TABLE of CONTENTS
Letter from the Director | A-2
Les Ballets Trockadero de Monte Carlo | A-4
Kodō | A-14
Conrad Tao & Caleb Teicher | A-18
Amjad Ali Khan, Amaan Ali Bangash & Ayaan Ali Bangash | A-21
Your Guide to Meany Center | A-26
Thanks to Our Donors | A-27
Isidore String Quartet | February 25
Ronald K. Brown/EVIDENCE | February 27–March 1
Jeremy Denk | March 18
Silkroad Ensemble: Uplifted Voices | March 28
Alonzo King LINES Ballet | April 3–5
Lara Downes | April 8
Taj Mahal & Leyla McCalla | April 12
Third Coast Percussion & Jessie Montgomery | May 3
Complexions Contemporary Ballet | May 8–10
Jonathan Biss | May 13
Hamid Rahmanian’s Song of the North | May 17
We acknowledge that Meany Center is on unceded and traditional land of the Coast Salish, including the Duwamish People, the first people of Seattle. We honor with gratitude the land itself and those who have cared for it, past and present. Meany Center is committed to better understanding our relationship with this land and to building authentic relationships with the first people of this region.
Happy New Year! To begin 2025, we celebrate with the creativity of some of our most beloved Meany artists.
We are thrilled to bring back the whimsical Les Ballets Trockadero de Monte Carlo, known for razor-sharp wit and breathtaking pointe work. Their unique approach to ballet, performed en travesti, offers both humor and technical brilliance.
Equally exciting is welcoming back Kodō, whose taiko drumming pushes the boundaries of traditional Japanese music. They showcase the limitless possibilities of this powerful art form with a vibrant exploration of rhythm and sound.
For Valentine’s Day, Conrad Tao and Caleb Teicher present their collaboration Counterpoint, combining
diverse musical styles with dynamic dance, in a heart-opening experience perfect for the occasion. Caleb is new to Meany and is one of our country’s most important choreographers bridging tap and vernacular jazz styles.
Finally, we are honored to again host Amjad Ali Khan and sons, virtuosos of the sarod who bring elegance and joy to a rich tradition of Indian classical music..
Thank you for being part of the Meany family — your support makes everything possible.
With gratitude,
Michelle Witt
Executive & Artistic Director
John Robinson, President
Kyra Hokanson Gray, Vice President
Sashi Raghupathy, Vice President
Robert Babs, Treasurer
Manisha Advani
Melinda Bitners
Sara Bowen
Darlene Cheatham
Margie Chen
Luis Fernando Esteban
Dr. M. Elizabeth Halloran
Hsiao-Wuen Hon
Cathy Hughes
Yumi Iwasaki
Susan Joslyn
Megan Kennedy
Sally Kincaid
Olivia Lee
Jeff Lehman
Kambiz Parcham-Azad
Cecilia Paul
Jack Percival
Tina Ragen
Donald Rupchock
Marcie Stone
Scott VanGerpen
Gregory Wallace
Christy Weckner
EX-OFFICIO MEMBERS
Ana Mari Cauce
UW President
Dianne Harris
Dean, College of Arts & Sciences
Gabriel Solis
Divisional Dean of the Arts
EMERITUS BOARD
Matt Krashan
Emeritus Artistic Director
Linda Linford Allen
Cynthia Bayley
Thomas Bayley
Cathryn Booth-LaForce
JC Cannon
Elizabeth Cooper
Gail Erickson
Brian Grant
Randy Kerr
Susan Knox
Kurt Kolb
Sheila Edwards Lange
Frank Lau
Craig Miller
Dick Roth
Eric Rothchild
Jeff Seely
K. Freya Skarin
Rich Stillman
Dave Stone
Donald Swisher
Lee Talner
Thomas Taylor
David Vaskevitch
Ellen Wallach
Kathleen Wright
IN MEMORIAM
Ellsworth C. “Buster” Alvord
Linda Armstrong
Betty Balcom
Ross Boozikee
Ruth Gerberding
Ernest Henley
Mina Person
Lois Rathvon
Jerry Sanford, Sr.
DATE SATURDAY
MARCH 22, 2025
5:00–8:00 P.M.
LOCATION
MEANY CENTER FOR THE PERFORMING ARTS
A gala benefiting the artistic and educational programming of Meany Center for the Performing Arts
generously underwritten by
Ira & Courtney Gerlich
SEASON SUPPORT COMES FROM
SIGNATURE SUPPORT
The College Inn Pub
Justin & Tiffany Grimm
ADDITIONAL SUPPORT COMES FROM
Manisha Advani & Rajib Chakrabarti
Linda & Thomas Allen
Stephen & Sylvia Burges
Colonel Ron & Mrs. Darlene Cheatham
Katharyn Alvord Gerlich
Lynn & Brian Grant Family
Hsiao-Wuen & Tiffany Hon
Tuck Hoo & Tom Lyons
Yumi Iwasaki & Anoop Gupta
Matthew & Christina Krashan
Terrel Dean & Robert Lefferts
Jeffrey Lehman & Katrina Russell
Gary L. Menges
Cecilia Paul & Harry Reinert
Tina Ragen and son, Ian
Richard Szeliski & Lyn McCoy
Donna & Joshua Taylor
Scott VanGerpen & Britt East
Ellen Wallach & Thomas Darden
George S. Wilson & Claire L. McClenny
Anonymous
January 23–25 | 8 p.m.
Featuring:
Colette Adae, Ludmila Beaulemova, Holly Dey-Abroad, Elvira Khababgallina, Varvara Laptopova, Anya Marx, Grunya Protazova, Moussia Shebarkarova, Olga Supphozova, Gerd Törd, Doris Vidanya, Bertha Vinayshinsky, Tatiana Youbetyabootskaya, Blagovesta Zlotmachinskaya
Bruno Backpfeifengesicht, Boris Dumbkopf, Araf Legupski, Marat Legupski, Sergey Legupski, Timur Legupski, Vyacheslau Legupski, Medulli Lobotomov, Mikhail Mudkin, Boris Mudko, Chip Pididouda, Yuri Smirnov, Pavel Törd, Jens Witzelsucht
Artistic Director: Tory Dobrin
Executive Director: Liz Harler
Associate Director: Isabel Martinez Rivera
Ballet Master: Raffaele Morra
Production Manager: Shelby Sonnenberg
Moussia Shebarkarova & Vyacheslau Legupski: Vincent Brewer
Blagovesta Zlotmachinskaya & Mikhail Mudkin: Raydel Caceres
Olga Supphozova & Yuri Smirnov: Robert Carter
Gerd Törd & Pavel Törd: Matias Dominguez Escrig
Tatiana Youbetyabootskaya & Araf Legupski: Andrea Fabbri
Elvira Khababgallina & Sergey Legupski: Kevin Garcia
Anya Marx & Chip Pididouda: Shohei Iwahama
Holly Dey-Abroad & Bruno Backpfeifengesicht: Felix Molinero del Paso
Ludmila Beaulemova & Jens Witzelsucht: Trent Montgomery
Bertha Vinayshinsky & Boris Mudko: Sergio Najera
Grunya Protazova & Marat Legupski: Salvador Sasot Sellart
Colette Adae & Timur Legupski: Jake Speakman
Doris Vidanya & Medulli Lobotomov: Raphael Spyker
Varvara Laptopova & Boris Dumbkopf: Takaomi Yoshino
Music: Pyotr Ilyich Tchaikovsky
Choreography: After Lev Ivanovich Ivanov
Costumes: Mike Gonzales
Décor: Clio Young
Lighting: Kip Marsh
Swept up into the magical realm of swans (and birds), this elegiac phantasmagoria of variations and ensembles in line and music is the signature work of Les Ballets Trockadero. The story of Odette, the beautiful princess turned into a swan by the evil sorcerer, and how she is nearly saved by the love of Prince Siegfried, was not so unusual a theme when Tchaikovsky first wrote his ballet in 1877 — the metamorphosis of mortals to birds and visa versa occurs frequently in Russian folklore. The original Swan Lake at the Bolshoi Theatre in Moscow was treated unsuccessfully; a year after Tchaikovsky’s death in 1893, the St. Petersburg Mariinsky Ballet produced the version we know today. Perhaps the world’s best-known ballet, its appeal seems to stem from the mysterious and pathetic qualities of the heroine juxtaposed with the canonized glamour of 19th century Russian ballet.
Benno: Bruno Backpfeifengesicht (friend and confidant to)
Prince Siegfried: Araf Legupski (who falls in love with)
Varvara Laptopova (Queen of the)
Swans:
Artists of the Trockadero (all of whom got this way because of)
Von Rothbart: Medulli Lobotomov (an evil wizard who goes about turning girls into swans)
INTERMISSION
(To Be Announced)
Music: Frederic Chopin
Choreography: Peter Anastos
Costumes: Mike Gonzales
Lighting: Kip Marsh
The surfeit of “piano ballets” that have appeared since Jerome Robbins’ “Dances at a Gathering” (1969) sought to somehow humanize the classical ballet dancer and his milieu. Piano ballets take the aristocracy out of the ballet dancing by presenting the dancers as affectionately friendly, democratic, just plain folks relating to each other; in much the same way, television talk shows demystified the glamour of Hollywood by featuring noted celebrities discussing their laundry problems. The Trockadero, not unaware of these trends, now tenders its own sensitive relationships.
Boy in Brick: Pavel Törd
Boy in Blue: Vyacheslau Legupski
Girl in Lavender: Grunya Protazova (with a grey chiffon underlay)
Girl in Orange: Ludmila Beaulemova (with a slight tilt to the left)
Girl in Green: Holly Dey-Abroad (with a sparkle in her eye)
This project is supported in part by an award from the National Endowment for the Arts.
Music: Charles Gounod
Staged and With Additional Choreography: Elena Kunikova After Leonid Lavrovsky
Costumes: Nicole Valencia-Gann
Lighting: Jax Messenger
Décor: Kip Marsh
This ballet is inspired by the Bolshoi Ballet’s Valpurgeyeva Noch, which Russians have long respected as a specimen of Soviet balletic camp.
Bacchante: Elvira Khababgallina
Bacchus: Mikhail Mudkin
Pan: Boris Dumbkopf
Fauns: Medulli Lobotomov, Chip Pididouda, Timur Legupski, Pavel Törd
Nymphs: Ludmila Beaulemova, Bertha Vinayshinsky
Maidens: Artists of the Trockadero
Les Ballets Trockadero de Monte Carlo was founded in 1974 by New York City-based ballet enthusiasts in order to present a playful, entertaining view of traditional, classical ballet in parody form and with men performing all of the roles – and in the case of roles usually danced by women: en travesti and en pointe. Founders Peter Anastos, Anthony Bassae and Natch Taylor broke away from Larry Ree’s Gloxinia Trockadero Ballet to create a dance- and choreography-focused company. They put on their first shows on the makeshift stage of the West Side Discussion Group, an early gay and lesbian political organization, which was led by future Trockadero General Director Eugene McDougle. The performances were infused with a subversive edge as the country was still a long way from bringing drag performance to a mainstream audience.
The Trocks, as they are affectionately known, soon garnered critical acclaim
and cultural cachet in publications with major reach, such as The New Yorker, The New York Times and the Village Voice. By mid-1975, the company’s inspired blend of dance knowledge, comedy and athleticism, moved beyond New York City when the Trocks qualified for the National Endowment for the Arts Touring Program, hired a full-time teacher and ballet mistress, AND made its first extended tours of the United States and Canada. Packing, unpacking and repacking tutus and drops, stocking giant-sized toe shoes by the case, and running for planes and chartered buses all became routine parts of life. They have been going non-stop ever since, appearing in 43 countries and more than 660 cities worldwide. The company branched out from the vibrant live performances and expanded its scope with an education program in 2016 and the Choreography Institute in November 2023. With so much activity, the Trocks have garnered a dedicated fan base, repeating performances in countries
year after year, and continuing to add first-time engagements as the company enters its 50th Anniversary season.
Interest and accolades have accumulated over the years. The Trocks have proved an alluring documentary subject, featured in an Emmy-winning episode of the acclaimed British arts program The South Bank Show; the 2017 feature film Rebels on Pointe; and most recently Ballerina Boys, which aired on PBS American Masters in 2021. Several of the Trocks’ performances at the Maison de la Danse in Lyon, France were also aired by Dutch, French and Japanese TV networks. Other television appearances have ranged from a Shirley MacLaine special to the Dick Cavett Show, What’s My Line? Real People, and On-Stage America. The dancers also have the distinction of appearing with Kermit and Miss Piggy on Muppet Babies
The company’s awards include a prestigious UK Critics Circle National Dance Award for Best Classical Repertoire (2007) and nomination for Outstanding Company (2016), the Theatrical Managers Award (2006, UK); and the Positano Award for Excellence in Dance (2007, Italy). The company has appeared in multiple galas and benefits over the years, including at the 80th anniversary Royal Variety Performance to aid the Entertainment Artistes’ Benevolent Fund in December 2008, which was attended by members of the British Royal family, including the now King Charles III.
The original concept of Les Ballets Trockadero de Monte Carlo has not changed. It is a company of professional male dancers performing the full range of ballet and modern dance repertoire, including classical and original works in faithful renditions of the manners and conceits of those dance styles. The comedy is achieved by incorporating and exaggerating the foibles, accidents and underlying incongruities of serious dance. The fact that muscular, athletic bodies dance all of the parts, delicately balancing on toes as swans, sylphs, water sprites, romantic princesses and angst-ridden Victorian ladies, enhances the appreciation for the effort, timing, stamina, and precision required, delighting die-hard ballet fans and newcomers alike.
Looking to the future, the Trocks are making plans for new commissions, new debuts, and new audiences, while continuing the company’s original mission: to bring the pleasure of dance to the widest possible audience. The company will, as they have for 50 years, “keep on Trockin’.”
Colette Adae was orphaned at the age of three when her mother, a ballerina of some dubious distinction, impaled herself on the first violinist’s bow after a series of rather uncontrolled “fouette voyage.” Colette was raised and educated with the “rats” of the Opera House but the trauma of her childhood never let her reach her full potential. However, under the kind and watchful eye of the Trockadero, she has begun to flower and we are sure you will enjoy watching her growth.
Ludmila Beaulemova, famed country and western ballerina and formerly prima ballerina of the grand Ole Opry, recently defected from that company when they moved to their new Nashville home. The rift was caused by their refusal to stage the ballet with which her name has become synonymous, I Never Promised You a Rose Adagio
Holly Dey-Abroad lacks the talent and intelligence that are required to be good at dancing and did not understand that this lack of talent and intelligence are often the same qualities needed to recognize that one is not good at dancing — and if one lacks such talent and intelligence, one remains ignorant that one is not good at dancing. Consequently, she auditioned for the Trocks and was accepted.
Elvira Khababgallina, voted “the girl most likely to,” is the living example that a common hard-working girl can make it to the top. Our friendly ballerina was pounding the pavement looking for work when the Trockadero found her. Her brilliant technique has endeared her to several fans, as well as to some of the stagehands. Her motto is “a smile is better than talent.” Her nickname is... well, never mind what her nickname is.
Guest orchestra Harmonia (William White, director) performs winning concerto excerpts with UW piano students.
7:30 pm Meany Hall—Gerlich Theater
MAR 12
Seattle Modern Orchestra Tribute: Joël-François Durand
A celebration of UW Composition Professor and School of Music Director Joël-François Durand’s 70th birthday. Featuring works by UW graduate student composers and pieces by Durand’s former students.
7:30 pm Meany Hall—Studio Theatre MAR 14
UW Symphony Orchestra with UW Choirs
David Alexander Rahbee leads the UW Symphony and Combined UW Choirs in “The Haydn Experience II,” and music by Schumann and Ravel.
7:30 pm Meany Hall—Gerlich Theater
Varvara Laptopova is one of those rare dancers who, with one look at a ballet, not only knows all the steps but can also dance all the roles. As a former member of the Kiev Toe and Heel Club, she was awarded first-prize at the Pan-Siberian Czardash and Kazotski Festival for artistic misinterpretation.
Anya Marx comes to the ballet stage after her hair-raising escape from the successful (but not terribly tasteful) overthrow of her country’s glamorous government. She made a counterrevolutionary figure of herself when she was arrested for single-handedly storming the State Museum of Revolutionary Evolution, where her fabulous collection of jewels was being insensitively displayed alongside a
machine gun. The resilient Madame Marx is currently the proprietress of American’s only mail order “Course in Classical Ballet.”
Grunya Protazova is the missing link between the crustaceans of the old Russian school and the more modern amphibians now dancing. Before joining the Trockadero, Grunya was the featured ballerina at Sea World, where her famous autobiographic solo, Dance of the Lower Orders, brought several marine biologists to tears.
Moussia Shebarkarova, a celebrated child prodigy back in the Brezhnev era, astounded her parents at the age of two by taking a correspondence course in ballet. Sadly, due to the
unreliable Russian postal system, she has only just graduated.
Olga Supphozova made her first public appearance in a police line-up under dubious circumstances. After a sevenyear-to-life hiatus, she now returns to her adoring fans. When questioned about her forced sabbatical, Olga’s only comment was “I did it for Art’s sake.” Art, however, said nothing.
Gerd Törd, “The Prune Danish of Russian Ballet,” abandoned an enormously successful career as a film actress to become a Trockadero ballerina. Her faithful fans, however, need not despair as most of her great films have been made into ballets: the searing Back to Back, the tear-filled Thighs and Blisters, and the immortal seven-part Screams from a Carriage. Because of her theatrical flair, Gerd has chosen to explore the more dramatic aspects of ballet, causing one critic to rename her Giselle, “What’s My Line?”
Doris Vidanya, the legendary Vitebsk Virago, first achieved recognition as a child performer, appearing with the famous Steppe Brothers in the world premiere of Dyspepsiana (based on an unfinished paragraph by M. Gorki). As a favorite of Nicholas, Alexandra, Olga, Tatiana, Maria, Anastasia and the czarevich, “La Effhrvia,” as she is known to her admirers, was compelled to flee St. Petersburg disguised as a Karsky shashlik. Upon arrival in the new World, she established herself as the Prima Ballerina Assoluta de Kalamazoo, a title she still retains.
Bertha Vinayshinsky has defected to America three times and been promptly returned on each occasion… for “artistic reasons.” Recently discovered “en omelette” at the Easter Egg Hunt in Washington, D.C., Prima Ballerina Vinayshinksky was hired by the Trockadero, where their inexplicable rise to stardom answers the musical question: Who put the bop in the bop-shibop shibop?
Tatiana Youbetyabootskaya, created many original roles in St. Petersburg where she was the last of a long line of Italian etoiles to appear at the Maryinsky Theater. It was her dazzling triumph in the role of “Electricity” in the extravagant “Excelsior” in her native Milan which brought her fame. However, no less electrifying was the lineup of perfectly trained elephants, performing like the present day Rockettes. Unfortunately, Mlle Youbetyabootskaya’s jealous scenes over the publicity given to these elephants and their ensuing popularity with the public, caused numerous problems. She subsequently refused to appear again in this role.
Blagovesta Zlotmachinskaya. Ever since her auspicious debut as the Left Nostril in the ballet extracted from The Nose by Gogol, Blagovesta has shown a unique appreciation of her homeland’s literary heritage. Back home, she is best known as the star of the hit TV show Challenge Anna Karenina, in which the eponymous heroine of Tolstoy’s classic novel seeks to expose the fin de siecle malaise at the heart of pre-Revolutionary Russia with the aid of a helicopter and walkie-talkie.
Bruno Backpfeifengesicht soared into prominence as the first East German defector whose leavetaking was accomplished at the virtual insistence of the defectees (although in subsequent days Herr Backpfeifengesicht was accused of abandoning his joyous comrades for “a mountain of beer and an ocean of dollars”). His meteoric rise to stardom caused him to be named Official Bicentennial Porteur by a committee of New York balletomanes who singled out his winning feet and losing smile.
Boris Dumbkopf has been with the greatest ballerinas of our time; he has even danced with some of them. One of the first defective Eastern Bloc male stars, he left the motherland for purely capitalistic reasons. Amazingly, between his appearances on television and Broadway and in movies, commercials, magazines, special events and women’s nylons, he occasionally still has time to dance.
The Legupski Brothers — Araf, Marat, Sergey, Timur and Vyacheslau — are not really brothers, nor are their names really Araf, Marat, Sergey, Timur or Vyacheslau, nor are they real Russians, nor can they tell the difference between a pirouette and a jete...but... well...they do move about rather nicely ...and...they fit into the costumes.
Medulli Lobotomov. Dancer by night, Bulgarian Mafia assassin by day and purveyor of guillotine-triggering car flaps at weekends, Medulli has held a grudge against the animal kingdom ever since a fur allergy forced him to quit his job as a hatcheck girl at the Opera.
Mikhail Mudkin, the famed Russian danseur for whom the word “Bolshoi” was coined, comes to American from his triumphs as understudy to a famous impresario in the role of The Bear in Petrushka
Boris Mudko is the Trocks’ newest danseur, having joined only last year. Boris is a drunken but talented Russian from Dzerzhinsk, in the former Soviet Union. He insisted on an audition while the company was on tour. It took some time to sober him up to make him coherent — he was given gallons of tea and several enemas — but finally he was accepted into the company. He has since given up all drink and is doing quite well.
Chip Pididouda is a renowned Greek cricket player who stumbled into the world of English ballet after a wrong turn on the M-90 to Folkestone. Chip was heralded for his simple and inspiring interpretation of “Doppe” in Dizzney’s world premiere of La Fille de Neige Blanche. Unaffected by technique, Chip brings his special brand of athleticism and “je ne sais quoi pas” to the Trocks.
Yuri Smirnov, at the age of sixteen, ran away from home and joined the Kirov Opera because he thought Borodin was a prescription barbiturate. Luckily for the Trockadero, he soon discovered that he didn’t know his arias from his elbow and decided to become a ballet star instead.
Pavel Törd, “The Prune Danish of Russian Ballet,” abandoned an enormously successful career as a film actor to become a Trockadero premier danseur. His faithful fans, however, need not despair as most of his great films have been made into ballets: the searing Back to Back, the tear-filled Thighs and Blisters, and the immortal seven-part Screams from a Carriage. Because of his theatrical flair, Pavel has chosen to explore the more dramatic aspects of ballet, causing one critic to rename his Siegfried, “What’s My Line?”
Jens Witzelsucht has a pure and rare neurological disorder characterized by a tendency to make puns or tell inappropriate jokes or pointless stories in socially inappropriate situations, along with a pathological giddiness with lunatic mood swings. As he does not understand that this behavior is abnormal, he has found a place in the company as one of the more comedic artists.
Vincent Brewer. Birthplace: Great Barrington, MA. Training: Indiana University, Cantarella School of Ballet, Berkshire Pulse. Joined Trockadero: September 2024. Previous companies: Festival Ballet Providence, Newport Contemporary Ballet, Albany Beckshire Ballet.
Raydel Caceres. Birthplace: Pinar del Río, Cuba. Training: Centro pro danzaLaura Alonso. Joined Trockadero: July 2023. Previous companies: California Ballet, Twins City Ballet of MN, Ballet Theater of Maryland, Cuban Classical Ballet of Miami. Silver medal at Festival de Danca, Joinville, Brazil.
Robert Carter. Birthplace: Charleston, SC. Training: Robert Ivey Ballet School, Joffrey Ballet School. Joined Trockadero: November 1995. Previous companies: Florence Civic Ballet, Dance Theater of Harlem Ensemble, Bay Ballet Theater.
Matias Dominguez Escrig. Birthplace: Santiago, Chile, Training: José Espadero Professional Dance Conservatory, Sofia Sancho Dance School, Madrid Dance Center. Joined Trockadero: October 2023. Previous company: International Ballet Festival.
Andrea Fabbri. Birthplace: Lugo, Italy. Training: Il Balleto, The HARID Convservatory. Joined Trockadero: October 2023. Previous companies: Los Angeles Ballet, Estonian National Ballet.
Kevin Garcia. Birthplace: Gran Canaria, Spain. Training: Centro Coreografico de Las Palmas Trini Borrull, Conservatory of Dance Carmen Amaya. Joined Trockadero: August 2017. Previous companies: Ballet Jose Manuel Armas, Lifedanscenter, Peridance Contemporary Dance Company.
Shohei Iwahama. Birthplace: Komaeshi, Tokyo, Japan. Training: Sam Houston State University, The Ailey School, Miyako Kato Dance Academy. Joined Trockadero: March 2022. Previous Companies: NobleMotion Dance, James Sewell Ballet, Hope Stone Dance.
Felix Molinero Del Paso. Birthplace: Granada, Spain. Training: Hochschule fur Darstellende kunst Frankfurt am Main. Joined Trockadero: August 2019.
Trent Montgomery. Birthplace: McGehee, AR. Training: Arkansas Academy of Dance, University of Arkansas at Little Rock, Accademiá dell’Arte, Florida State University. Joined Trockadero: August 2021. Previous companies; Arkansas Festival Ballet, Tallahassee Ballet.
Sergio Najera. Birthplace: México City. Training: Dance School of Mexico City, Joffrey Ballet School, Alonzo King’s LINES Ballet. Joined Trockadero: February 2023. Previous companies: Ballet Folklorico De México de Amalia Hernández, Convexus, Contemporary Ballet, FABC, Mexico de Colores.
Salvador Sasot Sellart. Birthplace: Lleida, Spain. Training: Real Conservatorio Profesional de Danza de Madrid Mariemma. Escuela de Ballet Camina Ocaña and Pablo Savoye. Joined Trockadero: August 2019. Previous company: Severočeske Divadlo Opera a Balet.
Jake Speakman. Birthplace: Philadelphia PA. Training: Marymount Manhattan College Joined Trockadero: November 2021. Previous companies: New York Dance Project, New York Theater Ballet.
Raphael Spyker. Birthplace: Bahia, Brazil. Training: ABT JKO School; Escola de Dança Alice Arja; Tadheo de Carvalho. Joined Trockadero: December 2024. Previous companies: Polish National Ballet (Opera Narodowa); State Ballet of Georgia (Tbilis, Georgia); American Ballet Theatre.
Takaomi Yoshino. Birthplace: Osaka, Japan. Training: Vaganova Ballet Academy, Ellison Ballet. Joined Trockadero: August 2018. Previous company: Atlantic City Ballet.
Artistic Director: Tory Dobrin
Executive Director: Liz Harler
Associate Director: Isabel Martinez
Rivera
Ballet Master: Raffaele Morra
Production Manager: Shelby Sonnenberg
Lighting Supervisor: Matthew Weisgable
Wardrobe Supervisor: Sarah Marshall
Education Manager: Roy Fialkow
Digital Engagement Manager: Anne Posluszny
Company Advancement: MaryBeth Rodgers
Fundraising Consultant: LG Capital for Culture
Costume Designers: Ken Busbin, Jeffrey Sturdivant
Stylistic Guru: Marius Petipa
Orthopedic Consultant: Dr. David S. Weiss
Photographer: Zoran Jelenic
LES BALLETS TROCKADERO DE MONTE CARLO
Box 1325, Gracie Station, New York City, New York 10028
Trockadero.org Facebook.com/thetrocks Instagram @lesballetstrockadero
Les Ballets Trockadero de Monte Carlo, Inc. is a nonprofit dance company chartered by the State of New York. Martha Cooper, president; Jenny Palmer, vice-president; Mary Lynn Bergman-Rallis, secretary; Amy Minter, treasurer; James C.P. Berry, Tory Dobrin, Elizabeth Harler Stephens.
BOOKING INQUIRIES: Liz Harler, Executive Director liz@trockadero.org
Special Thanks to Our Major Institutional Supporters:
Booth Ferris Foundation, The New York Community Trust, The Howard Gilman Foundation, Tiger Baron Foundation, The Fan Fox and Leslie R. Samuels Foundation, The Max and Victoria Dreyfus Foundation, Rallis Foundation, Shubert Foundation, The Harkness Foundation for Dance, and the NYU Community Fund.
Thanks to our local and state cultural funding agencies for their contributions to our work in New York with support, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. This project is supported in part by an award from the National Endowment for the Arts.
Thanks to our Board of Directors and individual supporters for their generous contributions that make our nonprofit mission possible.
Makeup provided by MAC
Nikolay is the official Pointe Shoe Provider Les Ballets Trockadero de Monte Carlo
Music for ballets on the program is conducted by Pierre Michel Durand with the Czech Philharmonic Chamber Orchestra, Pavel Prantl, Leader
SEASON SUPPORT COMES FROM
ADDITIONAL SUPPORT COMES FROM
Manisha Advani & Rajib Chakrabarti
Katharyn Alvord Gerlich
Hsiao-Wuen & Tiffany Hon
Yumi Iwasaki & Anoop Gupta
Matthew & Christina Krashan
Eric & Margaret Rothchild
Dennis Lund & Martha Taylor
John C. Robinson & Maya Sonenberg
Richard Szeliski & Lyn McCoy
Scott VanGerpen & Britt East
January 31–February 1 | 7:30 p.m.
KODŌ Performers:
Eiichi Saito, Jun Jidai, Koki Miura, Masayasu Maeda, Kodai Yoshida, Seita
Saegusa, Chihiro Watanabe, Taiyo Onoda, Shun Takuma, Moe Niiyama, Kei Sadanari, Jumpei Nonaka, Kazuma Hirosaki, Hana Ogawa
Director: Yuichiro Funabashi
Technical Director: Kei Olivier Furukata
Lighting Designer: Kenichi Mashiko (S.L.S.)
Stage Manager: Takeshi Arai
Production Manager: Yui Kamiya
Tour Managers: Natsumi Ikenaga, Rena Tsukamoto
Assistant Stage Manager: Kengo Kosugi
Assistant Manager: Donnie Keeton
International Tour Management: IMG Artists
Music Advisor: Tatsuya Shimono
Posture & Movement Instructor: Tatsuo Kudo
Voice Instructor: Yumi Nogami
Photographer: Takashi Okamoto
Promotional Video Director: Sokichi Sogawa
Promotional Artwork: Hiroomi Hattori (COM Works)
Physical Trainer: Kiyoaki Sakai
Special Thanks: Ranjo, Shingo Tokihiro, Kawachi Wakate, Rengebuji Temple, Kodo Cultural Foundation
Planning & Production Company: Kitamaesen Co., Ltd.
North America Tour Marketing: SoloShoe Communications, LLC
Koe
Composed by Yuta Sumiyoshi. Dance arranged by Koki Miura (2021)
Miyake
Arranged by Kodō
Niwaka
Composed by Masayasu Maeda (2021)
Hae
Composed by Motofumi Yamaguchi (1982)
Uminari
Composed by Yuta Sumiyoshi (2021)
INTERMISSION
Shinka
Composed by Koki Miura (2021)
Okoshi
Composed by Masayasu Maeda. Dance arranged by Koki Miura (2021)
Dokuso
Composed by Reo Kitabayashi (2021)
Inochi
Composed by Ryotaro Leo Ikenaga (2021)
O-daiko
Arranged by Kodō, Kenta Nakagome
Yatai-bayashi
Traditional, arranged by Kodō
The following pieces are based on these regional traditional performing arts:
Koe: Kanatsu-ryu Yanagawa Shishi Odori (Oshu, Iwate)
Miyake: Miyake-jima Kamitsuki Mikoshi Daiko (Miyake Island, Tokyo)
Okoshi: Onidaiko and Shishi (Sado Island, Niigata)
Yatai-bayashi: Chichibu Yatai-bayashi (Chichibu, Saitama)
Director’s Notes
Let your soul dance to the rhythm of life.
In Japanese, the word “Kodo” holds a double meaning. It can be translated as “heartbeat,” the primal source of all rhythm. However, our group’s name is written with different characters, which mean “drum” and “child.” This reflects Kodo’s desire to play the drums with the simple heart of a child. For our 40th anniversary in 2021, we created two works based on our name: “Tsuzumi” takes its name and theme from the drum character, and “Warabe” from the child element.
“Tsuzumi” was our touring production in 2023 across North America, and we are happy to present you now with the continuing production, “Warabe.”
In “Warabe,” Kodo looks to its classic repertoire and aesthetics from the
ensemble’s early days. This production blends simple forms of taiko expression that celebrate the unique sound, resonance and physicality synonymous with Kodo — forever children of the drum at heart.
Come and experience the soul-stirring rhythm of life firsthand.
—Yuichiro Funabashi Director / Kodo Ensemble Leader
Exploring the limitless possibilities of the traditional Japanese drum, the taiko, Kodo is forging new directions for a vibrant living art-form. Since the group’s debut at the Berlin Festival in 1981, Kodo has given over 7,000 performances on five continents, spending about a third of the year overseas, a third touring in Japan and a third rehearsing and preparing new material on Sado Island. Kodo strives to both preserve and re-interpret traditional Japanese performing arts.
Beyond this, members on tours and research trips all over the globe have brought back to Sado a kaleidoscope of world music and experiences which now exerts a strong influence on the group’s performances and compositions. Collaborations with other artists and composers extend right across the musical spectrum and Kodo’s lack of preconceptions about its music continues to produce startling new fusion and forms.
Since 1971, Sado Island has been Kodo’s home and the platform from which the group reaches out to the world. With nature’s warm embrace evident in each of her four seasons, Sado is an extraordinary place where traditional ways of life and the island’s indigenous performing arts still thrive today. This island is the fountain of inspiration for Kodo and the guiding force behind the group’s
creative lifestyle. Their goal is to find a harmonious balance between people and the natural world. Each time Kodo ventures off the island, the ensemble encounters new people, customs, and traditional performing arts that are ingrained in the lifestyles of each locale. Both similarities and differences prompt Kodo members to pause and reflect upon the importance of the varied and rich cultures that color our world. These life lessons permeate each performer’s skin and become an invisible source of their expression. It is through this process of “Living, Learning and Creating” that Kodo cultivates a unique aesthetic and sensitivity, reaching out toward a new world culture rooted in the rich possibilities of a peaceful coexistence between humanity and nature.
Thanks to the support of many friends, Kodo Cultural Foundation was established in 1997 in order to increase Kodo’s capacity for outreach projects on Sado Island. Its primary mission is to carry out non-profit activities focused on social education and the notion of giving back to the local community. Kodo Cultural Foundation is committed to the cultural and environmental preservation of Sado Island and oversees many ambitious projects. From the conservation of local habitats to the revitalization of rare craft traditions and Noh theaters throughout Sado Island, the highly collaborative Foundation supports many vital initiatives. Its activities include holding workshops, planning annual music festival Earth Celebration, creating a research library, managing Kodo Apprentice Centre and Sado Island Taiko Centre, and carrying out research in the performing arts.
In a converted schoolhouse in Kakinoura on Sado Island, the young people who will continue and expand on Kodo’s traditions are trained, not just in musical technique but also in all matters of body and spirit. Beginning in April, apprentices live communally and train for two years. From this group, probationary members are selected in January of the second year. These chosen few spend one year as junior members, and if they are successful, they then become full Kodo members. Kodo seeks people of all backgrounds who are interested in becoming apprentices, as well as the next generation of Kodo players and staff. Apprentices live communally in the Kodo Apprentice Center where they learn taiko, dance, song and other traditional arts.
For inquiries, please contact Kodo at:
Kodo Village, 148-1 Ogi Kanetashinden, Sado, Niigata 952-0611, Japan
Tel. +81-259-86-3630
Email: heartbeat@kodo.or.jp
Website: www.kodo.or.jp
Facebook | X | Instagram: @KodoHeartbeat
PIANO
generously underwritten by
Sven & Melinda Bitners and Sally Schaake Kincaid
SEASON SUPPORT COMES FROM
SIGNATURE SUPPORT
Olivia Lee
ADDITIONAL SUPPORT COMES FROM
Stephen & Sylvia Burges
Katharyn Alvord Gerlich
Lynn & Brian Grant Family
Hsiao-Wuen & Tiffany Hon
Tuck Hoo & Tom Lyons
Matthew & Christina Krashan
Jeffrey Lehman & Katrina Russell
Hans & Kristin Mandt
Thomas McQuaid Jr.
John C. Robinson & Maya Sonenberg
Eric & Margaret Rothchild
Donald & Toni Rupchock
Sally Schaake Kincaid
David & Marcie Stone
Donald & Gloria Swisher
Jeff & Carol Waymack
February 14 | 7:30 p.m.
Conrad Tao, piano
Caleb Teicher, tap dance
JOHANN SEBASTIAN BACH
Aria from the Goldberg Variations, BWV 988
CONRAD TAO/CALEB TEICHER Improvisation
ARNOLD SCHOENBERG
Five Piano Pieces, Op. 23: V. Walzer
RAY NOBLE/ART TATUM/ Cherokee BUD POWELL
CHARLES COLE/ The Coles and Bufalino Soft Shoe BRENDA BUFALINO
JOHANNES BRAHMS
NIC GAREISS
Intermezzo in E Major, Op. 116, No. 4
Solo Square Dance Song based on John Brown’s Dream, traditional
CONRAD TAO/CALEB TEICHER Swing 2 from More Forever
GEORGE GERSHWIN
MAURICE RAVEL
JOHANN SEBASTIAN BACH
Rhapsody in Blue, arr. for solo piano
Sonatine: II. Mouvement de Menuet
Aria from the Goldberg Variations, BWV 988
Counterpoint is a collaboration between pianist and composer Conrad Tao and choreographer and dancer Caleb Teicher. The duo explores the dichotomy of their different perspectives and artistic practices, expanding their individual expressive capacity through a collective experience. Harmonic, rhythmic and theatrical counterpoint between the artists seeks to map out constellations linking their disparate traditions, driving the imagination and opening the heart. The stylistically diverse music of Counterpoint includes the Aria from Bach’s Goldberg Variations, Art Tatum’s demented stride piano, Arnold Schoenberg’s ironic take on the Viennese waltz, a delicate miniature from Tao and Teicher’s More Forever, and threading it all together, a work that bridges traditions, approaches,
and styles — Gershwin’s Rhapsody in Blue. Tao and Teicher’s earlier work, More Forever, is a Bessie Awardwinning, New York Times critic’s pick which was lauded for “constantly extending the sonic aspects of dance.”
Caleb Teicher is a NYC-based dancer and choreographer specializing in musically-driven dance traditions and interdisciplinary collaboration. Teicher began their career as a founding member of Michelle Dorrance’s critically acclaimed tap dance company, Dorrance Dance, while also freelancing in contemporary dance (The Chase Brock Experience, The Bang Group), Lindy Hop (Syncopated City Dance Company), and musical theater (West Side Story International Tour and London). As a solo performer
and collaborator, Teicher is known for choreographic collaborations with diverse musical talents: worldchampion beatboxer Chris Celiz, composer/pianist Conrad Tao; the National Symphony Orchestra, and indie rock legends Ben Folds and Regina Spektor. In 2015, Caleb shifted their creative focus towards Caleb Teicher & Company (CT&Co), a creative home for incubating new concert dance works from Teicher’s unique perspective. CT&Co’s engagements and commissions expand across the U.S. and abroad, including The Joyce Theater, New York City Center, the Guggenheim Museum (NYC and Bilbao), Jacob’s Pillow Dance Festival and Lincoln Center Out of Doors. Caleb is the recipient of a 2019 New York City Center Choreographic Fellowship, two Bessie Awards, a 2019 Harkness Promise Award, the 2020
Gross Family Prize and a 2019 NEFA National Dance Project Production Grant. Their work has been featured by The New York Times, NPR, Forbes, Vogue, Interview Magazine, on the cover of Dance Magazine and, most recently, on The Late Show with Stephen Colbert alongside Regina Spektor. Caleb continues to engage with dance communities as a teacher for international tap, swing, and jazz dance festivals. Learn more at CalebTeicher.net
Pianist and composer Conrad Tao has been dubbed “the kind of musician who is shaping the future of classical music” by New York Magazine, and an artist of “probing intellect and openhearted vision” by The New York Times.
Conrad’s 2024-25 season includes a return to Carnegie Hall in recital performing Debussy’s 12 Études, alongside Keyed In, a work arranged and improvised by Tao on the Lumatone. He also returns to the San Francisco Symphony to perform Tchaikovsky with Nicholas Collon, the Dallas Symphony to perform Mozart with Jaap van Zweden, the St Louis Symphony to perform SaintSaëns with David Danzmayr, and the Baltimore Symphony to perform Mozart with Jonathon Heyward. Further appearances include the Indianapolis Symphony’s opening Gala, as well as performances with the Seoul Philharmonic, and NDR Hannover with Ingo Metzmacher. He also continues his collaboration with award-winning dancer Caleb Teicher in a nationwide US tour.
In the 2023-24 season, Conrad made his subscription debut with the Chicago Symphony Orchestra and re-united with the New York Philharmonic following summer appearances and his specially curated program for their Artist Spotlight series. Meanwhile, he celebrated
Rachmaninov’s 150th anniversary with recitals presented by the Cleveland Orchestra and Klavierfestival Ruhr. The season also saw performances with the Philadelphia Orchestra and Marin Alsop, and the Boston Symphony and Dima Slobodeniouk, as well as performances celebrating the 100th anniversary of Rhapsody in Blue at the Philharmonie Berlin, Elbphillharmonie Hamburg, and the Concertgebouw Amsterdam with Matthias Pintscher and the Kansas City Symphony. His companion piece to Gershwin’s Rhapsody, Flung Out, was commissioned by the Santa Rosa Symphony, Aspen Music Festival, and Omaha Symphony.
In recent years, Conrad has been the subject of a special focus with the Finnish Radio Symphony and the Swedish Radio Symphony, both of whom have presented him over multiple concerts. He has also performed with the Orchestra Nazionale di Santa Cecilia under both Orozco-Estrada and Antonio Pappano. As a composer, his work has been performed by orchestras throughout the world; his first large scale orchestral work, Everything Must Go, received its world premiere with the New York Philharmonic and its European premiere with the Antwerp Symphony.
Conrad was the recipient of a New York Dance and Performance “Bessie” Award for Outstanding Sound Design/Music Composition for his work on More Forever, in collaboration with dancer and choreographer Caleb Teicher. He is also the recipient of the prestigious Avery Fisher Career Grant and was named a Gilmore Young Artist.
February 21 | 8 p.m.
Amjad Ali Khan, sarod
Amaan Ali Bangash, sarod
Ayaan Ali Bangash, sarod
Amit Kavthekar, tabla
Sarod Duet
INTERMISSION
Sarod Solo
Sarod Trio
Amaan Ali Bangash and Ayaan Ali Bangash
ADDITIONAL SUPPORT COMES FROM
Manisha Advani & Rajib Chakrabarti
Katharyn Alvord Gerlich
Hsiao-Wuen & Tiffany Hon
Yumi Iwasaki & Anoop Gupta
Matthew & Christina Krashan
Eric & Margaret Rothchild
Dennis Lund & Martha Taylor
John C. Robinson & Maya Sonenberg
Richard Szeliski & Lyn McCoy
Scott VanGerpen & Britt East
Amjad Ali Khan
Amjad Ali Khan
Amaan Ali Bangash
Ayaan Ali Bangash
It is indeed a matter of great joy and honor for me to present my music to the music lovers of Seattle. It can often get very confusing and overwhelming for people to get used to certain terms used in Indian classical music. But it is easy to explain them in simple ways, as music has always been taught in the oral tradition and the art and discipline passed down from guru to student.
The first and most important element of Indian classical music is the raga. A raga is made of a set of ascending and descending notes within a certain discipline. But it is much more than a scale, which also refers to the set of notes. A raga has distinctive features with prominent notes, combinations of notes and timings of the day and season. However, there is no logical explanation as to why a raga is seasonal really or, for that matter, why certain ragas with the same combination of notes become a morning raga or an evening raga.
For me, there are only two types of music. One is pure sound (which is the purest form) and is based on literature, text, lyrics, story, etc. There is an old saying: “language creates barriers.” Through the pure sound of an instrument or voice, one cannot lie or abuse a person. Music has to be felt and experienced. I personally admire and respect the beautiful poetry and the messages of the great Saints. But I live in the world of sound. It is only through sound that I feel the presence of (God) the Supreme Being. It is hard for an Indian classical musician to talk about the Ragas or the Talas (rhythmic cycles) in advance because the decisions of what to perform are made very near to the concert date, perhaps on the day of the concert itself! Since we don’t have a written score, it also has something to do with the accommodation of moods and emotions of an artist on that day.
Since my childhood, I always wanted my instrument (the sarod) to be able to express the entire range of human emotions…to sing, shout, whisper and cry. All the emotions! It has been a long journey so far and, by the benevolence of the heavens, the sarod has become far more expressive than it was forty years ago.
The concert will be in three segments. The first half will be a sarod duet by my sons Amaan Ali Bangash and Ayaan Ali Bangash. I feel it is very important to have a personal rapport with any artist you perform with as nature reflects in music. In this case, the coordination and sync of the two brothers adds a lot of flavor and color to the music. The second segment will feature my sarod solo where I present Ragas and folk music. After that, the last segment will be a sarod trio, where I am assisted by two sarods. This segment is an example of a living tradition that has been passed on
from father to son for generations. I take turns and interact with both young artists. We are accompanied by a Tabla (Indian two-piece drum). An interesting aspect of Indian classical music is this: here we have four people on stage, who don’t know what the others are going to do and yet we have to perform like a rehearsed orchestra! Therefore, our role as performers is really that of three people: the performer, the composer and the conductor — three in one! Along with the sarods and the tabla, there will be a travel-friendly tanpura (drone box here), which is a drone instrument, tuned to the true tonic.
—Amjad Ali Khan
Amjad Ali Khan
Amjad Ali Khan is one of the undisputed masters of the music world. Born to sarod maestro Haafiz Ali Khan, he gave his first performance at the age of six and is credited with reinventing the technique of playing the sarod. Over the course of a distinguished career spanning more than six decades, Amjad Ali Khan has won numerous accolades including a Grammy nomination, the Crystal Award by the World Economic Forum, Unicef’s National Ambassadorship and the Fukuoka Cultural grand prize. He has performed at venues the world over including Carnegie Hall and the Royal Albert Hall, as well as at the prestigious Nobel Peace Prize Concert in 2014 in Oslo, Norway. Samaagam, his first Sarod Concerto, has been performed by the Britten Sinfonia, Orchestre National d’ile de France, Orchestre d’Auvergne, London Philharmonia, Gulbenkian Orchestra, New Jersey Symphony Orchestra, Adelaide Symphony Orchestra, Welsh National Opera, Atlanta Symphony and Scottish Chamber Orchestra. He has also been a visiting professor at Stanford University, University of New Mexico and Jacob’s School of Music. He recently received coveted the Global Music Award under the
est. 1955
Professional Repairs, Appraisals & Sales
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The Transcendence of Cultural Connections Curated by Artistic Partner Rhiannon Giddens
Silkroad Ensemble: Uplifted Voices
March 28
A stunning collaboration of global instrumentation brings together distinctive and powerful musical origins within a contemporary musical tapestry.
Coming in April:
Lara Downes: This Land • April 8
Taj Mahal and Leyla McCalla: Black Banjo • April 12
Gold Medal category for outstanding contribution to the global music industry and excellence in the classical music sphere. The UN Day Concert 2018 featured Amjad Ali Khan, accompanied by his sons Amaan Ali Bangash and Ayaan Ali Bangash and the Refugee Orchestra Project. The concert dedicated to Mahatma Gandhi was themed on “Traditions of Peace and Non-violence” in the presence of António Guterres, Secretary General of the United Nations.
Amjad Ali Khan recently joined Gwen Stefani and Jon Bon Jovi for the Rock and Roll Hall of Fame Inductee and multi-GRAMMY Award winning musician Joe Walsh’s Vetsaid Charity Concert in 2020 and 2021. Amjad Ali Khan with Joe Walsh have come together with a three song EP named Prayers as a tribute to doctors and frontline workers. It’s a wonderful project where the East meets West with an idea to bring the spirit of sharing the great unique treasures of their own artistic traditions, as well as finding common ground at both the cellular and cosmic levels of two musical traditions, which are often held to be radically different.
Amaan Ali Bangash and Ayaan Ali Bangash
Cultural and musical traditions give life and purpose to the work sarod virtuosos Amaan Ali Bangash and Ayaan Ali Bangash bring to the stage. By asking audiences to listen from the heart, the brothers break through the troublesome polarities of continuity and change, tradition and innovation. In their sound features technical assuredness bolstered by elegant lyricism and joy-filled dynamism. It is music forged from a unique artistic vision that rests upon a legacy seven generations deep and includes their revered father and grandfather, Amjad Ali Khan and Haafiz Ali Khan. They have performed across the globe,
including Carnegie Hall, Kennedy Center and Royal Albert Hall.
They have collaborated with guitarist Derek Trucks, of the Allman Brothers Band, guitarist Sharon Isbin, the Chicago Philharmonic Orchestra, and the Avignon Symphony Orchestra, among others, and established themselves as soloists and as a duo, carrying forward their musical legacy in sync with both tradition and contemporary times. They performed at the Nobel Peace Prize Concert 2014 in Oslo and recently won the Gold Medal at the Global Music Awards in L.A. for their new album Peace Worshippers. More recently, they performed their father’s concerto Samaagam with the New Jersey Symphony Orchestra with conductor Xian Zhang, the Moscow State Philharmonic Orchestra, Adelaide Symphony Orchestra and Atlanta Symphony Orchestra and the Bronx Arts Ensemble.
Amaan Ali Bangash and Ayaan Ali Bangash joined Gwen Stefani and Jon Bon Jovi for the Rock and Roll Hall of Fame Inductee and multi-GRAMMY Award winning musician Joe Walsh’s Vetsaid Charity Concert in 2020 and 2021. They are joined by several iconic Los Angeles-based musicians, including drummers Stewart Copeland (of the Police) and Jim Keltner, bassists Nathan East, Leland Sklar and Abe Laboriel Sr., keyboardist Ed Roth, guitarists Davey Johnstone (Elton John’s longtime lead guitarist) and multi-instrumentalist Joe Vitale. Amaan and Ayaan have been announced as Associate Artists at Wigmore Hall, in advance of the Hall’s 120th anniversary celebrations. They join fellow new Associate Artists such as Lawrence Power and Gweneth Ann Rand and are committed to a five-year relationship with the Hall, performing at least once every season.
Amit Kavthekar
Amit Kavthekar was mentored in the art of playing tabla by the legendary Ustad Allarakha. He was also fortunate to be taught tabla intricacies by tabla maestro Zakir Hussain. Amit participates in frequent collaborations with Western classical, jazz and fusion musicians. He is a member of the Purna Lokha Quartet along with David Balakrishnan of the GRAMMY-winning Turtle Island Quartet. He is a founder member of the band Sawaari, which explores music from different parts of the world. He recently toured with Flamenco legend Al Di Meola and guitarist Sharon Isbin. Amit teaches tabla at the New England School of Music.
Ancient Lands, Waters & Forests
Schmitz Park is 53 acres of ancient forest on the traditional land of the Coast Salish peoples, including Seattle’s Duwamish and Muckleshoot Tribes.
Schmitz Park Creek Restore works to restore and celebrate Schmitz Park through creative and strategic cooperation amongst all stakeholders, including Seattle’s Indigenous Tribes, Seattle Parks & Recreation, Seattle Public Utilities, Army Corps of Engineers, Seattle and regional Elected Officials and councils. We are welcoming the support of various local news media, Southwest Seattle Historical Society, Friends of Seattle's Olmsted Parks, Birds Connect Seattle, along with local merchants and neighbors and friends of the Park.
Get Involved
The House Manager desk is located at the entrance to the lobby. Ask the House Manager or any of our ushers if you need assistance or have questions.
The Meany Hall Box Office opens one hour before the performance and is located in Meany Hall’s main entrance.
Food and beverage options are available for Meany Center events. Food and beverage is not allowed in the theater.
Restrooms are located on the lower and upper lobby levels. Lower lobby restrooms are accessible by elevator.
Lobby doors open one hour before the show and seating begins 30 minutes prior to show time. Performances begin promptly as scheduled. Out of respect for the artists and seated patrons, late seating is not guaranteed and is at the discretion of the artists and theater personnel.
Please turn off these devices before performances. The use of photographic recording equipment is prohibited. Flash cameras can be disruptive and dangerous to some artists.
Contact the Meany House Manager in the lobby immediately following the performance or at bnancy@uw.edu or 206-543-2010.
Instruments, skateboards, large bags or other egress hazards are not allowed in the seating area.
Children 5 years of age or older are welcome at all Meany Center performances.
Earplugs are available available at the House Manager desk. Booster cushions are available in the lobby of the Katharyn Alvord Gerlich Theater. Large print programs are available at the House Manager’s desk.
Wheelchair locations and seating for patrons with disabilities are available. Check with an usher for assitance in storing mobility devices near seating.
Assistive listening devices amplify and clarify sound by cutting down on ambient noise. RF (radio frequency) assistive listening systems are installed in the theater. You can check out a receiver and induction loop (can use a personal neckloop with a 3.5 mm jack) for those that use hearing aids or cochlear implants with a “T” switch or a headset for those without hearing aids. Please ask at the House Manager’s desk for assistance. Photo ID deposit is required.
In case of fire or other emergency, please follow the instructions of our ushers, who are trained to assist you. To ensure your safety, please familiarize yourself with the exit routes nearest your seat.
Smoking is not permitted on the University of Washington campus.
Possession or use of firearms, without special written permission from UW Police, is prohibited on the UW Campus.
Our accessible drop off and pick up location is inside the Central Plaza Garage (4100 15th Ave NE), at the CPG 2 Elevator Lobby. For more information: meanycenter.org/visit/directions-parking
The University of Washington is committed to providing access, equal opportunity and reasonable accommodation in its services, programs and activities for individuals with disabilities. To request these services or other accommodations at no additional cost, please contact the ArtsUW Ticket Office.
Meany Center for the Performing Arts University of Washington Box 351150
Seattle, WA 98195-1150
206-543-4882
ArtsUW Ticket Office 1313 NE 41st Street
Seattle, WA 98105
206-543-4880 or 800-859-5342
Email: ticket@uw.edu
Hours: Mon–Fri, 12 p.m.–4 p.m.
MANY THANKS TO THE FOLLOWING DONORS WHOSE GENEROUS SUPPORT MAKE OUR PROGRAMS POSSIBLE:
PRODUCER’S CIRCLE
Sven & Melinda Bitners
Sylvia & Stephen Burges
Katharyn Alvord Gerlich
Hans & Kristin Mandt
Thomas McQuaid Jr.
Gary L. Menges
Margaret Dora Morrison †
Cecilia Paul & Harry Reinert
Judy Pigott
John C. Robinson & Maya
Sonenberg
Sally Schaake Kincaid
DIRECTOR’S CIRCLE
Nancy C. Alvord †
Warren & Anne Anderson
Ira & Courtney Gerlich
Lynn & Brian Grant Family
Hsiao-Wuen & Tiffany Hon
Yumi Iwasaki & Anoop Gupta
Sunil Paul & Michelle Odom
Tina Ragen & son, Ian
Eric & Margaret Rothchild
Donald & Gloria Swisher
Richard Szeliski & Lyn McCoy
Scott VanGerpen & Britt East
Ellen Wallach & Thomas Darden
Anonymous
Manisha Advani & Rajib
Chakrabarti
Linda & Thomas † Allen
Col. Ron & Mrs. Darlene
Cheatham
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Sharon Gantz Bloome †
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Lois Rathvon †
Donald & Toni Rupchock
Craig Sheppard & Gregory
Wallace
David & Marcie Stone
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Jeff & Carol Waymack
George S. Wilson & Claire L.
McClenny
EVENT SPONSOR
Philip Anderson
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Woodworth
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McKenzie
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Raghupathy
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Anonymous
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W Kenneth LaForce
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Peterson
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Calvin
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Toby Diamond
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In Memory of Toby Faber
Kai Fujita
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MANY THANKS TO THE FOLLOWING DONORS WHOSE GENEROUS SUPPORT MAKE OUR PROGRAMS POSSIBLE:
M. Lynn Morgan
Jonathan Newmark
Margarete Noe
Anne & Bill Nolan
Amanda Overly
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Pepper
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Desiree Prewitt
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Franz
John Rochford & Nick Utzinger
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Richard Roth
Harriet Round
David & Joanne Rudo
Joseph Saitta
Werner & Joan Samson
Peter Seitel & Janet Geier
Mark & Patti Seklemian
Louise Shields
Sigmund Snelson
Sunita Sondur
Mark Taylor
Kris & Epaminondas Trimis
Linda Vangelos & Stephen Kaufer
Ann & Richard Weiner
Kai Wilhelm
Todd & Valerie Yerkes
Carol Young
Anonymous
GREAT PERFORMER
Mary Alberg
Nancy & John Angello
Robert Babs
Trudy Baldwin
Lisa Baldwin & John Cragoe
Melissa Belisle
James & Suzette Birrell
Peter Byers & Virginia Sybert
Erin Candee
Inez & Lior Caspi
Alan & Phyllis Caswell
Alan & Sandra Chait
Sandra & Dan Ciske
Libby & Leslie Cohen
Misti Davis
Annette de Soto
Karen Domino & Gene Brenowitz
Anne Eskridge
Gary Fuller & Randy Everett
Beatrice Graham
Martin Greene & Kathleen
Wright
Pamela & Stephen Gruber
Kirsten Gunn
Allison & Paulo Gutscher
Lynn Hagerman & James Hummer
Dianne Harris & Lawrence Hamlin
Robin Hendricks
Andrew Himes & Alexandra Wilber
Patricia Hynes
Robert Johnson & Heather Erdmann
Tamara & Randel Josserand
Marcia Kamin
Deborah Katz
Marcia Killien
Brandon Koeller & Kim Davis
Inge & Leslie Larsen
Margaret Levi & Robert Kaplan
Kris Lewis
Mary Louis & Robert Arnold
Gwendolyn Lundberg & David Aggerholm
Dean & Tomilynn † McManus
Christopher Miller
Sally Mizroch
Raymond Monnat Jr. & Christine
Disteche
Marion Nielson
David Owsiany & Everett Seven
James Packman & Andrew Cohen
Kathy Partida
James Phelps & Ena Urbach
Kerry Radcliffe & Michael Fox
Paula Riggert
Chester Robachinski
John & Margaret Sanders
Norman & Elisabeth Sandler
Jean Schweitzer
Michael Scupine & Kim Abson
Harold & Ruth Spalter
Sarah Stanley & Dale Rogerson
Bonnie Steele
David Stiner
Linda Stone
Ingvil Syversen
Diana Frumkes Thompson &
Richard Thompson
Michelle & Stephen Turnovsky
Raymond Tymas-Jones
Mary Vogelzang
Francine Walsh
Merle Weiss & Diana Pien
Tracey West
KEY PLAYER
Ann Adam
Jill Bader
Jonas Barklund
Michelle & Robert Berman
David Bird
Luther Black & C. Christina
Wright
Cleo Bloomquist
Helen Bodkin
Edward & Adele Bolson
Katherine Bourbonais &
Donald Ramsey
Lydia & Scott Brennan
Shannon Bryan
Kate & Jerry Campbell
Frances Carr
Connie Case
Marise Chan
Patricia Cirone
Alton & LeeAnn Cogert
Janet & William Corriston
Jean Crill
Christopher Curry
Dana Davoli & Bob Goldsmith
Lynne De Merritt
Susan Dorn & Adam Jonas
Michael Dryja
Laurie & C. Bert Dudley
Karen Elledge & Gerald Ginader
Hollie & Lynne Ellis
Michael Erickson & David Doody
L. Jay Field & Deborah Dwyer
Melanie Field & Vinaya Chepuri
Virginia Fitzhugh & Miguel Morales
Gerald Folland
Brenda Fong
Denise Fonseca
Jackie Forbes & Douglas Bleckner
William Friedman
Michael Furst
Brian Giddens & Steve Rovig
David & Anne Gilbert
George Gilman
Sara Glerum
J. David Godwin II &
Ginger Reeves
Joan & Steve Goldblatt
Harvey Greenberg
Tim Groggel & Annette Strand
Emile Haddad & Terryll Bailey
Keala Hagmann & Bur Davis
Lia & Benjamin Halasz
Keith Hawley
Bruce Horne
Nicholas Horvath
Travis Howland
Anne Huey
Lynne Iglitzin & Walter Bodle
Lowell Ing
M. Johnson
Christopher & Linda Johnson
Giff & Mary Jones
Carolyn Kast
Linda Katz
Kayla Kinnunen
James & Elaine Klansnic Jr.
Glen Kriekenbeck & Quentin King
John Lee & Pm Weizenbaum
Peter LeVeque
Kathryn Lew & Dennis Apland
Ariel Lopez & Thomas Finley
Sara Magee
Ronald & Lee Magid
Constance Mao
Janelle Martin
John Martines & Joel Gibson
Lila May
Robin McCabe
Pamela & David McDonald
Mary McGuire
Robert & Catherine McKee
Susan McNabb
Michael & Sarajane Milder
Jacquelyn & Gordon Miller
Reza & Carol Moinpour
Anne Morrison
Christine Moss
Susan Mulvihill & James Liverman
Joseph & Kay Neal
Michael Nelson &
Louise Durocher
Betty Ngan & Tom Mailhot
Marianne Nijenhuis
David Norman
Georgia Oistad
Dennis Oliver & Stephanie Prince
Robert Otto
Jae Paek
Anna Peterson
Jeanne Peterson
Gregory & Margaret Petrie
Wendy & Murray Raskind
Linda Reeder
Dennis Reichenbach
Jason Reuer
Cynthia Richardson
Carla Rickerson
Sharon Rodgers
Keith Rowe & Ann Stover
John & Janet Rusin
Jerret Sale & Rachel Klevit
Margaret Sandelin
Murl Sanders
Laura Sargent
Patricia Scott
George Sharp
Marc Sinykin
Sara Stamey & Winston Saunders
Derek Storm & Cynthia Gossett
Dawson & Lois Taylor
Kevin Thompson
Mary Thorbeck
Christian Torgersen & Emily Vason
Elena Trubnikova
John & Gail Wasberg
Robert & Andrea Watson
James Whitson & Patricia Adams
Karin Williams
Deborah Wilson & Ngan Teng
Eyva Winet
Grant Winther
Donna Wolter
Evgueni & Tatiana Zabokritski
Maxine Zemko
Reginald Zisette & Beth Gendler
Anonymous
Julia Adams
Adrianne Allen
Suzanne & Marvin Anderson
Dean Arnold
Samia Ashraf & Lewis Davidson
Lauret Ballsun
Holly Bays
Dana & Rena Behar
John Beierle
G. Carter Bentley & Lynda Emel
Thomas Bird
Jane Blackwell
Wayne Briscoe
Virginia Burdette & Gary Wieder
David Butterfield & Janice
DeCosmo
Dennis Calvin
Joan Casey
Carol Chellino & Robert Andrews
Thomas & Susan Colligan
Merrilee Conway & James
Young III
Trisha Davis & Eric Muller
Alban Dennis
Marsha Devine
Kathleen Dickeman
Janice Dilworth
Cliff Eastman & Leah Kleinman
Sally & Stephen Edwards
Gaylord Escalona
Nicole Faghin & David Spence
Molly Flemming
Bryant Fujimoto
Matthew Gani
Dolores Gill Schoenmakers
Harold Gillies
Jerry & Lyn Grinstein
Stephen Haeck
Susan Hamilton & Timothy Bates
Michael Harnisch
Erin Hawley
Maryetta & Tina Healy
Judith Herrigel
Katharine & Frank Holland
Lynn Holmes
Greg Hope & Sandra Hunt
Leslie Jacobson & Barbara Barnes
Natarajan Janarthanan & Ponni Rajagopal
Barbara & P. Redmond Johnston
Erica & Duane Jonlin
Margaret Kenrick
Linda Kent & James Corson
Lee Klastorin & Ralph Walden
Roger Kohn
Kent Koprowicz
Susan Krom
Elizabeth Leo
James & June Lindsey Jr.
Louise Lipnick
Robin Luke & John Casseday
Donna McCampbell
Meredith McClurg
Brian McHenry
Tim McTigat
Angela Medina
Sharon Metcalf & Randall Smith
Sheree Miller
Charles & Rene Murry
Matthew Nugent & Andrea Hanses
Shyril O’Steen
Jennifer & Robert O’Twomney
Jack Percival
Sandra Piscitello
Ann Rael
James & Ruth Raisis
Meryl Retallack
Tom & Nancy Roth
Eric Schmidt & Kristin Henderson
Lika Seigel
Dennis Shaw & Julie Howe
Luciana Simoncini & Todd
Scheuer
Mani & Karen Soma
Hank & Dorothy Stephens
Nancy Stewart
Myrna & Donald Torrie
Emily Transue
Bruno & Yvonne Vogele
Greta Ward
Lucy & Larry Weinberg
Robert Wood
Janice Yamauchi
Robert Zauper
Deceased †
This listing includes donors from July 1, 2023 to June 30, 2024.
MANY THANKS TO THE FOLLOWING INDIVIDUALS FOR SUPPORTING THE FUTURE OF MEANY CENTER THROUGH PLANNED GIFTS AND CONTRIBUTIONS TO OUR ENDOWMENT:
Planned Gifts
Linda & Thomas † Allen
Cathryn Booth-LaForce
Wimsey J.N. Cherrington
Cheryl Redd-Cuthbert & Richard Cuthbert
Bill & Ruth Gerberding †
Michael & Nancy Kappelman
Matthew & Christina Krashan
Teresa Lawson
Tomilynn † & Dean McManus
Cecilia Paul & Harry Reinert
Lois Rathvon †
Dave & Marcie Stone
Donald & Gloria Swisher
Lee & Judy Talner
Ellen J. Wallach
Anonymous
Ellsworth C. & Nancy D. Alvord
Endowed Fund
Estate of Ellsworth C. Alvord*
Kathleen Dickeman
Arts Al!ve Student Fund for Exploring the Performing Arts
Lowell Douglas Ing
Susan Knox and Weldon Ihrig*
Mina Brechemin Person Endowed Fund
Estate of Mina B. Person*
Sylvia & Steve Burges Meany Center for the Performing Arts Endowment
Sylvia & Stephen Burges*
Nancy & Eddie Cooper Endowed Fund for Music in Schools
Kei Schafer
Marcie & Dave Stone*
Katharyn Alvord Gerlich Endowment for Artistic Excellence
Katharyn Alvord Gerlich*
Elaine & Ernest Henley Endowment for Classical Music
Mary Johnke Alberg
Anne Futterman
Joel Gibson & John Anthony Martines
Elaine & Ernest Henley*
Dr. Karen Henley & Dr. Laurie Goldman
J. Randy and Gwen Houser
Catherine & David Hughes Asian Programming Endowment
Catherine & David Hughes*
Matt Krashan Endowed Fund for Artistic & Education Excellence in the Performing Arts Matthew & Christina Krashan
Lee & Judy Talner
(*Multiple Founders)
Gary L. Menges Endowment for Chamber Music and Dance
Gary Menges*
Live Music for World Dance Series Endowed Fund
Cecilia Paul & Harry Reinert*
Meany Center Education Endowment
David Aggerholm & Gwendolyn Lundberg
Suzette & James Birrell
Jill Hanley Conner
Sandra Piscitello
(*Multiple Founders)
Meany Center Programming Endowment Fund
(*Multiple Founders)
Margaret Dora Morrison Meany Endowed Fund
Margaret Dora Morrison*†
Elizabeth Rennebohm Music
Performance and Education Memorial Endowment
Roger Kohn
Kristi Rennebohm Franz & Eldon H. Franz*
Gloria Wilson Swisher Music
Education & Outreach Endowment
Julia Adams
John and Nancy Angello
David Olmsted Bobroff
Jonathan Bridge
Paul Crawford
Kristin Henderson
Karen L. Koon
Jonathan Newmark
Kerry Radcliff e & Michael Fox
Alan & Susan Sherbrooke
Deborah Wilson & Ngan Chong Teng
George S. Wilson & Claire L. McClenny
* Endowment founder
† Deceased
Note: Dollar amounts rounded to the nearest thousand.
This listing includes endowment founders and endowment donors from July 1, 2023 to June 30, 2024. For more information on how to make a gift through your will or trust, or to name Meany Center for the Performing Arts as a beneficiary of your retirement plan or insurance policy, please call 206-616-6296 or visit uwfoundation.org/giftplanning.
“If I have seen a little further, it is only by standing on the shoulders of Giants.”
— BERNARD OF CHARTRES
From Haydn to Mozart to Beethoven to the Beatles, each generation owes its progress to the ones that came before.
You, too, can be a giant.
CONSIDER A GIFT to the Meany Center through your will, trust or retirement plan, and help future generations of artists and arts lovers see a little further by standing on your shoulders.
Contact:
Cristi Benefield, Director of Philanthropy, Meany Center 206-616-6296
cristi@uw.edu meanycenter.org/donate
WE ARE DEEPLY GRATEFUL TO THE FOLLOWING CORPORATIONS, FOUNDATIONS, GOVERNMENT AGENCIES AND CAMPUS COMMUNITY PARTNERS WHOSE GENEROUS SUPPORT MAKE OUR PROGRAMS POSSIBLE:
$25,000 AND ABOVE
4Culture
Classical King FM 98.1*
National Endowment for the Arts
Nesholm Family Foundation
$10,000-$24,999
ArtsFund
Microsoft Corporation
New England Foundation for the Arts
Peg and Rick Young Foundation
Seattle Office of Arts and Culture
The Robert Craft Igor Stravinsky Foundation
UW College of Arts and Sciences/
Jones Fund
University Inn*
Watertown Hotel*
UP TO $9,999
ArtsWA
College Inn Pub
Creative West
Ladies Musical Club
Macrina Bakery*
Pagliacci Pizza*
UW Graduate School
MATCHING CORPORATE GIFTS
Apple Inc.
Google, Inc.
IBM Corporation
Intel Corporation
Merck Company Foundation
Microsoft Corporation
Nordstrom
Starbucks Coffee Company
The Boeing Company
T-Mobile USA, Inc.
CAMPUS AND COMMUNITY PARTNERS
ArtsUW
UW Department of Dance
UW School of Drama
UW School of Music
UW Alumni Association
Daybreak Star Indian Cultural Center
Early Music Seattle
Henry Art Museum
Ladies Musical Club
Langston
NW Film Forum
NW Folklife
On the Boards
Seattle Public Schools
Seattle Sacred Music and Art
Unmute the Voices
Velocity Dance Center
Wa Na Wari
* full or partial In-kind donation
Join an impressive roster of companies of all sizes that support Meany Center, its mission, and its performances. Sponsors receive significant recognition throughout the season and an array of benefits catered to your organization’s goals. For more information, please contact the Meany Center Philanthropy Department at 206-685-2819.
Michelle Witt, Executive and Artistic Director
Sarah Wilke, Senior Director for Planning and Operations
Mahmoud Jaber, Assistant to the Executive and Artistic Director
Michelle J. Ward, Director of Finance
Yevgeniy Gofman, Accountant
Eric Schielmann, Fiscal Specialist
Elizabeth C. Duffell, Director of Artistic Engagement
Kristen Kosmas, Engagement Manager
Sara Jinks, Artist Services Coordinator
Alycia Zollinger, Artist Services Assistant
Gloria Gonzalez, Green Room Student Assistant
Cristi Benefield, Director of Philanthropy
Marianna Clair, Philanthropy Officer
Francesco D’Aniello, Philanthropy Coordinator
Kim Davis, Grants Officer
Bella Preciado, Philanthropy Student Assistant
Arthur Grossman, Philip D. Lanum, Event Photographers
Teri Mumme, Director of Marketing and Communications
Cynthia Mullis, Marketing and Communications Manager
Michaela Marino, Senior Digital Marketing Manager
Ana Alvira, Graphics Specialist
Yvonne Tran, Graphic Design Assistant
Amber Sanders, Tessitura Administrator
Tom Burke, Technical Director
Brian Engel, Lighting Supervisor
Juniper Shuey, Stage/Video Supervisor
Matt Starritt, Audio Supervisor
Trevor Cushman, Studio Theatre Stage Technician
Rosa Alvarez, Director of Patron Services
Colette Moss, Assistant Director of Patron Services
Marchette DuBois, Patron Services Associate
Keeli Erb, Patron Services Associate
Liz Wong, Patron Services Associate
Cathy Wright, Patron Services Associate
Kai Arun, Melia Blumenfeld, Maggie Hedrick, Jingyun Li, Yokabed Ogbai, Andrea Yu, Ticket Office Student Assistants
Nancy Hautala, Director of Audience Services
Taylor Freeman, Lindsay Hanlon, House Managers
K Bailey, Joan Swartwood, Dominic Levenseller-Watland Lead Ushers
Ushers
Cristian Chavez-Reyes / Kaipo Colston / Jayda Fitch / Kaylee
Flawau-Pate / Carter Grose / Noor Hasan / Maleekah Khan / Heejin Kim / Jonah Miyashiro / Chloe Osborn / Brianna Pak / Josha Paonaskar / Belle Pearson / Carlos Salinas / Sebastian Shacteau / Harry Schuckman
Catering by Bay Laurel