, and Slippery Rock University, and has set Ballez repertory on students at Bowdoin College, Whitman College and Beloit University. Over the past year, Pyle offered Pro Ballez classes on Zoom and on a basketball court in Brower Park. They currently perform in the work of Swedish choreographer Stina Nyberg, and teach at Eugene Lang College and Gibney Dance. Visit ballez.org DEBORAH LOHSE (Dancer), born and raised in California, is a comedian, dancer and choreographer living and working in New York City. Her work has been presented in theaters, public spaces and festivals including DANCE NOW Joe’s Pub, American Dance Festival, Chicago Contemporary Circus Festival, United Solo Theater Festival, La MaMa Moves, Winter Garden at Brookfield
WHO'S WHO IN THE COMPANY Place and The Stonewall Inn. She has received commissions from Women In Motion, Mantra Percussion, SUNY Purchase, DANCE NOW and Island Moving Company as well as artist residencies from The Yard, Marble House Project, Djerassi Resident Artist Program, Acadia Summer Arts Program, and SILO. As a performer, Lohse has worked with theater directors Michael Preston, Barbara Karger and Anne Kauffman, visual artists Suzanne Bocanegra and Paulina Olowska and choreographers Monica Bill Barnes, Cori Olinghouse, Doug Elkins, and dance comedy crew LMnO3. She currently performs with Katy Pyle/Ballez, David Parker/The Bang Group, Ashley R.T. Yergens and as her alter ego indefatigable cabaret persona TruDee. MEG HARPER (Dancer) graduated from the University of Illinois in 1966. She danced with the Merce Cunningham Dance Company from 1968-1977 and with the Lucinda Childs Dance Company from 1979-1990. She began working with Robert Wilson as an actor/dancer in 1998 and will perform the role of Tiresias in Wilson’s Oedipus Rex, in September, in Budapest. In 2019 she danced in Annie-B Parson’s The Road Awaits Us. She continues to work with Andrew Ondrejcak, Vicky Shick, and Marianna Kavallieratos. This is her second appearance with Katy Pyle and Ballez. JANET PANETTA (Dancer) studied ballet with Margaret Craske, Antony Tudor and Alfredo Corvino at the Metropolitan Opera Ballet School. At fourteen, she became Margaret Craske’s teaching assistant, which served as on-the-job training for her lifelong career in dance education. Janet joined American Ballet Theatre in 1968, and later began her foray into modern dance. In the 1980s, she began working internationally, and in 1984 the French government asked Janet to be the only ballet teacher at their newly created school for contemporary dancers. Her class consisted of twenty students, all of whom went on to professional careers, including the renowned choreographer Jerome Bel. Janet currently works with P.A.R.T.S. (Brussels) and with Pina Bausch Tanztheater Wupperthal. In addition, she teaches at Impulstanz in Vienna each summer. From 1973-2010 she maintained her own New
WHO'S WHO IN THE COMPANY York Studio, where she served as artistic director of International Dance Dialogues, a program that hosts many European artists workshops and lectures, and which she continues to direct. MADELINE BEST (Lighting Designer) is a lighting designer, performer, mother and The Director of Operations at the Chocolate Factory Theater. Recent artists she has worked with include Heather Kravas, Ursula Eagly, Milka Djordjevich, Efrian Rozas, luciana achugar, Andrea Kleine, Anne-B Parson/Big Dance Theater, and more. Madeline grew up in Durham, North Carolina and currently lives in Long Island City, Queens. RANDI RIVERA (Stage Manager) is a native New Yorker. She has been a freelance Stage/Production Manager and Lighting Director since 2009. Randi is a proud contributor to many theater and dance production teams both in NYC and on the road - favorites include Half Straddle, Keigwin & Company, Dance Heginbotham, Harlem Stage, Faye Driscoll Group, Doug Elkins Choreography Etc, Sidra Bell Dance NY, The Chocolate Factory, Andrew Schneider, Ivy Baldwin, Kyle Marshall Choreography, Cathy Weis, Gallim Dance, Sean Donovan, The Kitchen, and Phantom Limb Company. Randi is thrilled to be with Katy + Ballez for their first adventure at The Joyce. All of her work is for her family. EMMA COHEN (Assistant) is from New York City where she began her dance training at an early age. Emma graduated summa cum laude from SUNY The College at Brockport with a BFA in dance. While at Brockport she danced the works of Trisha Brown, Doug Varone, Julia Burrer, Mariah Maloney, Tammy Carrasco/WILD BEAST DANCE, among others. In NYC she has performed the work of Monica Bill Barnes, The Median Movement, Shannon Gillen, Doug Varone, Jillian Peña, and Mercedes Searer. Emma studies ballet with Janet Panetta and has been assisting her Ballet For Professional Dancers class since 2014. ALI LANE (Wardrobe Supervisor) was born and raised in Oklahoma, and has been living in New York since 2018. She earned a BFA in Modern Dance Performance from the University of Oklahoma in 2017. During her college career she spent two summers at Jacob’s Pillow working as a house manager and Inside/Out production coordinator.
WHO'S WHO IN THE COMPANY Ali has trained at the Banff Centre for Arts and Creativity, Velocity Dance Centre, and Bates Dance Festival in addition to others. She currently works in New York as a freelance performer and costumer. She is the wardrobe supervisor for the Límon Dance Foundation and has most recently worked as an on-set costumer for Godfather of Harlem Season 2. ASH PHAN (Dancer) (she/her, they/them), from Tacoma, WA, is a queer dance performer and artist. Ash attended Tacoma School of the Arts High School as a dance major, and continued as a dance major and pre-med student at Bard College. They graduated in 2016 and received the Ana Itelman Prize for performance. Ash has performed with Winifred R. Harris Between Lines and DAMAGEDANCE in Denver, CO. Ash lives in Brooklyn and is thrilled to dance with Ballez. Giselle has accompanied me through the pandemic in a very deep way. A guide, a companion, going mad, finding love, and loss, deep sorrow, regrets. It’s almost day break and we’re exhausted. There’s deep sorrow in my bones, sowing deep joy and maddening. Ballet hasn’t felt at home in my body until Giselle, I was fighting the demons in my body. They still creep in as negative self-talk, “you’re lazy, and lazy is failure.” Mistakes are natural, lovable. I want to love every one. They are written all over every part, of who. I. am. And where I’ve come from. Since I found Ballez, I've been finding joy and being able to show up as myself, and only when it’s healthy and good for me. And that journey from a really strict work ethic, that I think is unsustainable and unhealthy, to showing up as my full person – as a queer person – has been a really transformative journey. It has made ballet feel so at home on my body, in a way that I didn't think that I could feel. More like I can celebrate it for what it is for me. Ballet in my journey was part of a model minority dreamscape I felt obligated to.
WHO'S WHO IN THE COMPANY A celebration of burnout. A reminder of occupation on my family’s homeland, an escape further into the American dream. I was lost in the forest, being guided towards a goal I was told I wouldn't reach without suffering. Ballet rebellion: queers and joy I wouldn’t have made it without the gays. I found home with friends and young love. But still trapped, to a notion of obligation and duty to Ballet and to perception. Skipping class and having fun, smoking weed, Anger at what got me here. Reinvigorate my body with all the mistakes and learning. I get to dance as my whole self, I come as I am, full of nerves to the stage, to show you what I’ve learned. Giselle has guided me and now I’m in charge, let’s see what happens.
CHARLES GOWIN (Dancer) is a mover from Columbia, Missouri. He received a BFA in Dance from the University of Illinois in the Fall of 2015. Since moving to Brooklyn, he has had the pleasure of dancing for Katy Pyle’s Ballez in "Sleeping Beauty & the Beast" and "Slavic Goddesses," Brendan Fernandes, Tere O’Connor, Ellie Goudie-Averill, Alex Rodabaugh, Emma Brown, Juri Onuki and "Variations on Themes from Lost and Found: Scenes from a Life" and other works by John Bernd with Ishmael Houston-Jones and Miguel Gutierrez. I feel like ballet has always been forced upon me – it’s not always that I've enjoyed ballet, but that it's a thing that people expect from me. I stopped going to the male classes because I just was not interested in being told that this is what I had to do because that's my gender. I can distinctly recall seeing a teacher lift a girl. And I was like, I never want to do that. There is no success in ballet. I've grappled with that for a long time, and it took me a while to understand that I don't have to do it the way everybody's telling me to do it. For a while I stopped. I would tell teachers I don't think I want corrections for this form. I want to like, play with it, and sort of muddy the vocabulary to fit my body.
WHO'S WHO IN THE COMPANY I feel failure sometimes and I'm allowing that. Not doing it correctly according to ballet is a practice of allowance because no one can ever do it correctly. There's an internal sort of landscape that happens when I am in ballet, where I feel like I'm not doing it correctly. And so, muddying is also a way to be okay that you're not doing it correctly. There's a practice of being in it, where I have to let myself be okay with not being correct all the time. And the feeling of when the muddiness works. I'm always looking for that. How does this role become like me, and how can I bring my essence to this? And if it's not there I feel like there's a version of betrayal that happens in my own head where I become defeatist, and think I can't do this and I shouldn't be doing this. And it holds me back from really being free and going for the movement in the way that I want to. I feel like I had such a beautiful handle on some of that inner dialogue before the pandemic. Coming back post pandemic feels so strange, like everything from when I first began dancing is rising again, so I am standing in the way of myself doing the work. This solo for me at this moment is getting past myself, getting out of my head, and letting myself enjoy the movement again. That's the struggle.
MATTHIAS KODAT (Dancer) is a dancer and writer living in New York. He has performed with Ballez, Ginger Krebs, and Forced into Femininity; and published work in HOMINTERN, The Zahir Review and Ration Magazine. I chose Ballet because as a frustrated, closeted teenager it represented a way to Get Out of My Hometown, to craft some kind of life on my own terms (though they weren’t my terms at all). It was an aperture of freedom that I could be allowed, in my bourgeois whiteness and femininity, to work for. It did,
WHO'S WHO IN THE COMPANY eventually, afford me the escape I so desperately wanted: leaving home at 17 to dance full-time with a studio company in Chicago. The requisite “ballet body” gave me a kind of androgyny, too. I did that for 5 years before the actual content of my wanting dawned on me. As dancers we are told that the substance of our art must necessarily be born of immense sacrifice, that the noble and beautiful thing about ballet is that we wreck our bodies and minds in pursuing it. Success is an affair of self-mastery, of what one gives up to this practice meaning something in the end, “being worth it.” I dance from a place of it not really being worth it. The few transcendent moments ballet has offered me pale in comparison to the life of real autonomy, struggle, and devotion to one’s principles which I am only just now learning how to live. Some of the points about Giselle as a character were helpful for me — like how in a sense she’s sort of this embodiment of Ballet because she is extremely fragile and dependent on others, and has to wield the only agency available to her as a woman by literally dancing to her death. I think I feel betrayed by ballet in the same way that I feel betrayed by most dominant cultural institutions, which is to say that this valorization of giving up one’s personal agency and health for Art (or Work or Productivity or whatever) has implications reaching far, far beyond the dance world. The funny thing is that this kind of sacrifice gets really boring after a while. We arrive in this place through no fault of our own, but maybe it’s when we can no longer bear the dullness of self-abnegation that we get to work towards being threedimensional, capable people again.
WHO'S WHO IN THE COMPANY ALEXANDRA WATERBURY (Dancer) was born and raised in upstate New York and started dancing at the age of three. She currently lives in NYC after having moved here to study at the School of American Ballet at Lincoln Center. She soon signed to Wilhelmina Models and has been in the industry for five years modeling for clients like Tommy Hilfiger, Calvin Klein, and Lululemon, among others. She danced professionally at BalletNext and now joins Ballez. She recently graduated from Columbia University with a major in Political Science and a concentration in Women and Gender Studies. She hopes to attend law school in the future. Officially not chasing dance as my one and only trait, hobby, or identifier was a huge triumph. To understand there's more to life than ballet (which seems obvious to those not in the industry) but seems unthinkable to everyone in it, was the biggest triumph in my life. I was finally free. To me the idea of success in the industry is always dependent on another person's power. To continuously strive for "perfection" or "success" is like banging your head against the wall. No matter what you do, chances are you have no control over your own success. You constantly operate at the beck and call of others. Giselle is naive. Giselle trusts in this guy and in the powers of love. At the risk of sounding jaded, why would someone be so willing to do that – she didn't really know him but was all in right away? To save him from the Wilis, while framed as forgiveness, also comes across as weak. She died because of him. I'm not sure why he should be vindicated by her? Giselle is framed as being a respectful character for saving him, but really the ballet shows women who've been wronged should forgive someone regardless of what they've done to you. The “Mad Scene” is really a gaslighting name. She's not mad or crazy. She's angry and overwhelmed because she's been betrayed by someone who swore to love her. To call her mad or crazy invalidates her experience and brushes off his behavior as "not that bad." Was she dramatic? Maybe. Crazy or fully insane? No.
WHO'S WHO IN THE COMPANY The fact that people consider her to be crazy or insane makes me feel insane. In the dance world we watch others get screamed at and shamed and we don't intervene. This mad scene is a chance to show people how crazy the industry is.
NAT WILSON (Dancer) grew up in Michigan where he began dancing with Ballet Chelsea. He continued his training at various ballet schools around the United States before joining the Joffrey Ballet Studio Company in 2013. He danced with Visceral Dance Chicago before moving to Israel to join Kibbutz Contemporary Dance Company in 2016. While with KCDC, he had the opportunity to perform and teach workshops around the world, including South Korea, Colombia, and India. He moved to New York in January of 2019 and is eager to share his love of movement with a new community. I definitely have a sense that when I was training in ballet there was this kind of unspoken agreement that the more you work, the better you'll get, no matter what. And I do think I got better from working hard, but I feel like I was kind of sold a lie of meritocracy that like, for every hour I spend in the studio I will get, I don't know, more ballet points or something. In a way there's a kind of betrayal when I had this injury, but if I felt like if I stopped dancing my career would be over at 19. And so I just had to keep going, and I'm mad at myself for that. I'm kind of mad at the culture that made me do that. This solo feels like a release, to me, which maybe feels a little backwards – I feel like it should feel like chaos but it feels more like a release. In the beginning I start much more concerned with technique and ballet than I am at the end. Kind of a giving up / giving in feeling. Giving up is like thinking about who I am not, and giving in is letting in who I am. Giving in feels very much like trying to be present in my body and acknowledge accurately what is happening, and giving up is like letting go of the fantasy of what I thought it would look like.
WHO'S WHO IN THE COMPANY What I want it to look like even. I always will have the feeling of like, Did I give up? There were positions and opportunities and I always wonder, what if I had gone there? What if I had stayed there? Is there another version of me? I don't know. I don't necessarily regret giving that up. But I just wonder what the other version of me would have been like, you know? Moving to a different city, working my way up a different ladder. How would I consider myself successful today? It's kind of living in that space of doing ballet with all of my soul and all of my joy and love for dance.
MJ MARKOVITZ (Dancer) (they/them) is a dancer and performer based in New York City. They currently work as a freelance artist while also dancing with Ballez and Josh Pacheco Dance Theater. A former dropout, MJ is now completing their undergraduate degree at Columbia University, School of General Studies. They have trained in the professional division of The Ailey School (scholarship) and at Hunter College (CUNY). MJ hails from the farmlands of New England, their childhood consisting of playing in the mud, eating smiley-face french fries, and arguing with adults about being able to carry heavy things. Contact: markovitzmj@gmail.com, or @mjmarkovitz on Instagram. My understanding of ballet was always from a young age, that it wasn't for me. I was always strong. I've always been a really intense dancer. And I don't think it was until starting to take Ballez classes that I realized I could also be strong and be within a ballet class. I always thought I had to change something about myself, that I had to do less, that I wasn't good enough, that I needed, to shrink myself but also be bigger at the same time. And I didn't have to do any of that, actually. My biggest success within ballet? I'm going to be performing at the fucking Joyce. As a toddler, my dream was to be a ballet dancer, that's all I wanted to do with my life. I kind of got washed into
WHO'S WHO IN THE COMPANY different things as my dance classes kept happening but, this is a childhood dream and it's actually happening. What the fuck. Success is something I'm trying to just navigate, really what it means to me. Holding on to that still and also trying to release it, especially after this past year in the pandemic. And everything stopping for everyone. Oh, there is no way to win right now. And maybe that's a good thing because you shouldn't be trying to win at certain things. Some things just aren't a competition, and that's okay. Dancing as my most authentic self possible is winning. We're told that Giselle is the embodiment of ballet, essentially. That Giselle is supposed to be frail and beautiful and the best dancer, and all of these other unachievable standards that exist within the ballet world. So, in a way, Giselle is this unattainable thing. But at the same time I think my performing my version is the rejection of all of these things, and all of these preconceptions. Never thought ballet would be a space for me to actually make friends, and feel comfortable in my body. Never thought ballet would be a healing space for me.
MAXFIELD HAYNES (Dancer) (they/them) is a multidisciplinary artist, dancer, entrepreneur, and influencer originally from Louisville Kentucky. They hold a B.F.A. in dance with a concentration in Social and Cultural Analysis from NYU Tisch, and received the majority of their ballet training from the San Francisco Ballet School, where they trained under the David Palmer Foundation scholarship. Maxfield is currently a soloist with Complexions Contemporary Ballet, and has worked with Les Ballets Trockadero de Monte Carlo, Dance Heginbotham, and Ballez. Outside of company dancing, they have collaborated on works for the Guggenheim Works and Process, Mobile Dance film festival, and La MaMa Theater.
WHO'S WHO IN THE COMPANY They are an outspoken advocate for trans rights in Ballet and are actively working to create space to honor the intersectionality of identity in the dance world. As an entrepreneur, they are owner and creative director for Allongé Beauty. Contact them on instagram. com/itsmaxfield. Ballet to me is like a prison with flowers. Success for me is seeing that the world has opened up to my particular brand of queerness and shown me that my presence makes a difference. I used to get full on panic attacks in the middle of center exercises from fear of not being good enough. I didn’t know why I was doing it anymore. I couldn’t find the joy I once had. I only was able to find love for my identity as a ballet dancer again after I took a step back from that world, and deconstructed my relationship to the technique at my core. From there, I decided my own terms and conditions for what kind of dancer I would be. Giselle’s story represents a few universal truths. 1. Don’t trust men. 2. Always listen to your sisters. 3. Down with the bourgeoisie. I felt betrayed by a ballet world that told me I couldn’t dance on pointe. I felt betrayed by a ballet world that would only ever see me as a man. I confront all of these things when dancing this role.
ABOUT THE PROGRAM Giselle of Loneliness has been developing in me since my final year as a pre-professional ballet student at age sixteen. At 40, I am finally strong enough to be able to respond to the betrayal, heartbreak and pain I experienced as a teenager who didn’t fit the ballet world’s ideals for a female-assigned dancer. At sixteen, I was told I was too strong, too vigorous, not delicate or feminine enough. My body was too big, even when anorexic throughout my teen years. I constantly tried to become the ideal I knew I needed to be in order to maintain my relationship with the art form I desperately loved. I had briefly been loved by ballet, at age thirteen/fourteen, when I was smaller, and my strength, artistry, and technical ability were praised, before I grew up a little and my gender and body-type seemingly foreclosed upon the possibility of my ever having a career in ballet. I felt like Giselle, betrayed by my one true love, and left with nowhere to go for my broken heart. Many factors led me to suicidal ideation, but the eating disorder, the searing rejection from my conservatory, and being a teenager with a lot of feelings all collaborated. In that moment in time, sitting in my dorm room at NCSA, I felt I was Giselle, and was so angry and vengeful because of the ironic fact that I didn’t look like representations of her. When I started Ballez ten years ago, it was a pun. Now, it has grown to include my actual hopes and dreams for the future of ballet, which must be re-imagined from all angles. It has been an uphill battle for this past decade, but instead of feeling hopeless about the struggle, I feel galvanized by it. Unlike Giselle, the heartbreak didn’t kill me, but, eventually, with a lot of therapy and the cultivation of queer community and allies, made me stronger. Like Giselle, in my own way, I needed to forgive the small-mindedness of my teachers and the old-school culture of ballet, in order to find a present that sustains me, and a future I look forward to. I have values, I care about ballet history, but I care more about its future. What matters to me is to see dancers dancing with the fullness of their identities, their differences, their politics, their power, their genders, their beautifully diverse bodies, and their full hearts. I want to see dancers using ballet for their own empowerment, not for the maintenance of the racist, capitalist, cis-hetero patriarchy’s beauty standards and ideals.
ABOUT THE PROGRAM When you watch these dancers, what do you notice? What do you care about seeing? Can you really see them, as they are? And if not, what gets in your way? What messages and histories and purported requirements shade you from witnessing their artistry, their passion, their talent, their communication? The ballet ideal seems fixed to us, but history proves otherwise. A cursory google search of images of turn of the century ballerinas shows that the ideal body has radically changed, and by reading ballet history, you realize that aesthetics, and what is fashionable, are necessarily upended by every successive generation. And, ballet history is full of shocking moments that irrevocably changed the form. Ballez aims to be a part of that history. I hope you enjoy this performance, and/or are troubled by it.
With love, Katy Pyle
To learn more about Ballez, donate, or join Ballez's mailing list for updates, please visit www.ballez.org. Instagram: @ballez.company Facebook: @ballez.company Vimeo: Katy Pyle, Ballez
ACKNOWLEDGEMENTS BY KATY PYLE Infinite thanks to the love of my life Sam Greenleaf Miller who both holds and inspires me everyday. This project has been in active development for the past 5 years with the support of the Mount Tremper Arts Watershed Laboratory program, a 2019-2021 Gibney Dance in Process residency, a Dance Now Fall commission, Foundation for Contemporary Arts Emergency Grants, fiscal sponsorship and space grants from Brooklyn Arts Exchange, the ongoing support of the Ballez Matronage, and the support of The Joyce. My love and infinite thanks to all the powerful artists dancing in this work, who have shared your internal worlds with me, especially over this harrowing year. I am so grateful to you, and to all the dancers who workshopped previous iterations of this work. Special thanks to my legendary teacher Janet Panetta, who gave me a space to actually love ballet technique again, feedback and embodied insights into the 1968 ABT Giselle, and to Meg Harper, who has been a dear friend and insightful artistic advisor through the past several years, and especially these past months. To my loving family for allowing me to leave home at 14 to study in a ballet conservatory, and helping me recover from the heartbreak of getting kicked out. You have been there for me through a lot of dance soul-searching; from ballet to contemporary to post-modern to dance-theater and back to ballet again…You have loved me, and efforted to see me, through it all. Thank you to Gretchen Alterowitz, who worked with each of the Mad Scene performers to create the written reflections in this program, through deep conversations about their own relationships with ballet. Thank you to Aaron Mattocks for your guidance on this journey: from meeting with me and listening to my wild visions way back in 2018, to fantasizing and re-imagining alongside me how to make this happen through a global pandemic.
ACKNOWLEDGEMENTS BY KATY PYLE Thank you to the entire Joyce staff for being so welcoming and kind and helpful to us every step of the way, and for literally opening your doors to all of us to create for the past month, and especially to Katy Myers for assistance with music rights, and Jeff Segal for the low-lying fog machines of my dreams. Thank you to Madeline Best for bringing fantasies to light, to Randi Rivera for holding us together and to Ali Lane for your professional elevation of the costumes to make everyone look truly gorg. Thanks to Clara Latham for playing with music with me over the Summer and Fall. And thank you Ari Grossman, our wonderful Stage Manager from 2019-2020. Thank you to my therapist Elena Taurke for walking alongside me through one of the darkest nights of my soul, and helping me arrive here. This work is dedicated to our queer Dancestors, who have always been here. If you or someone you know is experiencing suicidal ideation or suicidality, please reach out for help. You’re not alone.
Contact The Trevor Project 24/7 at 1-866-488-7386 Access TrevorChat, a free and confidential instant messaging service that provides live help to LGBTQ youth here. Access TrevorText, a confidential and secure resource by texting START to 678-678
Contact the National Suicide Prevention Lifeline at 800-273-8255 Access Lifeline Chat, a service of NSPL that connects individuals with counselors for support via web chat here.
FUNDERS Many Thanks to The Joyce's Institutional Funders for Keeping Us Moving Forward Leadership support:
LuEsther T. Mertz Charitable Trust
The Joyce’s Open Channels Project promoting diverse voices is generously supported by:
Leadership support for The Joyce’s presentation of dance:
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Major support for The Joyce’s Artist Residency Center: Lead corporate support:
Major support for The Joyce’s American Dance Platform and Harkness First Joyce Theater debuts:
Key institutional support:
Major support for the performances of New York Citybased dance companies:
The Fan Fox and Leslie R. Samuels Foundation Special thanks for the time-sensitive support of the NYC COVID-19 Response and Impact Fund in The New York Community Trust
ABOUT THE JOYCE THEATER FOUNDATION The Joyce Theater Foundation ("The Joyce," Executive Director, Linda Shelton), a nonprofit organization, has proudly served the dance community for over three decades. Under the direction of founders Cora Cahan and Eliot Feld, Ballet Tech Foundation acquired and The Joyce renovated the Elgin Theater in Chelsea. Opening as The Joyce Theater in 1982, it was named in honor of Joyce Mertz, beloved daughter of LuEsther T. Mertz. It was LuEsther’s clear, undaunted vision and abundant generosity that made it imaginable and ultimately possible to build the theater. Ownership was secured by The Joyce in 2015. The theater is one of the only theaters built by dancers for dance and has provided an intimate and elegant home for over 400 U.S.-based and international
companies. The Joyce has also expanded its reach beyond its Chelsea home through offsite presentations at venues ranging in scope from Lincoln Center’s David H. Koch Theater, to Brooklyn’s Invisible Dog Art Center, and to outdoor programming in spaces such as Hudson River Park. To further support the creation of new work, The Joyce maintains longstanding commissioning and residency programs. Local students and teachers (K–12th grade) benefit from its school program, and family and adult audiences get closer to dance with access to artists. The Joyce’s annual season of about 48 weeks of dance now includes over 340 performances for audiences in excess of 150,000 patrons. Visit Joyce.org for more information.
EXECUTIVE DIRECTOR.......................L INDA SHELTON
JOYCE THEATER PRODUCTIONS Producer.....................................................................Ross LeClair Company Manager for Ronald K. Brown/EVIDENCE.... ....................................................................Meghan Rose Murphy Booking Agent.................................................Christine Tschida
ADMINISTRATION General Manager ...........................................Huong Hoang Associate General Manager.............................Katy Myers Human Resources Manager............Sharonica Williams Director of Development..............................................OPEN Director of Institutional Giving.........................Jean M. Ross Assistant Director of Individual Giving.................Meg White Assistant Director, Special Events.................Vernon Scott Individual Giving Manager...........................................Jesse Chin Institutional Giving Manager..............Myriam Varjacques Special Events Associate................................... Katie Gorsky Development Coordinator........................................Ivan Huang Development Intern.......................................................Emily Singh Director of Programming..............................Aaron Mattocks Programming Manager.....................................Christine Tully Artist Services Manager..................................Elmes Gomez Programming Intern #1..........................Noa Rui-Piin Weiss Programming Intern #2..........................................Rachel Yoo Director of School & Family Programs................................... ........................................................................Heather McCartney School & Family Programs Intern #1.............Akira Guevara School & Family Programs Intern #2...........Lilianne Gering Administrative Support..............................Brenna McCulloch Director of Marketing...................................Andy Sheagren Associate Director, Context and Interpretation................. .............................................................................Laura Diffenderfer Associate Director of Marketing Strategy.....Anjali Amin Digital Marketing Manager.........................Julia Thorncroft Marketing Associate.............................................Nadia Halim Director of Finance............................Margaret Hollenbeck Finance Associate...........................................Savá M..B. Martin Finance Clerk...................................Andrew Williams-Leazer Office Manager..............................................Erika Langmeyer Database Administrator.....................................Jim Seggelink Director of Information Technology........Patricia A. Yost IT Intern......................................................................Asad Rafique PRODUCTION Director of Production..............................................Jeff Segal Lighting Supervisor..................................................Kelly Atallah Head Audio.................................................................Sean Mullins Lighting Board Operator.......................................Kyle Hagen Head Carpenter...............................................Fabrizio Caputo Head Electrician........................................................Edward Hill Stage Technicians............................................................................ .........................................Dashawn Youmans, Chloe Czinsky Technicians.....................Nelson Dorado, Rebecca Morris, Otto Martinian Crunch Fitness is the Official Gym Sponsor of The Joyce Theater.
FRONT-OF-HOUSE House Manager.................................Samantha Fernandez Assistant House Managers........................................................... Joseph Burke, Xavier DelValle, Charis Lord-Haines, Kenneth Harlin, Jere Hunt, Chikako Iwahori, Utafumi Takemura, Nicholas Thomas BOX OFFICE Box Office Manager..............................................Lisa Gendell Supervisors...................Alexandra Curren, Vanessa Moton Box Office/JoyceCharge Staff.........................Meredith Blouin, Roy Odom, Jasmine Webb, Daniel Stompor, Lydia Paulos, Christine Hinchee, Kiersten Foster, Maeve Brady FACILITIES Facilities Manager.....................................................Jimmy Ortiz Maintenance Staff..........................................Madelin Estrella, Yohanna Hernandez, Pablo Rodriguez, David Matos SPECIAL SERVICES FOR THE JOYCE THEATER Ross F. Moskowitz Esq....Stroock & Stroock & Lavan LLP Kimberly M. Maynard, Esq........................................................... .................................................Frankfurt Kurnit Klein & Selz PC J. Stephen Sheppard......................................................................... .............Cowan DeBaets Abrahams and Sheppard LLP Harry H. Weintraub, Counsel.....Glick and Weintraub PC Accounting..................................................................Lutz & Carr Digital Marketing Firm..........................Capacity Interactive Publicity.....................................................................Billy Zavelson Printer.....................................Direct Printing Impressions Inc. Insurance.....................................................DeWitt Stern Group Architects........................................................Hugh Hardy, FAIA General Contractor.......Yorke Construction Corporation Official Donut Sponsor....................................The Donut Pub Official Flower Sponsor.........The FlowerSchool New York Donald J. Rose, MD Director, Harkness Center for Dance Injuries at NYU Langone Health is the orthopedic and dance medicine consultant for The Joyce Theater Foundation. First Republic is the preferred private bank of The Joyce Theater Foundation.
The Joyce Theater is a member of DANCE/USA.
THE JOYCE THEATER FOUNDATION, INC. BOARD OF TRUSTEES
Virginia A. Millhiser, Chair Amit Wadhwaney, Vice Chair Stephanie R. Breslow, Treasurer Jane E. Goldberg, Secretary
Kerry Clayton, Chair Emeritus David D. Holbrook, Chair Emeritus Stephen D. Weinroth, Chair Emeritus
R. Richard Ablon Charles M. Adelman Rob Ashford Monica F. Azare John M. Basnage de Beauval Ajay Bhandaram Tracy Brown
Keane Ehsani Ronald Gumbaz Toni Hoover Robert Musiker Susan Gluck Pappajohn Steven M. Pesner Meryl Rosofsky
Saul Sanders Richard Shea Linda Shelton Susan Fawcett Sosin Lauren E. Shortt Monica B. Voldstad Madelyn Wils
In Memoriam: Theodore S. Bartwink (Trustee 1993-2014), R. Britton Fisher (Trustee 1990-2020), Richard Lukins (Trustee 1998-2011), Anh-Tuyet Nguyen (Trustee 2007-2020) Founders and Trustees Emeriti: Cora Cahan and Eliot Feld
ENDOWMENT CAMPAIGN The Joyce honors the following individuals, corporations, and foundations for their visionary support of our mission of advancing the vibrant and extraordinary art of dance. Funds contributed to the endowment campaign will allow The Joyce to continue its support of the dance community and to commission new work. $1 Million and above LuEsther T. Mertz Charitable Trust Lila Wallace-Reader’s Digest Endowment Fund Stephen and Cathy Weinroth Charitable Trust $500,000 and above Doris Duke Charitable Foundation Richard B. Fisher and Family R. Britton Fisher and Family Rockefeller Brothers Fund $250,000 and above David & Andrea Holbrook Richard A. Lukins & Karen Fry Saul & Mary Sanders Susan Fawcett Sosin $100,000 and above Anonymous (1) Alphawood Foundation Kerry Clayton & Paige Royer The Horace W. Goldsmith Foundation The Estate of Dorothy Lefkof The William Randolph Hearst Foundations Lynne & Richard Pasculano Michèle & Steve Pesner The Fan Fox & Leslie R. Samuels Foundation The Starr Foundation $50,000 and above R. Richard & Margery Ablon Apollo Management, L.P. Stephanie Breslow & Paul Watterson The Coca-Cola Foundation Ronald Gumbaz & Juliet A. Cozzi JPMorgan Chase Foundation
Jerome A. and Estelle R. Newman Assistance Fund, Inc. Rudolf Nureyev Dance Foundation $25,000 and above Jane E. Goldberg Cecilia & Jim Herbert Jane Kendall & David Dietz Elysabeth Kleinhans Arnie & Susan Scharf Richard Shea Jennifer & Jonathan Allan Soros Fiona J. Tilley & Gürhan Orhan Dave Waks & Sandy Teger Chris & Lonna Yegen Carol Yorke & Gerard Conn $5,000 and above Anonymous (3) Barbara & Robert Berkley Philanthropic Fund Barbara Berliner & Sol D. Rymer The Cory & Bob Donnalley Charitable Foundation Jim & Linda Ellis Mr. & Mrs. Ira Haupt, II The Lawton W. Fitt & James I. McLaren Foundation James H. Ottaway, Jr. Kathleen A. Scott Linda Shelton Ferne Goldberg Sperling & Allan Sperling
LEADERSHIP SUPPORT FOR A NEW VENUE FOR DANCE Support for planning costs associated with establishing a third venue for dance as part of the redeveloped World Trade Center site has been generously provided by a grant from the Lower Manhattan Development Corporation, which is funded through Community Development Block Grants from the U.S. Department of Housing and Urban Development. Leadership support has also been provided by: FORD FOUNDATION THE ANDREW W. MELLON FOUNDATION ROBERT STERLING CLARK FOUNDATION THE SEPTEMBER 11TH FUND ALFRED P. SLOAN FOUNDATION
JOYCE THEATER FOUNDATION DONORS
The Joyce Theater appreciates the generosity of its supporters listed below as well as its many other supporters too numerous to include on these pages. List as of June 7, 2021. Platinum Benefactors Sarah Arison *Marianna Vaidman Stone and ($500,000 and above) *Barbro Osher Pro Suecia Eric Stone *Doris Duke Charitable Foundation Foundation Linda B. Strumpf *Howard Gilman Foundation *John Basnage de Beauval *David E. Vogel *LuEsther T. Mertz Charitable Trust Ajay Bhandaram Director’s Circle Bloomberg Philanthropies Gold Benefactors ($2,500 and above) *Torrence Boone & Ted Chapin ($100,000 and above) Anonymous (3) *Robert Brenner Kerry Clayton & Paige Royer R. Richard Ablon Con Edison *Ford Foundation Adrienne Albert Martin & Linda Fell The Harkness Foundation for Dance Nancy & Michael Feller James J. Andrews The Andrew W. Mellon *Joel & Rhela Aragona *Gregg & Jean Frankel Foundation *Monica Azare Jane E. Goldberg *NYC COVID-19 Response and Cheryl Bergenfeld Sylvia Golden Impact Fund in The New York *Marty and Louise Bickman Mr. & Mrs. Edwin Goodman Community Trust Judi Rappoport Blitzer *Charles and Joan Gross New York City Department of & David Blitzer Family Foundation Cultural Affairs *Victoria V. Carey *Elzbieta Grove New York State Council on the Arts David & Andrea Holbrook *Larry & Ronnie Cohen *Robert Pollock Donna B. Case Toni Hoover *Rockefeller Brothers Fund In Honor of Karen Brooks Hopkins Cathleen Collins The Fan Fox and Leslie R. Samuels *David S. Ivill & Mary Sharp Cronson Foundation Barbara Dau Vincent J. Weiner, Jr. *SHS Foundation *Miriam & David Donoho The Kingsley Foundation The Shubert Foundation Trisha & Patrick Duval Elysabeth Kleinhans *Keane Ehsani *Denise Littlefield Sobel *Christine Knuth *Andrew and Alan & Gail Koss Silver Benefactors Claire-Marine Ferguson *Melanie Coronetz ($75,000 and above) Joanna Fisher & Bruce G. Miller First Republic Bank Bart Friedman & Wendy Stein *Edward J. Petrou National Endowment for the Arts Tatiana Piankova Foundation *Britt-Louise Gilder Geraldine Glassman Kathleen A. Scott Benefactors The Harold K. Gross Family Linda Shelton ($50,000 and above) Charitable Trust *Leslie Siegel *Jody & John Arnhold | *Susan Ross Green Jean & Gene Stark Arnhold Foundation *Sharon B. Gurwitz *Allyson Tang *Virginia & Timothy Millhiser Ronald E. Hellman *National Dance Project of the Presenter’s Circle & Stephen B. Roberts New England Foundation for ($5,000 and above) *William Houlihan the Arts *Anonymous (1) *Office of Cultural Affairs, The Jerome Robbins Foundation The Aaron Copland Fund Consulate General of Israel Lauren E. Shortt for Music in New York *The Jennifer and Jonathan Allan *Sam & Annie Alfstad Thomas von Foerster Soros Foundation *Rick & Nurit Amdur In Memory of John MacDonald *Amit Wadhwaney *Mary & Adam Amsterdam *Karen & Martin McDonald Rob Ashford *Maria Mackey Chairman’s Circle Lani & Emanuel Azenberg Joyce F. Menschel ($25,000 and above) *Andrew & Froma Benerofe Ronay & Richard Menschel/ Anonymous (2) The Barbara Bell Cumming Charina Foundation, Inc. Deborah & Charles Adelman Charitable Trust David & Diana Milich *Cornelia T. Bailey Foundation *Chubb LTD *Jane & Michael Murphy Stephanie R. Breslow Consulate General of Brazil in Mutual of America Foundation & Paul Watterson New York Cherrie Nanninga The Gladys Krieble Delmas *Ms. Pamela Crutchfield *Mr. & Ms. William Pollock Foundation Dancers Responding to AIDS Warrie Price & James David Price *Susan Dickler & Sig van Raan DeWitt Stern Group, Inc. Rajika & Anupam Puri Melina Fisher *Jamshid & Mahshid Ehsani Québec Government Office *GKV Charitable Foundation Linda Ellis in New York Ronald Gumbaz & Juliet Cozzi Christopher Evans & Josh Garner Betty P. & Michael H. Rauch *Leanne Lachman Jeanne Donovan Fisher Mr. Stephen Kroll Reidy Mertz Gilmore Foundation John & Margaret Falk *Case van Rij Henry and Lucy Moses Fund General Delegation of the *Nancy Sands *Robert Musiker Government of Flanders to the *Wes Schafer and Carlos Galtier *The O'Donnell-Green Music and USA Susan & Arnie Scharf Dance Foundation *Paul Feuerman & Bruce Grivetti Xiomara & Charles Scheidt Susan & Greg Pappajohn *Randall and Mary Hack *Fran Schulman *Performing Arts Fund *Elizabeth Anne Hartman Barbara Madsen Smith Netherlands Judith M. Hoffman *Mark Stevens Michèle & Steve Pesner *Linda Stocknoff Meryl Rosofsky & Stuart H. Coleman *Val Holley & Joseph Plocek *Peter & Peggy Horvitz Christopher Soule Saul & Mary Sanders *Illuminated Foundation *Dr. Chengzhong Sui Richard Shea Christopher Jones & Consulate General of Sweden in Susan Fawcett Sosin Deborah McAlister New York Wendy & Alex Stanton Office of City Council Speaker Elizabeth Swig Monica B. Voldstad Corey Johnson *Theresa Alessandra Russo Stephen & Cathy Weinroth *Al Katz Foundation *Madelyn & Steven Wils *R May Lee Ms. Patricia E. Vance Impresario’s Circle Mid Atlantic Arts Foundation Alexandra Wheeler & Rocky Rukan ($10,000 and above) *LeConte Moore *Shelley & Claude Winfield Anonymous (2) Nina B. Quigley Irving & Elaine Wolbrom Sylvia Ablon *Karen Roth *Ralph Womble & Ashley Edwards Alpern Family Foundation *Michael Sekus & Bianca Russo *Billy F.B. Wong American Express *Allan Sperling & Ferne Goldberg & Stephanie Gordon
Leaders ($1,000 and above) Anonymous (10) Robert Allyn Neme Alperstein Maria-Cristina Anzola *Jeffrey Applegate Gerald M. Appelstein Bank of America Merrill Lynch Kara Medoff Barnett & Dov Barnett Alison Baum Pamela Baxter Sandra Berger *Joan & Ira Berkowitz Kim Bleimann & Paola Duran Nissan Boury Barbara & Gary Brandt *Edward Brill Madeline Brine *Matt Brodlie *Joanna Bueche *Ralph & Martine Calder Linda & Joseph Camardo *Ann Chao Melinda DeChiazza Cloobeck Larry & Ronnie Cohen Woody & Janice Collins *Jane Comer Consulate General of Canada in New York Council for Canadian American Relations *Caroline & Paul Cronson Cultural Services of the French Embassy *John and Nada Culver *Charles T. Davis *Jeffrey Davis & Jamie Alpert David H. De Weese & Anne Heller Ms. Beth Rudin DeWoody Joseph P. Doherty The Cory & Bob Donnalley Charitable Foundation The Donut Pub *Richard G. Dudley, Jr. Jack & Eleanor Dunn *The Eilers family Christopher Elmore *Suzanne B. Engel *Paul S. Engler *Mr. Richard Erstad & Dr. Gladys Fenichel David L. Fanger & Martin Wechsler *Erin Feely-Nahem & Isaac Nahem Judy & Richard Feldstein Melanie Finkelstein Judith & Alan Fishman *Scott Fitzgerald & Santiago Pintado López *Josette Flores *Maria Vittoria Foglia John & Janet Foord *Catherine Fortin *Brandon Fradd *Judith Z. Friedman *Mark and Veronique Friedman *Ania Fryszkowska Gina Gibney *Barrie Gillies & William Drummy *Susan Egbert Gilroy *John Graney, MD Mason & Kim Granger Patric & Patricia Gregory Aya Hamilton Deborah Harada Alexandra L. Harper *Melanie C. Harris *Laurie & Jack Helfin *Edward Henry & Susan Monk *Ellen Hirsch *Lynn Hopkins Gary Horowitz & Tom Wyse *Shannon M. Houston *George C. Howell, III *Mary Iles James B. Jacobs & Jan Sweeney
Dr. Bernard M. Jaffe *Jerome A. Yavitz Charitable Foundation *Richard A. Kahn & Thomas Lutazi Kenneth S. Kail & Ivy Hwang *Sandra Kawano Mr. Christian K. Keese *Lauren Klein *Hans Koch Annie M. Kohlman *Kathy Krall *George & Liz Krupp Sondra Kurtin Robinson *Susan Lampard Judith Landon LDJ Productions *Reginald van Lee *Michael G. Lemle *Martin & Rosanne Leshner Robert & Dorina Link Local No. 1 I.A. T.S.E *Jayne Lipman & Robert Goodman *David Lovett and Meg Ruley Sharon Luckman & Paul Shapiro *Mr. Philip G. Lumpkin *Jonna Mackin Elizabeth A. Maher Grace R. and Alan D. Marcus Foundation Robert Marlin Lynn C. Mautner Marcia Kramer Mayer *Lyn McHugh Miller Khoshkish Foundation *Jonathan M. Nadler Barbara Nagel *Joyce O’Brien *Trisha Ostergaard David Parsons *David Pasterski *Connie Paxton *Peck Foundation, Milwaukee LTD Douglas & Teresa Peterson *Larry & Barbara Pitsch Judith Plows Michael Popkin & Lisa Bradley *Carole Postal Donna & James Pressman *Steven & Debbie Prince *Princess Grace Foundation David Alan & Susan Berkman Rahm *Barbara Richards Philip W. Riskin Charitable Foundation Ann Sahid Rosche Donald J. Rose & Victoria Lasdon Rose *Ellen Rosen *Harvey Rosen Diana & Michael Rothenberg *Marilyn & Alan Rothstein *Karen Royce Mr. Rouse *Gail Russell *Paula Ryan *Deborah Sales & Ted Striggles *Barbara & David Schimansky *Susan Schweitzer *Jesse & Carol Schwartz Robert A. Schulman Margaret E. Selby *Deborah Selch *Christina Selin *Rena Shagan *Irene Shen *Lisa & Randy Siegel Lynne Smalley Joseph Smith & Leslie Hendrix Marilyn Sobel Paul Solomon *Ellen Sorrin & David York Sherri Stephenson *Christina Strack *William Sussman & Jane Steele Ken Tabachnick & Yael Mandelstam *Gary Tannenbaum & Helen J. Mills
*Anthony Thompson *Susan Ulick *Veena Upadhyay *George Vanderploeg Lucy Vasserman *Brigitte Vosse *Mr. Wayne & Mrs. Barbara Miller Johanna Weber Michael & Carol Weiss *Bill Whelan Amy Williams *Peter & Deborah Winograd Vicente Wolf Elly Karp Wong Cooper Wright & Michael Marino Brann and Ellen Wry Carol Yorke & Gerard Conn *Eloise Zeller *Christian Zimmermann Investors ($500 and above) Anonymous (10) Kyle Abraham Helene Alexopoules Jan Albert LaRue Allen *Ellen Alpert Dr. Norman & Mrs. Norman Altman Paul Asman & Jill Lenoble *Joan Brooks Baker & Margeaux Klein *Jennifer Bandier Betsy Barbanell Pamela Baxter *Dorothy Black Carol Bryce Buchanan *Tracey Breaux Jordyn A. Buchanan *Jennifer Kornreich Cahn & Andrew Cahn *Susan Campbell *Karen Carozza Jason Chuang *Matthew C. Cluney *Betsy Cornwall *William Cosper Duke Dang & Charles E. Rosen Jonathan Davis Tony & Suzy Davis *Anne DeBevoise *Nancy Denison *Debora Domass Michael Eizenberg *Robert Elder & Jacqueline Fox Elder David & Ingrid Ellen Frances Beinecke & Paul Elston Audna England Dasha Epstein Peter & Nancy Felcher *Celeste Fenichel Caryl & Kenneth Field Ms. Katharine Flack Judith & Walter Flamenbaum Dan Flanigan *Robert Fraiman *Bobby & Vicki Freeman Herbert & Judy Freedman *Peter C. Friedman *Eileen & Cono Fusco *Karen Gershowitz *Elise Larrabure Girasole Dwight Glover *Virginia Gold *Elaine Goldman *Nita & Chuck Goodgal Dorothy Goodman Katherine Goodman Brian K. Gould *Lenore & Edward Grabowski Grant Family Charitable Fund *Bruce Greenwald Charles & Carol Grossman Family Fund *Jane Groveman
*Gina Harman *Charles & Elaine Harris Ira Haupt, II Sheila Heimbinder Janet Lynn Henner *Mr. Michael D. Herskovitz Elizabeth Levitt Hirsch Mr. Gregory Ho & Ms. Linda Sanchez Cheri Hoff Erica Hartman-Horvitz Ralph & Lynn Huber *Peter Hunt *Janice Hurt *Laura J. Illich Kenneth & Jill Iscol Betty Iu *J.P. Morgan Private Bank Walter Jaffe & Paul King *I. Michael Kadish H. David Kaplan *Jan S. Keithly Jennifer Aley Kenney *Robert & Elaine Klein Valarie Koch *Ellen Koshland Brian & Rosemary Kowalchuk *Audrey Lam Stephen B. Lane *Kenneth M. LeClair Phyllis & Cary Lemkowitz *Elaine & Howard Leventhal *Karen Lewis Elizabeth & Durwood Littlefield Robert R. Littman & Sully Bonnelly *Sophie Main *Jennifer & Gideon Malherbe *Julie Mandel Marcus Joseph M. Marger *Margaret Mastrianni William Mavrelis Wendy McCain *Douglas McCorkle *Lorraine J. Meeker *Kati Meister Tanya Melich & Noel Silverman *Victoria Morris Paula Moss *Ann Mulally *Deb Murnin *Barry Nalebuff Drs. Benjamin Natelson & Gudrun Lange Genevieve Nestor *Amanda Lee Neville Stuart Nordheimer & Barbara Miller *Peter J. Occolowitz *Katherine Ogg *Aaron Singer & Bart Oosterveld John Owen *Bob Ouimette The L.E. Phillips Family Foundation, Inc. The Marshall Franklin Foundation Brian Polovoy *James & Deborah Purdon Deborah A. Quirk *Stephanie M. Goldson & Stephen Rappaport *Charles Ragland Donna & Martin Rich The Andréa Rizzo Foundation Mary Jo Robertilleo Donald W. Roeske, Jr. Deborah Ronnen Jean M. Ross Elsa & Marvin Ross-Greifinger *Anya Peterson Royce Alessandro & Fe Saracino-Fendi Jennifer Goodale & Mark Russell *Dr. Carol Ann Satler In Memory of Tracy Scherman *Lynn N. Schusterman *Robert Score *Elizabeth Shapiro George Sheanshang
Edward Siegel *Rabbi Charles Simon Andrew & Jennifer Smith Leon Sokol *Michael Solomon *Joan & Laurence Sorkin *Jessica E. Stack William L. Stern *Jim Stiles & Randy Bird Abbie M. Strassler *Robin Stout *Pamela Tatge *TPU Local One IATSE *Frank Troutman *Ellie Tweedy Thomas Van Winkle *Don & Merna Villarejo Thomas Allen Walker Charles Walker *Louise Washer & Mary Clay Fields *Gregory Ward *Chris Watson *Kate Weil *Sara Weinheimer Stephen D. Weinstein *George S. Werner & Li Werner Tom Whelan Sponsors ($300 and above) Anonymous (4) *Patricia Adell Gerry & Hank Alpert *Jane & Stephen Alpert *John Angiolillo, MD Sherry & Sanford Axelband Vivian Awner Clay Barr *Elena Baum *Joan & Ira Berkowitz *Kate Bicknell Roz Black & Bob Eimicke Stan & Abby Bloch Lindsley Borsodi Paul Brohan *Leslie Buckland *Jim Bumgardner & Lou Tharp *Deborah Burand *Michael & Jennifer Campagna *Kelli Carrol Neil & Kathleen Chrisman *Eileen & Michael Cohen Galois Cohen *Richard & Mary Ann Cohen *Laurie Colahan Robert Conkey *Dr. Arturo & Ms. Caren Constantiner *Dr. and Mrs. Frederiick Corio *John Coulter *Victoria Cowles Mr. John A. Crawford III Judy Cunningham Dr. Irene Rosner David & Dr. Raphael David *Diana Davies Jacqueline Z. Davis Mr. Anthony DePersia Dr. Susan Dicker *Julie Ana Dobo Rodney Durso Ms. Hope Eliasof *Jo Ann Engelhardt *Martha Evenson & Daniel Hoffman Trudy Festinger *Jennifer Fitzpatrick Charles A. Forma *Ella M. Foshay & Michael B. Rothfeld *Roy Fowler Dr. Sarah Fox & Mr. Steven Lofchie Stephanie French *Barbara Futter Mr. Maura Gaenzle
*Barbara Gallay *Loren Gesinsky & Judy Rudin *Richard Gilden Ronald Gilliam *James A. Glazier *John D. Goldman *Jennifer Goodale & Mark Russell Mr. & Mrs. Richard D. Grant Susan E. Green Lawrence W. Greene *Sandra Gubin Laurie Hart *Eric Hemel & Barbara Morgen *Harvey Hershkowitz & Peter Hollenran Mrs. Ruth W. Heuman *Peter Holleran Daphne Hurford & Sanford Padwe Susan Israel Rosalyn Jacobs Ronald Jacquart Willie Johnson *Drew Reid Kerr *Susan and Peter Kopple *Angela de Lara Cynthia Crain Lee * Michael G. Lemle *Lawrence Levine Marcia Levine *Sukey Lilienthal *Leslie Lin *David Long *Peter Maiwald *Judy Mauer *John & Linda Maxwell *Colleen McCourtney *Rodney McDaniel *R. McNish *Holly & William Mensching Richard & Gloria Moylan Aaron & Marcia Naveh Madeleine Nichols *Anne & Harvey Nisselson *Rachel Ostry, MD *Phillip J. Pena In loving memory of Bill Perlmuth, Patricia Dugan Perlmuth *Posner-Wallace Foundation *The Pulse Performing Arts Studio Jonathan Raskin Dr. & Mrs. Robert Refowitz Lan Rice *Judith & Gary Richter *Barbara D. Riehl *Eileen Robert *Susan M. Rosenberg *Barbara S. Rosenthal *Lainie & John Ross *Alan Russell *William H. Sadie *Prince A & Petar Sanders *Laura E. Schneider Mary & John Seward Rita Shawn *Kenneth Shelley *Jennifer Shotwell *Anthony & Rosa Smith *Robin Smith & Bill Plante *Dr. Irene Rosner & Dr. Raphael David *Dixie M. Sheridan Martha Sherman *Margaret Stern *Jos Stumpe *Helen Sullivan Dr. Pavur R. Sundaresan *Mr. Lars Rosager & Mr. Donald Troise *Ms. Donna Tatro *Pat Tafuro *Jennifer Tipton *Margot Tohn William M. Tomai & John Eric Sebesta *Deirdre Towers
Lee L. Traub Charles & Susan Tribbitt *Patricia Truscelli *Scott Votey *Dick & Carolyn Wallach Stephanie Zhang *Denotes Joyce Rising Stars, The Joyce’s new and increased donors.
The Rudolf Nureyev Prize for New Dance and Ballet Festival Commissions The Joyce Theater Foundation thanks the Rudolf Nureyev Dance Foundation for its invaluable partnership in commissioning new works from both established and emerging ballet companies, and enabling these companies to perform on the Joyce stage. The Joyce gratefully recognizes the donors listed below for their generous matching support that has made this effort possible.
Rudolf Nureyev Dance Foundation R. Richard Ablon Deborah & Charles Adelman Gerald M. Appelstein Rob Ashford Stephen M. Baldini Theodore S. Bartwink The Harkness Foundation for Mick Beekhuizen Evan Behrens & Dara Stern Ajay Bhandaram Torrence Boone Stephanie R. Breslow & Paul Watterson Madeline Brine Richard & Martha Byrne Kerry Clayton & Paige Royer Rodney S. Cohen Alan & Chi Colberg Arlene Cooper Pamela Crutchfield Trisha & Patrick Duval amshid & Mahshid Ehsani Augie K. Fabela II Britton & Melina Fisher Kim Friedman J. Eric Gambrell Jane E. Goldberg Ronald Gumbaz & Juliet Cozzi David Haines John & Judith Hannan Rex S. Heinke Cecilia & Jim Herbert David & Andrea Holbrook Toni Hoover Kim Koopersmith Allen Kovac/ Tenth Street Entertainment Ronald & Stephanie Kramer Ronald S. Lauder Jim Leary Alec & Sarah Machiels
Joyce F. Menschel David & Diana Milich Virginia & Timothy Millhiser Karyl Nairn Abby McCormick O'Neil & Carroll Joynes Anh-Tuyet Nguyen & Robert Pollock Susan & Gregory Pappajohn Michèle & Steven Pesner Tatiana Piankova Foundation Betty P. & Michael H. Rauch Gregg Rechler/ Lisa & Gregg Rechler Charitable Trust The Jerome Robbins Foundation Ann Sahid Rosche Meryl Rosofsky & Stuart H. Coleman Rowan Family Foundation Inc. Saul & Mary Sanders Fran Schulman Kathleen A. Scott Frederic & Robin Seegal Richard Shea Howard L. Shecter Linda Shelton Irene Shen Henry R. Silverman Susan Fawcett Sosin Allan Sperling & Ferne Goldberg Wendy & Alex Stanton Justin A. Stevens Raymond & Margaret Vandenberg Monica B. Voldstad Amit Wadhwaney Daniel Walsh Stephen & Cathy Weinroth Steven M. Zagar Richard Kielar & Christian Zimmermann The Young Leaders Circle Kyle Abraham^ Annie Alfstad Patricia Arellano *Chellis Baird Erin Barnes *Alison Baum Rachel & Dyllan Beck *Lisa Bonifacic Isabella Boylston^ Camille A. Brown^ *Victor M. Castillo Alejandro Cerrudo^ Phil Chan Dr. Jason Chuang Brandon T. Cournay Mary Craig *Dayana De La Torre *Debora Domass
Michelle Dorrance^ *Giancarlo Facchi Robert Fairchild^ Davalois Fearon^ Andrew D. Ferguson Erica Forrence *Jordan Freisleben Amita Goyal *Cari Griggs *Ting Guo *Jessica Halper *Mingtong Han Alexandra Harper, Co-Chair *Ariana Hellerman *Lauren Hlubny Kile Hotchkiss^ Alixandra Hornyan, Co-Chair *Audrey Hourse Laura Hsu Kristen Irby *Amanda Krische Sireesha Kalapala *Jean-François Kowalski Audrey Lam Stephanie Lichtinger Lydia Lin *Mitch Lowenthal Michelle K. Marck *Jose Martinez Katherine Maxwell^ Sara Mearns^ Justin Peck^ Tiler Peck^ Ruby Rosetta Pittman *Dora Pulido *Brecht Putman Vanessa Rojas *Amir Rouzrokh Setpheap San^ Claire-Marine Sarner Bette Ann Schlossberg, Co-Chair Anthony Seaboyer *Caroline Shadle Victoria Shadle Daniil Simkin^ *Elisa Smilovitz *Samara Stern Evan Strain *Mark & Oni Strawn *Sara Strope *Laura Vang Lucy Vasserman *Alexander Wang *Miss Inga Wells James Whiteside^ Emma Winder *Lila Ziegler ^Artist Committee members To join The Joyce’s Young Leaders Circle, please contact the Development office at 347-856-5828.
JOYCE PROGRAMS ARE MADE POSSIBLE WITH PUBLIC FUNDS FROM:
Joyce programs are made possible by the National Endowment for the Arts; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council with special thanks to Speaker Corey Johnson.
FACILITIES & SERVICES Box Office (212-242-0800): Open Monday thru Sunday, 12pm - 6pm. On days when there is a performance, the box office is open through curtain time; advance sales stop ½ hour prior to curtain time (including matinees). Closed on major holidays. For Hearing Impaired call (TDD) 212-245-2904. To report Lost & Found items, please see an usher or call 212-691-9740. For Special Event Rental information, contact Katy Myers at kmyers@joyce.org. EMERGENCY RESUSCITATION EQUIPMENT Resuscitation masks and latex gloves are located in the closet next to the drinking fountain in the Upper Lobby. AED is located downstairs in the reception area. LEARN CPR. For more information, contact the American Red Cross, the American Heart Association.
FIRE NOTICE: The exit indicated by a red light and sign nearest to the seat you occupy is the shortest route to the street. In the event of fire or other emergency, please walk —do not run— to that exit. WARNING: The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited within the auditorium. Violators will be punished with confiscation of recording device or ejection from the theater, and may be held liable for money damages.