Seven Days of Opening Nights January-April 2013 Program

SEVEN DAYS OPENING NIGHTS OF

january 2013 - april 2013

sevendaysfesitval.org

FLORIDA STATE UNIVERSITY

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would like to gratefully acknowledge its Sponsors and Members, whose generosity makes this fine and performing arts series possible. Community support is the cornerstone of Seven Days of Opening Nights, and these individuals, businesses, institutions of higher learning, governmental agencies, and grantors have taken a personal stake in the success of performing arts and educational outreach in our community.

For more information about becoming a Seven Days of Opening Nights Sponsor or Member, please call 850-644-7670, visit SevenDaysFestival.org, or email us at SevenDays@fsu.edu.

PLATINUM SPONSORS

F SU L i c e n s e P l a t e

GOLD SPONSORS

Michael and Judy wilson sheridan

SILVER SPONSORS FLORIDA BLUE

Dr. Charles and Amy Newell and Dr. Emily Ashmore

BRONZE SPONSORS

V

L

P

Vezina, Lawrence & Piscitelli, P.A.

Construction & Public Contracts Attorneys

GRANT SPONSORS

2012-2013 festival PROGRAM

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Table of CONTENTS DEPARTMENTS 83 Sponsors 84 Festival Schedule 85 Director’s Welcome 10 Members 81 Education 83 Membership Info

Zerbe

Thompson PERFORMERS 13 Anthony Zerbe, Jan. 19 17 Richard Thompson, Jan. 23 19 Hilary Hahn, Feb. 7 26 Jazz at Lincoln Center with Wynton Marsalis, Feb. 8 35 PRISM, Feb. 9

Hahn

Marsalis PRISM

Strayed The Chieftains

Preservation Hall Jazz Band & the Del McCoury Band

The Actors’ Gang

Kyle Abraham 4 seven days of opening nights

37 Cheryl Strayed, Feb. 10 39 The Chieftains, Feb. 11 43 The Actor’s Gang, Feb. 12 49 American Legacies: Preservation Hall Jazz Band & the Del McCoury Band, Feb. 13 50 Kyle Abraham, Feb. 14

Table of CONTENTS Peters

Assad Brothers 57 B ernadette Peters, Feb. 15 60 SĂŠrgio and Odair Assad, Feb. 16/17 63 Carolina Chocolate Drops, Feb. 16 66 Marcus Roberts Octet: New Orleans Celebration: The Music of Jelly Roll Morton, Feb. 17 69 Geoffrey Gilmore, Feb. 18

Marcus Roberts Octet

Carolina Chocolate Drops

Geoffrey Gilmore

Creole Choir Second City of Cuba Touring Company John Williams and John Etheridge

Maestros inConcert: Shivkumar Sharma & Zakir Hussain

70 C reole Choir of Cuba, Feb. 25 72 Second City Touring Company, Mar. 5/6/7 76 John Williams and John Etheridge, Mar. 23 78 Maestros in Concert: Shivkumar Sharma & Zakir Hussain, Apr. 10

2012-2013 festival PROGRAM

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DIRECTOR’S WELCOME

W

elcome to the 15th anniversary of Florida State University’s Seven Days of Opening Nights – the RUBY anniversary.

The 2012-2013 season truly is a gem, from award-winning choreographer and dancer Emily Johnson premiering her work “Niicugni” (Listen) in September to guitarist Richard Thompson making his Tallahassee debut, the Jazz at Lincoln Center Orchestra with Wynton Marsalis performing on its 25th-anniversary tour, and Tribeca Enterprises’ chief creative officer, Geoffrey Gilmore, gracing our community with another “Movie You Haven’t Seen,” to name a few.

These artists not only grace our stages, they enrich our community by engaging in educational outreach. From master classes to lectures, private lessons and question-and-answer sessions, more than 50 percent of Seven Days of Opening Nights’ performers are presenting free educational opportunities to university, college and K-12 students in Tallahassee.

We wouldn’t be able to present the world-class performances of music, theater, dance, film and creative writing, as well as provide free educational outreach programs, if it weren’t for our generous sponsors, grantors and ticket buyers. It is the community’s support that makes Seven Days of Opening Nights an annual success.

If you are a sponsor or a member of Seven Days, thank you so very much! If you are not, please consider becoming a part of the premier performing arts series in Northwest Florida.

Your support will assist in our continuing mission to bring exceptional artistic experiences to our community through performance and educational outreach. Ask a Seven Days representative at one of the performances or turn to the back page of the program for more information.

Thank you again for your support of Seven Days of Opening Nights and for making my first season as executive director a pleasure. We look forward to many more years of world-class fine and performing arts in Tallahassee.

All the best,

Christopher J. Heacox Executive Director Seven Days of Opening Nights

SEVEN DAYS OF

OPENING NIGHTS FLORIDA STATE UNIVERSITY

Dr. Eric J. Barron, President Office of University Relations

Liz Maryanski, Vice President for University Relations EXECUTIVE DIRECTOR

Christopher J. Heacox Carla DeLoach, Development Officer Leslie Heffner, DM, Program Coordinator Lindsay Fyffe, Education Intern Lauren Haines, Development Intern Victoria Shamas, Programming Intern Laurie Tabachnick, Education Intern CREATIVE SERVICES

Tony Archer, Director Erin Hollen, Multimedia Design Specialist Rodney Johnson, Web and New Media Specialist Marc L. Thomas, Multimedia Design Specialist UNIVERSITY RELATIONS

Pat Campbell, Event Coordinator OFFICE OF THE PRESIDENT

Genevieve Scott, Administrative Assistant FINE ARTS TICKET OFFICE

Sarah Goodson, DIrector Brandon Belote, Manager Ashley Kerns, Associate Director of Patron Services ADVISORY BOARD

Michael Pate, Chair Wendy Abberger Ruth Akers Carmen Butler Jodi Chase Gus Corbella Johanna Money John Schultz Marjorie Turnbull Ed West Rep. Alan Williams 2012-2013 festival PROGRAM

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2012-2013 festival PROGRAM

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2012-2013 SEASON Seven Days of Opening Nights serves as Tallahassee’s premier fine and performing arts series. Not only is Seven Days a part of the community’s identity, it enhances the quality of life and economic viability of Leon County and the surrounding areas. Members play an integral role in supporting music, film, dance, theater, literature and educational outreach in our community. Support Seven Days of Opening Nights by becoming a member today.

PRODUCER’S CIRCLE Mikey Bestebreurtje and Wilson Baker Larry and Jo Deeb Alisa S. Ghazvini Carol Gregg and Kathy Villacorta Lee Hinkle Ken Kato and Nan Nagy Bernadette Kearney Nancy Linnan and Jim York Geof Mansfield Dr. David and Cheri Paradice Mike and Judy Pate Jim and Betty Ann Rodgers Janet R. Thornton President Eric and Molly Barron

PARTNER LEVEL Dr. Ray and Jann Bellamy Bryant Miller Olive Gus and Tanya Corbella Dr. Sandy D’Alemberte Bill and Caryl Donnellan Lisa Foran Paige Harbaugh and Tara Wah Mike and Debbie Huey Bill and Bunnie Hunter Warren and Faith Jones Lawton and Beth Langford James R. Lowe John and Barbara Mahoney Novey Law - Marital and Family Lawyers 10 seven days of opening nights

Jan and Mark Pudlow Natalie Radford Sherrill W. and James W. Ragans Regional Therapy Services, Inc. Josh and Wendy Somerset Drs. Jayne and Fred Standley Charles and Susan Stratton Marjorie Turnbull Malte and Pam von Matthiessen

FRIEND LEVEL Wendy and Lester Abberger Connie Sauer-Adams and Len Adams Jean Ainsworth Andre and Eleanor Connan L. Thomas and Lynn W. Cox Ken and Marilynn Evert Linda Figg and Richard Drew Barbara R. Foorman Elenita Gomez and Jack Brennan Barbara Hamby and David Kirby Don Hansard and Nada Marz Christopher and Claire Heacox Lampl Herbert Consultants Inc. Duane E. Jacobs Mimi Jones and Bill Brubaker James Kimbrell and Jami Balkom Sara Holland Korte Liz and Bob Maryanski Susan and Jim Mau Jonathan O’Leary and Maddie Rodnite

Brooks and Almena Pettit David and Joanne Rasmussen Lanue Ryan Tallahassee State Bank Phillip Y. Tomberlin, Jr. John VanGieson Steve Moore Watkins III, Esq. Teresa Beazley Widmer David and Mary Jean Yon

ASSOCIATE LEVEL Bernard Abbott Jim Alves and Yvonne Gsteiger Charles and Sharon Aronovitch Jerome and Dr. Alicestine Ashford Greg and Sharon Beaumont Richard and Alecia Bist Nancy Bivins Ruth S. Brown Judge Stephen T. and Yvonne T. Brown John and Jenny Bryant Dominic and Debbie Calabro Frances Carter and David Folsom Kathryn Karrh Cashin Jodi and Charlie Chase Terry and Linda Cole Bill and Carole Cooper Russell and Janis Courson Kathleen Daly and Reinhart Lerch Liz Dameron Bonnie and Dan Davis

Greg and Carla DeLoach Trudy and Bob Deyle Bob and Ellie Disbennett Nancy and Robert Fichter Barbara Ann and Wayne Frederich Drs. Edward Gray and Stacey Rutledge Kathryn L. Greene Linda Harkey Tracy Hatch Myron and Judy Hayden Charlotte Hicks, Debbie Taggart and Coleman Zuber Lori Holcomb and Robert Fingar Debby Kearney Matthew Keelean and Diana Kampert Sandy and Jessie Kerr Kelly and Rip Kirby Jon S. and Jean L. Kline Alexandra Kruse Karen Ladzinski Jennifer and Jay LaVia Bill and Dottie Lee Charles H. Lester Ralph and Sue Mancuso Marge Masterman Anonymous William and Donna McHugh Raymond and Rhonda Merritt Michael Mesler and Susan Potts James A. Moorer Karen Morris Nola Munasifi Chris New John Newton and Mignon Deshaies John Dozier and Martha Paradeis Barbara J. Pariente Jay and Stephanie Pichard Leisa D. Pichard David and Jo Ann Prescott and Karen and Joey George Kenneth Reckforth Terence and Marilyn Reisman Jo Anna and Michael Rosciam Kathryn E. Scott Dr. Richard Senesac Greg and Kim Shafer Bill and Jane Simpson Greg and Dawn Springs Del Suggs and Denice Jones

Warren W. and Paula E. Sutton John Taylor and Cynthia Tie David Thead Blan Teagle, Lili Quintiliani and Janice Fleischer Kenny and Linda Walker Kip and Bev Wells Bill West Palmer and Leslie Williams Stanford Williams Wendy and Gary Williams

DEBUT LEVEL Eric J. and Sherri Boyd Amundson Bob and Drin Apgar Nick and Lorina B. Baldwin Carol and Brian Berkowitz Libby and Sid Bigham Ronald and Genevieve Blazek Don and Carol Boebinger Bill and Nolia Brandt Mary Lou Carothers Susan Cason Pete and Bonnie Chamlis Joe and Donna Chiaro Mary Coburn Nancy Cordill Marie E. Cowart Bruce and Ellen Culpepper John C. Davis and Alice Vickers Marty and Bruce Dawkins Carol DeLoach Pam Doffek Barry Faulk Grayal Earle Farr H. Matthew Fuqua John M. Geringer Greg and Angela Gibbs Julz and Bill Graham Dave and Margaret Groves Laurie Grubbs Sheldon A. Gusky and Kristin S. Pingree Elizabeth Harris Donna H. Heald Dr. Leslie Heffner and Mr. David Okerlund Jon and Dottie Hinkle Beverly Holmes Jaye and David Houle

Jeanette B. Hull Susan Hurlbut Cindy and Joe Johnson Amy M. Jones Davia Kramer Patterson Lamb Charles and Dian LaTour Doug Mann Dr. Yvonne E. McIntosh Henry and Tammy Miller Valerie and Steve Mindlin Karen Moon Michael and Judi Moss Charles W. Murphy Cheryl Naylor Dan and Lesley Nolan Ed and Linda Oaksford Steven E. Obrecht Shane O’Neill Jim O’Rourke and Helen Burke Cindy and Jim Parry Thomas G. Pelham Diana Picklesimer LuMarie Polivka-West Beth Anne Posey Elizabeth Pulliam and Stephen Hodges Quarter Moon Imports Jack Quine and Bettye Anne Case David Radcliffe Dawn C. Randle Dean and Kellie Ridings Stuart Riordan Herb and Rowe Rogero Claudia and John Scholtz Nancy and Mike Sheridan Mr. and Mrs. Charles Shields Carey Smith Lawrence Stevenson Lon Sweat Dan and Robin Thompson Marianna Tutwiler Craig and Jessica Varn Dan and Denise Vollmer Arthur R. Wiedinger Jr. Palmer Williams Marilynn Wills Ken Winker Nancy Wright Calvin and Rose Zongker 2012-2013 festival PROGRAM

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This powerful rock musical adaptation of the controversial 1891 German play tells the story of a group of teens coming of age in a repressed world, exploring hormones, sexuality, and love.

12 seven days of opening nights

Feb. 22-March 3, 2013 The Fallon Theatre For Tickets: 850.644.6500 • tickets.fsu.edu

SAT 1/19 IT’S ALL DONE WITH MIRRORS

...Damn Everything But the Circus

8:00 P.M. RICHARD G. FALLON THEATRE

The poetry and prose of E.E. Cummings Performed Without Intermission “It’s All Done with Mirrors” is presented by arrangement with Poetry in Motion and with permission of Liveright Publishing

A

nthony Zerbe is recognized as one of the country’s most versatile character actors with extensive credits in film, television and theater. His feature films include The Matrix Reloaded and Matrix Revolutions, Star Trek Insurrection, True Crimes, The Touch, License to Kill, See No Evil – Hear No Evil, Mismatch, The Dead Zone, Farewell My Lovely, The First Deadly Sin and Who Will Stop the Rain. His series of classic releases include The Turning Point, Rooster Cogburn, The Laughing Policeman, The Parallax View, Papillon, The Life and Times of Judge Roy Bean, The Omega Man, The Liberation of L.B. Jones,

They Call Me MISTER Tibbs!, The Molly Maguires, Will Penny and Cool Hand Luke. He starred as Teaspoon Hunter in the television series The Young Riders and received an Emmy Award for his performance as Lt. K.C. Trench in the popular series Harry-O (with David Janssen). He has been a guest star in numerous television series from vintage classics such as Gunsmoke, Mission Impossible, Bonanza, Colombo and Murder She Wrote, to Frasier and Judging Amy. His mini-series and movies of the week appearances include Asteroid, On Seventh Avenue, One Police Plaza, Treasure Island: The Adventure Begins, Ari: The Richest Man In The World, Once and Eagle, 2012-2013 festival PROGRAM

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North and South/Book II, Dream West, How the West Was Won and Centennial. His Broadway appearances include The Little Foxes, Terra Nova, Solomon’s Child and Moon Besieged.

For five seasons Zerbe was in residence at The Old Globe Theater, where his roles included Coriolanus, Iago, Richard III and Macbeth. He also played Iago in the Mark Taper Forum production of Othello with James Earl Jones. Zerbe’s appearances at the Taper also included the American premieres of The Trial of the Catonsville Nine and Brian Friel’s Crystal and Fox. Other residencies include the Arena Stage in Washington, D.C., the Stratford Theatre Festival in Canada, and The Theatre of the Living Arts in Philadelphia.

Appearances in resident theaters include productions at

TALLAHASSEE magazine

The art of

acting

honed to a

fine point.

– Los Angeles Times

the Milwaukee Repertory Theater, Long Wharf Theatre and the Huntington Theatre in Boston. In the latter two, he played the title role in Cyrano de Bergerac. Zerbe also was the artistic director of REFLECTIONS: A New Plays Festival in Rochester, N.Y. for five years. He toured extensively with the late actor Roscoe Lee Browne in their critically acclaimed production of Behind the Broken Words. The production premiered at the Mark Taper Forum, played Off Broadway and subsequently in more than 200 theaters across the country, including The Denver Center Theatre Company and A.C. T. He is currently working on productions of Lime Creek Christmas, which he adapted from the novel Lime Creek by Joe Henry and which he performed with John Denver and more recently with Garth Brooks.

EDWARD ESTLIN CUMMINGS (1894-1962) was a painter, essayist, author and playwright. His body of work encompasses approximately 2,900 poems, two autobiographical novels, four plays and several essays, as well as numerous drawings and paintings. Along with T.S. Eliot, William Faulkner and Ezra Pound, he was one of the progenitors of the modern literary movement, manipulating language and typology to present poetry on the page in a radically new way. “He was everything an American poet should be: he was fiercely independent, unsparingly amorous, joyfully Bohemian, dourly patriotic and engagingly eccentric. He was our kind of genius: he was P.T. Barnum, Charles Ives, Frank Lloyd Wright, Louis Armstrong, Robert Goddard, Buster Keaton and Frank Zappa.” (America’s Originalist Poet, Fred Chappell).

RECEIVE SPECIAL TEXT MESSAGING OFFERS FROM AN EXCLUSIVE CLUB OF LOCAL VENDORS. GAIN ACCESS TO EVENTS, PROMOTIONS, INVITATIONS, OFFERS AND MORE.

TEXT TMAG TO 90947 OR VISIT TALLAHASSEEMAGAZINE.COM OR SCAN THE QR CODE TO THE RIGHT FOR MORE INFORMATION. 2012-2013 festival PROGRAM

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Michael &Judy Wilson Sheridan Sponsors of the Richard Thompson Concert Proudly Support Seven Days of Opening Nights and The Performing Arts in the Tallahassee Community

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SPonsored by: MICHAEL & judy wilson Sheridan

PROGRAM TO BE ANNOUNCED FROM THE STAGE

R

ichard Thompson was born in West London, surrounded by a family with wide musical tastes.

Counted among his early influences are Django Reinhardt, Fats Waller, Les Paul and Jimmy Shand. Flip the coin from his father’s jazz record collection to the early rock ‘n’ roll music made available to him through his older sister, including Buddy Holly and Jerry Lee Lewis’ “Great Balls of Fire,” and the eclectic diversity of his multi-generational career becomes clear.

Many musicians peak by age 30, but not Thompson. The recipient of BBC’s Lifetime Achievement Award and named

by Rolling Stone magazine as one of the Top 20 Guitarists of All Time, Richard Thompson is also one of the world’s most critically acclaimed songwriters. Robert Plant, REM, Elvis Costello, Los Lobos, David Byrne, Del McCoury, Bonnie Raitt and many others have recorded his work. Yet this may be the most prolific period of Thompson’s astonishing career; his live-tour CD “Dream Attic” was nominated for a Grammy Award in the category of Best Contemporary Folk Album. In 2010, Thompson was curator of London’s prestigious 2010 Meltdown Festival at South Bank Centre, and for his service to music he was named on the Queen’s 2011 New Year Honours List as an Officer of the Order of the British Empire (OBE).

WED 1/23 7:30 P.M. RUBY DIAMOND CONCERT HALL In 2011, Thompson received an Honorary Degree of Doctor Honoris Causa (DHC) from the University at Aberdeen (Scotland) for his exceptional and distinctive contribution to contemporary music.

From his teenage years as a founding member of the pioneering British band Fairport Convention, through the enduring partnership of folk-rock duo Richard and Linda Thompson, to more than 25 years as a solo artist, Thompson’s massive body of work includes 40 albums and numerous film soundtracks (including Werner Herzog’s documentary “Grizzly Man”). Thompson has earned many of the industry’s most coveted awards, including the Mojo Les Paul Award, the Orville H. Gibson Award (guitar) and an Ivor Novello Award (songwriting). His genre-defying mastery of both acoustic and electric guitar, along with his dizzying energy and onstage wit, continue to earn Thompson generations of new fans and a place as one of the most distinctive and iconoclastic virtuosos in rock history.

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THU 2/7 7:30 P.M. RUBY DIAMOND CONCERT HALL

Violin Sonata No. 1 in A Major, Op. 13 (1876) Gabriel Fauré (1845-1924) I. II. III. IV.

Allegro molto Andante Allegro vivo Allegro quasi presto

Encores 3rd Sigh, Antón García Abril (b. 1933) Encore, Richard Barrett (b. 1959) Encore, Du Yun Encore, Valentin Silvestrov (b. 1937)

Sonata No. 4 in F Major, Op. 5 (1700) Arcangelo Corelli (1653-1713) V. VI. VII. VIII.

Adagio Allegro Vivace Adagio

Encore, Mason Bates (b. 1977) Light Moving, David Lang (b. 1957) Memories, Michiru Oshima (b. 1961) Encore, David del Tredici (b. 1937)

Chaconne from Partita No. 2 in D Minor (BWV 1004) Johann Sebastian Bach (1685-1750) 2012-2013 festival PROGRAM

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iolinist Hilary Hahn’s probing interpretations, technical virtuosity and commitment to new music have brought her love of classical music to a diverse audience. At age 32, her international fame and recognition, including two Grammy awards, multiple Diapason “d’Or of the Year” and “Preis der deutschen Schallplattenkritik” prizes, seven Echo awards, and the 2008 Classic FM / Gramophone Artist of the Year, are a testament to her talent and drive.

Hahn begins her 2012-2013 season with performances throughout South America, Spain and Scandinavia. She appears with the London Philharmonic Orchestra and the Dallas Symphony playing Mozart’s Violin Concerto No. 5 and Korngold’s Violin Concerto in D Major, respectively. She will tour Europe with the Dallas Symphony later in the season.

In January, Hahn will embark on a series of European recitals of Fauré, Bach, Corelli, and pieces from her multi-year “In 27 Pieces: the Hilary Hahn Encores” project. February will see Hahn bow in a number of U.S. cities, including San Francisco, Washington, D.C., and Boston. Hahn’s season continues with Sibelius’ Violin Concerto in D Minor with the Seattle Symphony and Korngold’s Violin Concerto with the Philadelphia Orchestra in April and May. She will tour Japan in May and finish her regular season with appearances with the Vienna Philharmonic and the Spanish National Orchestra.

In the 16 years since she began recording, Hahn has released 14 feature albums on the Deutsche Grammophon and Sony labels, in addition to three DVDs, an Oscar-nominated movie soundtrack, an award-winning recording for children, and various compilations. With a repertoire as diverse as Bach, Stravinsky, Elgar, Beethoven, Vaughan Williams, Mozart, Schoenberg, Paganini, Spohr, Barber, Bernstein, Ives, Higdon, Tchaikovsky and others, her recordings have received every critical prize in the international press, and have met with equal popular success. All of her recordings have debuted in the top 10 of the Billboard classical chart. A concerto recording that paired Schoenberg and Sibelius spent 23 weeks on the Billboard classical chart. This acclaimed album brought Hahn her second Grammy: the 2009 Award for Best Instrumental Soloist Performance with Orchestra.

Her first Grammy win came in 2003 for her Brahms and Stravinsky concerto. The recording was released in September 2010. In October 2011, Hahn presented “Charles Ives: Four Sonatas” with pianist Valentina Lisitsa.

Hahn’s most recent album, “Silfra,” is a collaboration with prepared-pianist Hauschka. The record was produced by Valgeir Sigurðsson and was entirely improvised by the two performers. Her ongoing commissioning project, “In 27 Pieces: The Hilary Hahn Encores,” involves more than two dozen of today’s top composers writing new short works for violin and piano. A blind contest for the 27th composer drew 400 entries. With the premieres of the 27 final pieces, Hahn has appeared on the covers of all major classical music publications and has been featured in mainstream periodicals such as Vogue, Elle, Town and Country and Marie Claire.

In 2001, she was named “America’s Best Young Classical Musician” by Time. And in January 2010, she appeared as guest artist, playing Bartok and Brahms, on “The Tonight Show with Conan O’Brien.”

An engaging personality, Hahn is an avid writer and interviewer, posting journal entries and information for young musicians and concertgoers on her website, hilaryhahn.com. In video, she produces a YouTube channel, youtube.com/hilaryhahnvideos, and serves as guest host for the contemporary classical music blog Sequenza21.

Elsewhere, her violin case comments on life as a traveling companion on Twitter and Instagram at @violincase.

In addition, Hahn has participated in a number of other musical projects and collaborations. She has made guest appearances on two albums by the alt-rock band …And You Will Know Us By The Trail of Dead and on “Grand Forks” by Tom Brosseau, and she has collaborated and toured with folk-rock singer-songwriter Josh Ritter.

Hilary Hahn appears by arrangement with IMG Artists LLC, 152 W. 57th Street, 5th Floor, New York, NY 10019. (212) 994-3500 Hahn’s recordings are available on Deutsche Grammophon and on Sony Classical/Sony BMG Masterworks.

www.hilaryhahn.com 2012-2013 festival PROGRAM

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11/15/12 5:09 PM

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ianist Cory Smythe is an inventive improviser, chamber musician and performer of contemporary classical music. He has performed internationally both as a soloist and a chamber musician at the Darmstadt International Summer Festival for New Music, the Bang on a Can Marathon in New York City, Ravinia’s Rising Stars Series, and Mostly Mozart at Lincoln Center. He was recently selected by composer John Adams to perform the keyboard part in “Nixon in China” in the Metropolitan Opera’s staging of the work.

As a core member of the International Contemporary Ensemble, Smythe has presented numerous premieres, collaborated in the development of new works, and worked closely with composers Philippe Hurel, Dai Fujikura, Steve Lehman, Magnus Lindberg, Kaija Saariaho, Mathias Pintscher and Alvin Lucier, among many others. A forthcoming recording by ICE (on Mode Records) will feature Smythe as

the piano soloist in Iannis Xenakis’s “Palimpsest.” Smythe has also been a featured guest and soloist with many new music ensembles throughout the United States, including Milwaukee’s Present Music, the Boston-based Firebird Ensemble, the Chicago Symphony Orchestra’s MusicNOW, and the San Francisco Contemporary Music Players. A prolific improviser, Smythe has worked in collaboration with artists Greg Osby, Tyshawn Sorey and Anthony Braxton. His recent performance of the latter’s seminal “Composition No. 30” has been released on the composer’s New Braxton House label and was described by The Wire magazine as “startling… gorgeously dense” Smythe’s debut album as improviser/composer, “Pluripotent,” has garnered praise from New York Times critic Steve Smith as well as jazz pianist Jason Moran, who called it “hands down one of the best solo recordings I’ve ever heard.” “Pluripotent” is available for free download on his website.

Smythe holds degrees in classical piano performance from the music schools at Indiana University and the University of Southern California, where he studied with Luba Edlina-Dubinsky and Stewart Gordon, respectively. He currently resides in New York City.

corysmythe.bandcamp.com 2012-2013 festival PROGRAM

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Proud to support Seven Days of Opening Nights.

850.222.1996 | RONSACHS.COM

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11/30/12 7:52 P

sevendaysfesitval.org 24 seven days of opening nights

FRI 2/8

OPENING RECEPTION, 6 - 8 P.M. MUSEUM OF FINE ARTS FREE EVENT

Museum Hours & Address: Feb. 8 - March 31, 9-4 pm M-F; Sat. & Sun. 1-4 pm, except for Spring Break (March 9-17); 530 W. Call Street.

The FSU Museum of Fine Arts’ 2012-2013 contribution to Seven Days consists of three different, highly unique exhibitions.

Head, Shoulders, Genes and Toes – The slightly altered nursery song lyrics make an ideal entrée into the unexpected dimension of artists using the material world of science and art to draw fascinating psychological parallels and create installations. Curated by Judith Rushin, the exhibition reflects the interface of art, medical research and the human condition.

Peter Paul Rubens: Impressions of a Master, on loan from the Ringling Museum of Art, showcases prints of one of the most influential artists of all time. Rubens, the Flemish Baroque master, was a prodigious artist renowned for his virtuosic handling of oil paint, energetic composition, and his dramatic, triumphal, often sensual style. His most famous compositions were enjoyed by an international public, and his influence came to be felt around the globe.

I Am Me: Artists and Autism – Adopts the philosophy of Kurtis Frank’s book I Am Me, which addresses overcoming feelings of isolation and confronting differences. Talented young artists who meet the challenges of autism are the focus of this exhibition. Curated by Alison Leatzow and Susan Baldino, the selected works are varied and unforgettable.

SAT 2/9

10 A.M. - 4 P.M. TALLAHASSEE MUSEUM FREE EVENT

Saturday Matinee of the Arts presents a rich lineup of visual and performing arts, including live music on the outdoor stage and in the museum’s historic buildings. The day’s dance performances typically range from ballet to flamenco, while artists and artisans from fine painters and potters to jewelry makers display their work in picturesque settings

throughout the museum’s grounds. Children will have the opportunity to play and partake in activities that are just for them, and there will be plenty for adults to enjoy as well.

The museum open its doors free of charge for the matinee.

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SPonsored by:

FRI 2/8 7:30 P.M. RUBY DIAMOND CONCERT HALL

U

nder Wynton Marsalis’ direction, the Jazz at Lincoln Center Orchestra (JLCO) performs a repertoire across the full jazz spectrum – from the music’s New Orleans roots to bebop to modern jazz. While on tour, the JLCO showcases the unique repertoire for which it is world-renowned: modern jazz renditions of traditional favorites including tunes

by Thelonious Monk; classic Blue Note Records selections by Herbie Hancock, Joe Henderson, Jackie McLean, Lee Morgan and Joe Henderson; and modern compositions and arrangements by jazz contemporaries including members of the JLCO. Over the past few years, the orchestra has performed collaborations with leading symphony orchestras and has been featured in education and performance residencies throughout the world.

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Program to be announced from the stage Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra with Wynton Marsalis.

Wynton Marsalis.................................... Music Director, Trumpet Ryan Kisor..........................................................................Trumpet Marcus Printup..................................................................Trumpet Kenny Rampton................................................................Trumpet Vincent R. Gardner......................................................... Trombone Elliot Mason.................................................................... Trombone Chris Crenshaw..............................................................Trombone Sherman Irby............................................................... Saxophones Ted Nash............................................................. Alto and Soprano Saxophones, Clarinet Walter Blanding................................................Tenor and Soprano Saxophones, Clarinet Victor Goines............................. Tenor and Soprano Saxophones, Bb and Bass Clarinets Joe Temperley.......................Baritone and Soprano Saxophones, Bass Clarinet Dan Nimmer........................................................................... Piano Carlos Henriquez..................................................................... Bass Ali Jackson............................................................................ Drums

Jazz at Lincoln Center is dedicated to inspiring and growing audiences for jazz. With the world-renowned Jazz at Lincoln Center Orchestra and a comprehensive array of guest artists, Jazz at Lincoln Center advances a unique vision for the continued development of the art of jazz by producing a year-round schedule of performance, education and broadcast events for audiences of all ages. These productions include concerts, national and international tours, residencies, a jazz hall of fame, weekly national radio programs, recordings, publications, an annual high school jazz band competition and festival, a band director academy, jazz appreciation curriculum for students, music publishing, children’s concerts, lectures, adult education courses, student and educator workshops and interactive websites. Under the leadership of Music Director Wynton Marsalis and Chairman Lisa Schiff, Jazz at Lincoln Center produces thousands of events each season in its home in New York City, Frederick P. Rose Hall, and around the world. For more information, visit jalc.org.

The Jazz at Lincoln Center Orchestra, composed of 15 of the finest jazz soloists and ensemble in the world, has been the Jazz at Lincoln Center resident orchestra since 1988. Featured in all aspects of Jazz at Lincoln Center’s programming, this remarkably versatile orchestra performs and leads educational events in New York, across the United States and around the globe in concert halls, dance venues, jazz clubs, public parks, with symphony orchestras, ballet troupes, local students, and an ever-expanding roster of guest artists.

Education is a major part of Jazz at Lincoln Center’s mission; its educational activities are coordinated with concert and Jazz at Lincoln Center Orchestra tour programming. These programs, many of which feature Jazz at Lincoln Center Orchestra members, include the celebrated Jazz for Young People family concert series; the Essentially Ellington High School Jazz Band Competition and Festival; the Jazz for Young People Curriculum; educational residencies; workshops; and concerts for students and adults worldwide. Jazz at Lincoln Center educational programs reach more than 110,000 students, teachers and general audience members.

The Jazz at Lincoln Center weekly radio series, “Jazz at Lincoln Center Radio,” is distributed by the WFMT Radio Networks. Winner of a 1997 Peabody Award, “Jazz at Lincoln Center Radio” is produced in conjunction with Murray Street Enterprise, New York.

Under Music Director Wynton Marsalis, the Jazz at Lincoln Center Orchestra spends more than one-third of the year on tour. The big band performs a vast repertoire, from rare historic compositions to Jazz at Lincoln Center-commissioned works, including compositions and arrangements by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk, Mary Lou Williams, Billy Strayhorn, Dizzy Gillespie, Benny Goodman, Charles Mingus, Chick Corea, Oliver Nelson; and many others. Guest conductors have included Benny Carter; John Lewis; Jimmy Heath; Chico O’Farrill; Ray Santos; Paquito D’Rivera; Jon Faddis; Robert Sadin; David Berger; Gerald Wilson and Loren Schoenberg.

Jazz at Lincoln Center also regularly premieres works commissioned from a variety of composers, including Benny Carter, Joe Henderson, Benny Golson, Jimmy Heath, Wayne Shorter, Sam Rivers, Joe Lovano, Chico O’Farrill, Freddie Hubbard, Charles McPherson, Marcus Roberts, Geri Allen, Eric Reed, Wallace Roney and Christian McBride, as well as from current and former Jazz at Lincoln Center Orchestra members Wynton Marsalis, Wycliffe Gordon and Ted Nash.

Over the past few years, the Jazz at Lincoln Center Orchestra

has performed collaborations with many of the world’s leading symphony orchestras, including the New York Philharmonic, the Russian National Orchestra, the Berlin Philharmonic Orchestra, the Boston, Chicago and London symphony orchestras and the Orchestra Esperimentale in São Paolo, Brazil. In 2006, the Jazz at Lincoln Center Orchestra collaborated with Ghanaian drum collective Odadaa!, led by Yacub Addy, to perform “Congo Square,” a composition Marsalis and Addy co-wrote and dedicated to Marsalis’ native New Orleans. The Jazz at Lincoln Center Orchestra performed Marsalis’ symphony, “Swing Symphony,” with the Berliner Philharmoniker in Berlin and with the New York Philharmonic in New York City in 2010 and with the Los Angeles Philharmonic in Los Angeles in 2011. Swing Symphony is a co-commission by the New York Philharmonic, Berlin Philharmonic, Los Angeles Philharmonic and The Barbican Centre.

The Jazz at Lincoln Center Orchestra has also been featured in several education and performance residencies in the past few years, including those in Vienne, France; Perugia, Italy; Prague, Czech Republic; London, England; Lucerne, Switzerland; Berlin, Germany; São Paulo, Brazil; and Yokohama, Japan.

Television broadcasts of Jazz at Lincoln Center programs have helped broaden the awareness of its unique efforts in the music.

Concerts by the Jazz at Lincoln Center Orchestra have aired in the United States, England, France, Spain, Germany, the Czech Republic, Portugal, Norway, Brazil, Argentina, Australia, China, Japan, South Korea and the Philippines. Jazz at Lincoln Center has appeared on several XM Satellite Radio live broadcasts and eight “Live From Lincoln Center” broadcasts carried by PBS stations nationwide, including a program that aired on Oct. 18, 2004, during the grand opening of Jazz at Lincoln Center’s new home, Frederick P. Rose Hall, and on Sept. 17, 2005, during Jazz at Lincoln Center’s Higher Ground Benefit Concert. The Higher Ground Benefit Concert raised funds for the Higher Ground Relief Fund that was established by Jazz at Lincoln Center, and was administered through the Baton Rouge Area Foundation to benefit the musicians, music industry-related enterprises, and other individuals and entities from the areas in Greater New Orleans who were affected by Hurricane Katrina, and to provide other general hurricane relief. The band is also featured on the Higher Ground Benefit Concert CD that was released on Blue Note Records following the concert. The Jazz at Lincoln Center Orchestra was also featured in a Thirteen/WNET production of Great Performances, entitled “Swingin’ with Duke: Lincoln Center Jazz Orchestra with Wynton Marsalis,” which aired on PBS in 1999. In September 2002, BET Jazz premiered a weekly series, “Journey with Jazz at Lincoln Center,” featuring performances by the Jazz at Lincoln Center Orchestra from around the world.

To date, 14 recordings featuring the Jazz at Lincoln Center Orchestra with Wynton Marsalis have been released and internationally distributed: “Vitoria Suite” (2010); “Portrait in Seven Shades” (2010); “Congo Square” (2007); “Don’t Be Afraid…The Music of Charles Mingus” (2005); “A Love Supreme” (2005); “All Rise” (2002); “Big Train” (1999); “Sweet Release and Ghost Story” (1999); “Live in Swing City” (1999); “Jump Start and Jazz” (1997); “Blood on the Fields” (1997); “They Came to Swing” (1994); “The Fire of the Fundamentals” (1993); and “Portraits by Ellington” (1992).

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WYNTON

WALTER

CHRIS

VINCENT

MARSALIS

BLANDING

CRENSHAW

GARDNER

VICTOR

GOINES

CARLOS

HENRIQUEZ

SHERMAN

IRBY

ALI

JACKSON

RYAN

ELLIOTT

TED

DAN

KISOR

MASON

NASH

NIMMER JALC.org facebook.com/ jazzatlincolncenter twitter.com/jalcnyc youtube.com/ jazzatlincolncenter

MARCUS

PRINTUP

KENNY

RAMPTON

JOE

TEMPERLEY

Artists subject to change as of Dec. 12, 2012

2012-2013 festival PROGRAM

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Wynton Marsalis (Music Director, Trumpet) is the Managing and Artistic Director of Jazz at Lincoln Center. Born in New Orleans in 1961, Marsalis began his classical training on trumpet at age 12 and soon began playing in local bands of diverse genres. He entered The Juilliard School at age 17 and joined Art Blakey and the Jazz Messengers.

Marsalis made his recording debut as a leader in 1982 and has since recorded more than 70 jazz and classical albums, which have garnered him nine Grammy awards. In 1983, he became the first and only artist to win both classical and jazz Grammy awards in the same year; he repeated this feat in 1984. Marsalis’ rich body of compositions includes “Sweet Release”; “Jazz: Six Syncopated Movements”; “Jump Start and Jazz”; “Citi Movement/Griot New York”; “At the Octoroon Balls”; “In This House, On This Morning”; and “Big Train.”

featuring Willie Nelson, Wynton Marsalis and Norah Jones (2011). To mark the 200th anniversary of Harlem’s historical Abyssinian Baptist Church in 2008, Marsalis composed a full Mass for choir and jazz orchestra. The piece premiered at Jazz at Lincoln Center and followed with performances at the celebrated church. Marsalis composed his second symphony, “Blues Symphony,” which was premiered in 2009 by the Atlanta Symphony Orchestra and by the Boston Symphony Orchestra in 2010. That same year, he premiered his third symphony, “Swing Symphony,” a co-commission by the New York Philharmonic, Berlin Philharmonic, Los Angeles Philharmonic and The Barbican Centre. The Jazz at Lincoln Center Orchestra with Wynton Marsalis performed the piece with the Berliner Philharmoniker in Berlin and with the New York Philharmonic in New York City in 2010 and with the Los Angeles Philharmonic in Los Angeles in 2011.

U.S. State Department through its CultureConnect program. In 2009, Mr. Marsalis was awarded France’s Legion of Honor, the highest honor bestowed by the French government. He serves on former Louisiana Lt. Gov. Mitch Landrieu’s National Advisory Board for Culture, Recreation and Tourism, a national advisory board to guide the lieutenant governor’s administration’s plans to rebuild Louisiana’s tourism and cultural economies.

He has also been named to the Bring New Orleans Back Commission, former New Orleans Mayor C. Ray Nagin’s initiative to help rebuild New Orleans culturally, socially, economically and uniquely for every resident. Marsalis was instrumental in the Higher Ground Hurricane Relief concert, produced by Jazz at Lincoln Center, which raised over $3 million for the Higher Ground Relief Fund to benefit the musicians, music industry-related enterprises, and other In 1997, Marsalis became the first jazz individuals and entities from the areas Marsalis is also an internationally artist to be awarded the prestigious in Greater New Orleans who were most respected teacher and spokesman for Pulitzer Prize in music for his oratorio affected by Hurricane Katrina. He led music education, and has received “Blood on the Fields,” which was the effort to construct Jazz at Lincoln commissioned by Jazz at Lincoln Center. honorary doctorates from dozens of In 1999, he released eight new recordings universities and colleges throughout the Center’s new home, Frederick P. Rose in his unprecedented “Swinging into the United States. He conducts educational Hall, opened in October 2004, the first education, performance and broadcast programs for students of all ages and 21st” series, and premiered several new facility devoted to jazz, which Marsalis compositions, including the ballet “Them hosts the popular “Jazz for Young co-founded in 1989.

Twos,” for a 1999 collaboration with the People” concerts produced by Jazz at Lincoln Center. Marsalis has also written New York City Ballet. That same year, WALTER BLANDING (Tenor Saxophone) he premiered the monumental work “All and is the host of the video series “Marsalis on Music” and the radio series was born into a musical family, 1971 in Rise,” commissioned and performed by Cleveland, Ohio, and began playing the “Making the Music.” He has written six the New York Philharmonic along with the Jazz at Lincoln Center Orchestra and books: “Sweet Swing Blues on the Road,” saxophone at age 6. In 1981, he moved with his family to New York City; by age the Morgan State University Choir. Sony in collaboration with photographer 16, he was performing regularly with Frank Stewart; “Jazz in the Bittersweet Classical released “All Rise” on CD in 2002. Recorded on Sept. 14-15, 2001 in Blues of Life,” with Carl Vigeland; “To a his parents at the Village Gate. Blanding Young Musician: Letters from the Road,” attended LaGuardia High School of Los Angeles in the tense days following Music and Art and Performing Arts with Selwyn Seyfu Hinds; “Squeak, 9/11, “All Rise” features the Jazz at and continued his studies at the New Lincoln Center Orchestra along with the Rumble, Whomp! Whomp! Whomp!,” illustrated by Paul Rogers and published School for Social Research, where he Los Angeles Philharmonic, the Morgan in 2012, and “Moving to Higher Ground: earned a B.F.A. in 2005. His 1991 debut State University Choir, the Paul Smith release, “Tough Young Tenors,” was How Jazz Can Change Your Life,” with Singers and the Northridge Singers. In 2004, he released “The Magic Hour,” his Geoffrey C. Ward, published by Random acclaimed as one of the best jazz albums of the year, and his artistry began to first of six albums on Blue Note records. House in 2008. In 2005, Candlewick impress listeners and critics alike. He has He followed up his Blue Note debut with Press released Marsalis’ “Jazz ABZ: An been a member of the Jazz at Lincoln A to Z Collection of Jazz Portraits,” “Unforgivable Blackness: The Rise and Center Orchestra since 1998 and has 26 poems celebrating jazz greats, Fall of Jack Johnson,” the companion performed, toured and/or recorded with illustrated by poster artist Paul Rogers. soundtrack recording to Ken Burns’ his own groups and with such renowned PBS documentary of the great Africanartists as the Cab Calloway Orchestra, American boxer; “Wynton Marsalis: Live In 2001, Marsalis was appointed Roy Hargrove, Hilton Ruiz, the Count Messenger of Peace by Kofi Annan, at The House of Tribes” (2005); “From Basie Orchestra, the Illinois Jacquet Big former Secretary-General of the the Plantation to the Penitentiary” Band, Wycliffe Gordon, Marcus Roberts, United Nations; he has also been (2007); “Two Men with the Blues,” the Wynton Marsalis Quintet and Isaac featuring Willie Nelson (2008); “He and designated cultural ambassador to Hayes. Blanding lived in Israel for four the United States of America by the She” (2009); and “Here We Go Again” 2012-2013 festival PROGRAM

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Juilliard School, as visiting instructor at Florida State University and Michigan State University, and as an adjunct instructor at The New School. He has contributed many arrangements to the Jazz at Lincoln Center Orchestra and other ensembles. In 2009, he was commissioned by Jazz at Lincoln Center to write “The Jesse B. Semple Suite,” a 60-minute suite inspired by the short stories of Langston Hughes. Gardner is featured on a number of notable recordings and has recorded five CDs as CHRIS CRENSHAW (Trombone) was a leader for Steeplechase Records. He born in Thomson, Ga., in 1982. Since has performed with The Duke Ellington birth, he has been driven by and surrounded by music. When he started Orchestra, Bobby McFerrin, Harry playing piano at age 3, his teachers and Connick Jr., The Saturday Night Live Band, Chaka Khan, A Tribe Called Quest fellow students noticed his aptitude for the instrument. This love for piano and many others. led to his first gig with Echoes of Joy, VICTOR GOINES (Tenor Saxophone) is his father Casper’s group. He picked a native of New Orleans. He has been a up the trombone at 11 and hasn’t put member of the Jazz at Lincoln Center it down since. Crenshaw graduated Orchestra and the Wynton Marsalis from Thomson High School in 2001 Septet since 1993, touring throughout and received his bachelor’s degree the world and recording more than 20 with honors in jazz performance from albums. As a leader, Goines has recorded Valdosta State University in 2005. seven albums, including his latest He was awarded Most Outstanding Student in the VSU Music Department releases, “Pastels of Ballads and Blues” and College of Arts. In 2007, Crenshaw (2007) and “Love Dance” (2007), on Criss Cross Records. A gifted composer, received his master’s degree in jazz studies from The Juilliard School, where Goines has more than 50 original works to his credit. He has recorded and/or his teachers included Douglas Farwell performed with many noted jazz and and Wycliffe Gordon. He has worked popular artists including Ahmad Jamal, with Gerard Wilson, Jiggs Whigham, Ruth Brown, Dee Dee Bridgewater, Ray Carl Allen, Marc Cary, Wessell Anderson, Cassandra Wilson, Eric Reed Charles, Bob Dylan, Dizzy Gillespie, Lenny Kravitz, Branford Marsalis, Ellis and many more. In 2006, Crenshaw Marsalis, Dianne Reeves, Willie Nelson, joined the Jazz at Lincoln Center Marcus Roberts, Diana Ross and Stevie Orchestra, and in 2012 he composed Wonder. Currently, he is the director of “God’s Trombones,” a spiritually jazz studies and a professor of music at focused work that premiered by the Northwestern University. He received a orchestra at Jazz at Lincoln Center.

Bachelor of Music degree from Loyola University in New Orleans in 1984, and VINCENT GARDNER (Trombone) a Master of Music degree from Virginia was born in Chicago in 1972 and was Commonwealth University in Richmond, raised in Hampton, Va. After singing in 1990. and playing piano, violin, saxophone and French horn at an early age, he CARLOS HENRIQUEZ (Bass) was born in decided on the trombone at age 12.

1979 in New York City. He studied music He attended Florida A&M University at a young age, played guitar through and the University of North Florida. junior high school, and took up the bass He soon caught the ear of Mercer while enrolled in The Juilliard School’s Ellington, who hired Gardner for his Music Advancement Program. He first professional job. He moved to entered LaGuardia High School of Music New York City after graduating from and Arts and Performing Arts and was college, completed a world tour with Lauryn Hill in 2000, then joined the Jazz involved with the LaGuardia Concert Jazz Ensemble, which went on to win at Lincoln Center Orchestra. Gardner first place in jazz at Lincoln Center’s has served as an instructor at The years and had a major impact on the music scene there while touring the country with his own ensemble and with American artists such as Louis Hayes, Eric Reed, Vanessa Rubin, and others invited to perform there. He taught music in several Israeli schools and eventually opened his own private school in Tel Aviv. During this period, Newsweek International called him a “Jazz Ambassador to Israel.”

32 seven days of opening nights

Essentially Ellington High School Jazz Band Competition and Festival in 1996.

In 1998, shortly after high school, Henriquez joined the Wynton Marsalis Septet and the Jazz at Lincoln Center Orchestra, touring the world and being featured on more than 25 albums.

Henriquez has performed with artists including Chucho Valdes, Paco De Lucia, Tito Puente, the Marsalis Family, Willie Nelson, Bob Dylan, Stevie Wonder, Lenny Kravitz and Marc Anthony. He has been a member of the music faculty at Northwestern University School of Music since 2008, and was music director of the Jazz at Lincoln Center Orchestra’s cultural exchange with the Cuban Institute of Music with Chucho Valdes in 2010.

SHERMAN IRBY (Alto Saxophone) was born and raised in Tuscaloosa, Ala. He found his calling to music at age 12. In high school, he played and recorded with gospel immortal James Cleveland. Irby graduated from Clark Atlanta University with a B. A. in music education. In 1991, he joined Johnny O’Neal’s Atlantabased quintet. In 1994, he moved to New York City, then recorded his first two albums, “Full Circle” (1996) and “Big Mama’s Biscuits” (1998), on Blue Note. Irby toured the United States and the Caribbean with the Boys Choir of Harlem in 1995, and was a member of the Jazz at Lincoln Center Orchestra from 1995 to 1997. During that period, he also recorded and toured with Marcus Roberts and was part of Betty Carter’s Jazz Ahead Program and Roy Hargrove’s groups. After a four-year stint with Roy Hargrove, Irby focused on his own group in addition to being a member of Elvin Jones’ ensemble and Papo Vazquez’s Pirates Troubadours. Since 2003, Irby has been the regional director for JazzMasters Workshop, mentoring young children, and a board member of the CubaNOLA Collective. He formed Black Warrior Records and released “Black Warrior,” “Faith,” “Organ Starter” and “Live at the Otto Club” under the new label.

ALI JACKSON (Drums) developed his talent on drums at an early age. In 1993, he graduated from Cass Tech High School and in 1998 was the recipient of Michigan’s prestigious Artserv Emerging Artist award. As a

child, he was selected as the soloist for the “Beacons of Jazz” concert, which honored legend Max Roach, at New School University. After earning an undergraduate degree in music composition at the New School University for Contemporary Music, he studied under Elvin Jones and Max Roach. Jackson has been part of Young Audiences, a program that educates New York City youth on jazz. He has performed and recorded with artists including Wynton Marsalis, Dee Dee Bridgewater, Aretha Franklin, George Benson, Harry Connick Jr., KRS-1, Marcus Roberts, Joshua Redman, Vinx, Seito Kinen Orchestra conductor Seiji Ozawa, Diana Krall and the New York City Ballet. His production skills can be heard on George Benson’s GRP release “Irreplaceable”. Jackson is also featured on the Wynton Marsalis Quartet recordings “The Magic Hour” (Blue Note, 2004), and “From the Plantation to the Penitentiary.” Jackson collaborated with jazz greats Cyrus Chestnut, Reginald Veal and James Carter on “Gold Sounds” (Brown Brothers, 2005), which transformed songs by indie/alternative rock band Pavement into unique virtuosic interpretations with the attitude of the church and juke joint. He has been a member of the Jazz at Lincoln Center Orchestra since 2005. Jackson currently performs with the Wynton Marsalis Quintet, Horns in the Hood, and leads the Ali Jackson Quartet. He also hosted “Jammin’ with Jackson,” a series for young musicians, at Jazz at Lincoln Center’s Dizzy Club Coca-Cola.

He is also the voice of “Duck Ellington,” a character in the Penguin book series “Baby Loves Jazz,” which was released in 2006.

sideman, Kisor has recorded several albums as a leader, including “Battle Cry” (1997), “The Usual Suspects” (1998) and “Point of Arrival” (2000). He has been a member of the Jazz at Lincoln Center Orchestra since 1994.

ELLIOT MASON (Trombone) was born in England in 1977 and began trumpet lessons at age 4 with his father. At age 7, he switched his focus from trumpet to trombone. At 11 years old, he was performing in various venues, concentrating on jazz and improvisation.

By 16, Mason left England to join his brother Brad at the Berklee College of Music on a full-tuition scholarship. He has won the following awards: Daily Telegraph Young Jazz Soloist (under 25) Award, the prestigious Frank Rosolino Award, the International Trombone Association’s Under 29 Jazz Trombone competition, and Berklee’s Slide Hampton Award in recognition of outstanding performance abilities.

He moved to New York City after graduation, and in 2008, Mason joined Northwestern University’s faculty as the jazz trombone instructor. He has performed with the Count Basie Orchestra, the Mingus Big Band, the Maria Schneider Orchestra and the Maynard Ferguson Big Bop Nouveau. A member of the Jazz at Lincoln Center Orchestra since 2006, Mason also continues to co-lead the Mason Brothers Quintet with his brother. The Mason Brothers released their debut album, “Two Sides, One Story” in 2011.

by the Jazz at Lincoln Center Orchestra and was released in 2010. The album is the first composition released by the JLCO featuring original music by a band member other than bandleader Wynton Marsalis.

DAN NIMMER (Piano) was born in 1982 in Milwaukee. With prodigious technique and an innate sense of swing, his playing often recalls that of his own heroes Oscar Peterson, Wynton Kelly, Erroll Garner and Art Tatum. Nimmer studied classical piano and eventually became interested in jazz. He began playing gigs with renowned saxophonist and mentor Berkley Fudge. Nimmer studied music at Northern Illinois University and became one of Chicago’s busiest piano players. A year after moving to New York City, he became a member of the Jazz at Lincoln Center Orchestra and the Wynton Marsalis Quintet. Nimmer has worked with Norah Jones, Willie Nelson, Dianne Reeves, George Benson, Frank Wess, Clark Terry, Tom Jones, Benny Golson, Lewis Nash, Peter Washington, Ed Thigpen, Wess “Warmdaddy” Anderson, Fareed Haque and many more. He has appeared on “The Tonight Show with Jay Leno,” “The Late Show with David Letterman,” ‘The View,” “The Kennedy Center Honors,” “Live from Abbey Road,” and PBS’ “Live from Lincoln Center,” among other broadcasts. He has released four of his own albums on the Venus label (Japan).

MARCUS PRINTUP (Trumpet) was born and raised in Conyers, Ga. His first musical experiences were hearing the TED NASH (Alto Saxophone) was born fiery gospel music his parents sang in into a musical family in Los Angeles. His church. While attending the University father, Dick Nash, and uncle, the late of North Florida on a music scholarship, Ted Nash, were both well-known jazz he won the International Trumpet Guild and studio musicians. The younger Nash Jazz Trumpet competition. In 1991, exploded onto the jazz scene at 18, Printup’s life changed when he met RYAN KISOR (Trumpet) was born in moved to New York and released his first his mentor, the great pianist Marcus 1973 in Sioux City, Iowa, and began album, “Conception” (Concord Jazz). He is Roberts. Roberts introduced him to playing trumpet at age 4. In 1990, he co-leader of the Jazz Composers Collective Wynton Marsalis, which led to Printup’s won first prize at the Thelonious Monk and is constantly pushing the envelope in induction into the Jazz at Lincoln Center Institute’s first annual Louis Armstrong the world of “traditional jazz.” His group Orchestra in 1993. Printup has recorded Trumpet Competition. Kisor enrolled Odeon has often been cited as a creative with Betty Carter, Dianne Reeves, Eric in Manhattan School of Music in 1991, focus of jazz. Many of Nash’s recordings Reed, Madeline Peyroux, Ted Nash, where he studied with trumpeter have received critical acclaim and have Cyrus Chestnut, Wycliffe Gordon, and LewSoloff. He has performed and/or appeared on the “best-of” lists in The New Roberts, among others. He has recorded recorded with the Mingus Big Band, the York Times, The New Yorker, The Village several records as a leader: “Song for Gil Evans Orchestra, Horace Silver, Gerry Voice, The Boston Globe and Newsday. His the Beautiful Woman,” “Unveiled,” “Hub Mulligan and Charlie Haden’s Liberation recordings, “The Mancini Project” and Songs,” “Nocturnal Traces,” “The New Music Orchestra, the Carnegie Hall Jazz “Sidewalk Meeting,” have been placed on Boogaloo,” “Peace in the Abstract,” Band, the Philip Morris Jazz All-Stars, several “best-of-decade” lists. His album “Bird of Paradise,” “London Lullaby,” and others. In addition to being an active “Portrait in Seven Shades” was recorded “Ballads All Night,” and “A Time for Love.

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Stars, Maria Schneider, the Afro-Latin Jazz Orchestra, Charles Earland, Dr. John, Lionel Hampton, Jon Hendricks, Illinois Jacquet, Geoff Keezer, Christian McBride and a host of others. Most recently, he was hired as the trumpet voice on “Sesame Street.” Some of KENNY RAMPTON (Trumpet) joined his Broadway credits include “Finian’s the Jazz at Lincoln Center Orchestra Rainbow,” “The Wiz,” “Chicago: The in 2010. He also leads his own sextet Musical,” “InThe Heights,” “Hair,” “Young in addition to performing with the Mingus Big Band, The Mingus Orchestra, Frankenstein” and “The Producers.”

The Mingus Dynasty, George Gruntz’ Concert Jazz Band, and The Manhattan JOE TEMPERLEY (Baritone Saxophone) was born in Scotland and first achieved Jazz Orchestra (under the direction of prominence in the United Kingdom as Dave Matthews). In 2010, Rampton a member of Humphrey Lyttelton’s performed with the Scottish National band from 1958 to 1965. In 1965, Jazz Orchestra at the Edinburgh Temperley came to New York City, International Festival, and was the where he performed and/or recorded featured soloist on the Miles Davis/ with Woody Herman, Buddy Rich, Gil Evans classic version of “Porgy and Joe Henderson, Duke Pearson, the Bess.” He toured the world with the Ray Charles Orchestra in 1990 and with Jazz Composer’s Orchestra, the Thad Jones-Mel Lewis Orchestra, and Clark the legendary jazz drummer Panama Terry, among many others. In 1974, Francis, The Savoy Sultans and The he toured and recorded with the Duke Jimmy McGriff Quartet, with whom Ellington Orchestra as a replacement for he played for 10 years. As a sideman, Harry Carney. Temperley played in the Rampton has performed with Mingus Epitaph (under the direction of Gunther Broadway show “Sophisticated Ladies” in the 1980s, and his film soundtrack Schuller), Bebo Valdez’ Latin Jazz AllHe made his screen debut in the 1999 movie “Playing by Heart” and recorded on the film’s soundtrack. Aug. 22nd has been declared “Marcus Printup Day” in his hometown of Conyers, Ga.

credits include “Cotton Club,” “Biloxi Blues,” “Brighton Beach Memoirs,” “When Harry Met Sally,” and “Tune In Tomorrow,” composed by Wynton Marsalis. Temperley is a mentor and co-founder of the FIFE Youth Jazz Orchestra program in Scotland, which now enrolls 70 young musicians, ages 7 to 17, playing in three full-size bands.

He has released several albums as a leader, including “Nightingale” (1991), “Sunbeam” and “Thundercloud” with pianist Dave McKenna (1996), “With Every Breath” (1998), and “Double Duke” (1999). He released “Portraits” (2006) on Hep Records and “Cocktails for Two” (2007) on Sackville. His most recent release is “The Sinatra Songbook” (2008). He is an original member of the Jazz at Lincoln Center Orchestra and serves on the faculty of The Juilliard Institute for Jazz Studies and Manhattan School of Music. Through the years, Temperley has been named in DownBeat magazine’s Critics Polls and was the featured artist in the 2009 Edinburgh Jazz Festival, where he performed with the Edinburgh Jazz Orchestra.

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If you’ve never seen a PRISM concert before, you need to. Just ask someone who’s been there.

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SUN 2/10 7:30 P.M. RUBY DIAMOND CONCERT HALL

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trayed is the author of the acclaimed, No. 1 New York Times bestselling memoir, “Wild.” At age 22, Strayed finds herself shattered by two major life events: her mother’s sudden death from cancer and the end of her young marriage. To cope, Strayed uses drugs and sex before she hits rock bottom and decides to confront her emotional pain by attempting to trek over 1,000 miles along the Pacific Crest Trail. Wild tells the amateur hiker’s tale, peppered with the colorful characters she encounters along the way, as she struggles to find inner peace and stability. Strayed’s story is so flat-out inspiring that it moved Oprah Winfrey to revive her tremendously popular book club, making “Wild” its inaugural selection for the launch of Oprah’s Book Club 2.0. Readers jumped at the chance to be a part of the new, interactive platform, and “Wild” soon ascended to the No. 1 spot on The New York Times bestseller list.

Strayed’s own struggle and survivor story motivates and inspires crowds.

A dynamic speaker, her moving rhetoric resonates with audiences of all sizes. Revealed as the voice behind the TheRumpus.net’s beloved “Dear Sugar” column, Strayed has been hailed by The New Republic as “the ultimate advice columnist for the Internet age, remaking a genre that has existed, in more or less the same form, since well before Nathanael West’s acerbic novella ‘Miss Lonelyhearts’ first put a face on the figure in 1933.”

Strayed is also the author of the critically acclaimed novel “Torch,” a finalist for the Great Lakes Book Award. Her stories and essays have been published in The New York Times Magazine, The Washington Post Magazine, Allure, and The Best American Essays. She holds an MFA in fiction writing from Syracuse University and a bachelor’s degree from the University of Minnesota. She’s a founding member of VIDA: Women In Literary Arts, and serves on its board of directors. Raised in Minnesota, Strayed now lives in Portland, Ore. 2012-2013 festival PROGRAM

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Eyewitness News At Six,

The team you can trust.

L to R: Andy Alcock, Julie Montanaro

It’s coverage you can count on.

38 seven days of opening nights

MON 2/11 7:30 P.M. RUBY DIAMOND CONCERT HALL PROGRAM TO BE ANNOUNCED FROM THE STAGE Paddy Moloney...............................Uilleann Pipes and Tin Whistle Kevin Conneff................................................... Bodhran and Vocals Matt Molly................................................................................. Flute Jon Pilatzke............................................................Fiddle and Dance Triona Marshall........................................................ Harp and Keys Jeff White.............................................................. Guitar and Vocals Deanie Richardson...........................................Fiddle and Mandolin Alyth McCormack.........................................Vocals and Percussion Cara Butler............................................................................... Dance Nathan Pilatzke....................................................................... Dance

The Chieftains are exclusively represented

by Opus 3 Artists.

A

fter 50 remarkable years as the world’s most influential and successful traditional Irish folk band, some might expect Paddy Moloney and The Chieftains to rest on well-earned laurels with a weighty box-set career overview, but that’s not the way they decided to treat the momentous milestone. Instead, they used their tradition-steeped, sparkling musicianship to once again explore new and unusual passageways. The Chieftains’ “Voice of Ages” finds the band collaborating with some of modern music’s fastest-rising artists, reinterpreting for old and new generations alike what the music means today while hinting where it might lead tomorrow.

“There seems to be a great interest in the fact that we’ve gone down this road,” says Moloney, speaking from his home in Wicklow, Ireland. “Its sort of like when we joined up with people of our own generation – Sting, Van Morrison and the Rolling Stones – who have been on our albums in the past. But this time, it’s newer groups. We met up, and we had a great time.”

Like everyone else involved, producer T-Bone Burnett leapt at the chance to work on the album with Moloney and even helped facilitate particular collaborations, which range from indie rock (Bon Iver, The Decemberists, The Low 2012-2013 festival PROGRAM

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See for yourself.

Discover Florida State University -- a premier institution of higher education with a national and international reputation for undergraduate and graduate studies, research and creative endeavors.

Participate in a self-guided tour through the historic Legacy Walk. Enjoy a concert, recital or gallery exhibition by FSU’s world-class talented students and faculty.

Take in a sporting event that showcases national championshiplevel athletics. See for yourself why Florida State University is widely recognized for excellence and innovation.

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news.fsu.edu /florida state

Anthem) to country and Americana (The Civil Wars, Pistol Annies, Carolina Chocolate Drops, Punch Brothers) to Irish and Scottish folk (Imelda May, Lisa Hannigan, Paolo Nutini). Rounding out the 14-song (plus 1 bonus track) album is a reunion with original members Michael Tubridy and Seán Potts. Chieftains fan, astronaut Cady Coleman even contributed a tin whistle tribute from space!

Generally regarded as a traditional band, The Chieftains have proved themselves to be anything but. Moloney is as studio savvy as any modern day musician, skillfully fusing together different performances that meld traditional reels and modern tunes into timeless songs.

the deadline as long as I could. When he sent his recording to me, I had all the musicians lined up and waiting when it arrived, and we went at it immediately.”

The band works with fresh Gaelic faces such as rockabilly singer Imelda May (on opener “Carolina Rua”), indie chanteuse Lisa Hannigan (best known for her work with Damien Rice), and soulful Scotsman Paolo Nutini. The Civil Wars’ Joy Williams and John Paul White traveled to Ireland to work with Moloney and were inspired enough to write “Lily Love.”

“When we were approached by T-Bone Burnett about the Chieftains project, we jumped in with both feet,” the duo explains. “But it wasn’t until meeting Paddy on his native soil that we fully understood the weight of his legacy.

“Everywhere we went, he was rightfully treated like the rock star he is. He humbly showed us around the beautiful countryside and graciously welcomed us into his home. So it was not only an honor to be a part of the project but to also write a song specifically for it.”

Music is a tradition that is passed down from one generation to the next. No one is more acutely aware of this than founder Paddy Moloney, who plays uilleann pipes and tin whistle. He and bandmates Matt Molloy (flute), Kevin Conneff (bodhrán) and Seán Keane (fiddle) grew up in Ireland hearing the music and learning how to play it at the knees of grandparents and parents, aunts and uncles, not to mention assorted mentors and teachers.

Adding to that continuum, these still-vibrant elder statesmen now share their music and experience with the younger generation. This is also literally the case, because Moloney’s grandson appears as part of the Castle Park School Choir.

Collaborations include a hard-stomping dance number with the Carolina Chocolate Drops called “Pretty Little Girl” and a powerful new version of Bob Dylan’s scathing “When the Ship Comes In” with the Decemberists.

Moloney has been called “a musician of restless curiosity”

by The New York Times thanks to the band’s cross-genre collaborations with musicians from all points on the globe – they’ve played on the Great Wall with Chinese musicians, recorded with country musicians in Nashville, and 2010’s “San Patricio” was a brilliant fusion of the Mexican and Irish folk traditions, co-produced with Ry Cooder in California and Mexico. They always find common ground when they invite their guests to come and play, knowing that music is the ultimate lingua franca.

The Chieftains even went so far as to work with NASA astronaut Cady Coleman, taking a flute recording of Fanny Power Coleman did on St. Patrick’s Day (see it on YouTube at http://bit.ly/zXrOTU) while onboard the International Space Station. Moloney and Matt Malloy loaned Coleman a tin whistle and flute to play for the occasion.

Generally regarded as a traditional band, The Chieftains have proved themselves to be anything but. Moloney is as studio-savvy as any modern-day musician, skillfully fusing together different performances that meld traditional reels and modern tunes into timeless songs. He’s capable of working in the most advanced studios or setting up microphones and jamming.

“I offered to travel to Justin Vernon and record in his hotel room,” Moloney says of the band’s “Down in the Willow Garden” with Bon Iver. “But he had to go home and do it because he has his own way. I respect that, and I held out

“It’s not often you are called to collaborate with one of the world’s foremost innovators and influencers in folk music – or any music for that matter,” enthused the band’s Colin Meloy. “I mean, The Chieftains have almost single-handedly defined Irish traditional music for the last 50 years. Needless to say, we jumped at the chance; it was incredible to be able to work with Paddy in the studio and track a song which has as much resonance today as it did when it was written.”

Moloney has always been more interested in playing in music halls and theaters he felt befitted this great folk art rather than competing with the sound of the cash register and conversations that punctuate jam sessions in pubs. It was the band’s 1975 concert at Royal Albert Hall after the breakout success of its music in Stanley Kubrick’s “Barry Lyndon” that cast the die and allowed the band to transcend its folk music tag, leading it to play the greatest concerts halls in the world again and again – this year’s performance at Carnegie Hall will be the band’s 20th appearance.

“It just keeps on going,” Moloney says of the band.

“I’m already looking ahead at 2013. Now that I have the recording bug again, I’m mad for it. Retirement is something I should be thinking of, but I think it’s going to be a boots-on job with me – I’ll go out with my boots on.”

2012-2013 festival PROGRAM

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Performing Arts Spring 2013 performance artS eventS 42 seven days of opening nights

January Art exhibit feAturing the works of Jeff Distefano January 10-February 14 Public reception: January 10, 6:30 p.m.

TCC Fine Art Gallery

seminar on WorlD Hunger January 31, 12:30 -2 p.m.

Fine and Performing Arts Center, Room 104

february Art exhibit feAturing the works of linDa Hall February 21-March 28 Public reception: February 21, 6:30 p.m.

TCC Fine Art Gallery

Seven DayS of opening nightS preSentS actorS’ gang: “tartuffe” February 12, 8 p.m. | Turner Auditorium

film WatcHing: The LosT Boys of sudan FEBRUARY 28, 12:30 –2:30 p.m.

Fine and Performing Arts Center, Room 104

march seminar Presentation: cHallenges of african Women living in tHe DiasPora MARCH 28, 2:30-3:30 p.m.

Fine and Performing Arts Center, Room 104

april theAtre tCC! presents “fAMe–the MusiCAl” April 4-6 and 11-13, 8 p.m. | Turner Auditorium nAtionAl poetry Month: fACulty And student poetry reAding April 9, 7 p.m. | Fine and Performing Arts Center, Room 104 AnnuAl Juried student Art exhibit April 11 – April 25 Public reception April 11th at 6:30 pm

eyrie literAry/Art MAgAzine unveiling April 16, 7 p.m. | Fine and Performing Arts Center, Room 104 AfriCAn druM And dAnCe enseMble perforMAnCe April 26, 7:30 p.m. | Turner Auditorium

(850) 201-TCC1 | GoToTCC.com

TUE 2/12 8 P.M., TURNER AUDITORIUM AT TALLAHASSEE COMMUNITY COLLEGE

THE SPonsored by:

CAST Written by Molière Adapted by David Ball, Directed by Jon Kellam

Artistic Director: Tim Robbins Scenic Design: Jon Kellam/Adam Jefferis Scenic Consultants: Richard Hoover/Sibyl Wickersheimer Costume Design: Rosalida Medina Lighting Design: R. Christopher Stokes Sound Design: Jef Bek Stage Manager: Tara Lamar* Acknowledgements and Special Thanks Cynthia Ettinger, Dominique Serrand, Jacqueline Reid, Theatre De La Jeune Lune, and the Cultural Services of the French Consulate in Los Angeles The Actors’ Gang’s production of Tartuffe was co-commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center, Notre Dame, Ind.

THERE WILL BE ONE 15-MINUTE INTERMISSION.

Pierre Adeli.............................................................................Tartuffe Hannah Chodos......................................................................Mariane Adam Jefferis.............................................................................Damis Jeremie Loncka*........................................................................Valère Will McFadden.................................Molière/Loyal/Laurent/Flipote Vanessa Mizzone*.....................................................................Elmire Mary Eileen O’Donnell*........................................... Madame Parnell Pedro Shanahan.............................................Percussion/Keyboards Donna Jo Thorndale*................ Madame de Maintenon/Translator Bob Turton*............................................................................ Cleante P. Adam Walsh..........................................................................Orgon Sabra Williams*........................................................................ Dorine Props & Puppets: Mary Eileen O’Donnell Dramaturg: Thomas Johnson Dramaturg: France Demoulin *Member of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States Actors’ Equity Association (AEA), founded in 1913, represents more than 49,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theater as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence.

Learn more at actorsequity.org 2012-2013 festival PROGRAM

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Hypocrisy and moral corruption may no longer surprise us, but The Actors’ Gang is there to remind to us to be outraged. When we’re done laughing, that is.

– The Front Page

Director’s Notes In October 2005, a number of my Actors’ Gang colleagues and I, while on tour with Tim’s accomplished play “Embedded,” had the pleasure of attending a performance of Molière’s “The Miser” (adapted by David Ball) at the Theatre de la Jeune Lune in Minneapolis. At that time I knew that I would be directing “Tartuffe,” and I was curious to see how Jeune Lune would approach Molière. Needless to say, we were all moved and impressed. The dialogue was clipped, sharp, dark and poetic and achieved a contemporary anachronistic essence. The production and performances as a whole were dazzling, brilliantly inventive and hysterically funny. We were in awe, and we were frightened. What an act to follow! After the play, we had the pleasure of meeting the director, Dominique Serrand (who directed “Red Noses” with us in September 2011). We told him of our plan to produce “Tartuffe” at The Actors’ Gang in the coming January and also told him we planned to use Richard Wilbur’s formidable translation. He insisted that we throw away the idea of the Wilbur translation and produce instead the Jeune Lune version that they had produced in 2001 (also adapted and translated by David Ball). We were excited and sold on the idea. We connected with Mr. Ball, who graciously complied, and we are so grateful and excited to present Mr. Ball’s version because it captures both the momentum and essence of Molière’s original and at the same time allows a great deal of interpretive freedom that other versions do not.

In turn, this lively version also allows us a window into the inner demons that haunt Orgon’s subconscious. It is a dark, lean, sensual and most relevant adaptation, and we joyfully present it here.

Dramaturg’s Notes Molière (the nom de plume of Jean Baptiste Poquelin) was born in Paris in 1622. The son of an upholsterer, Molière was educated at the Collège de Clermont by the same Jesuit order that would later pressure Louis XIV to forbid the production of “Tartuffe” and ultimately deny Molière a holy burial upon his death in 1673. At the age of 21 and against the wishes of his father, Molière set out to become an actor, and the troupe he co-founded began a 13-year tour of the French provinces in 1643 (the first year of Louis XIV’s 72-year reign). In the provinces, Molière was exposed to the baroque mosaic of personalities, social conditions and religious temperaments that were being compelled into coalescence under the Bourbon monarchy’s tenuous unification of both the territory and spirit of France. Molière was, in fact, a proponent of the new classicism that sought to “unify” the French aesthetic by purging its language of ornament and controlling its structure, and he often parodied the overblown affectations and “preciosity” of the salon culture of the day. But Molière was himself bourgeois, and much like Shakespeare, he could skillfully represent the language and idiosyncrasies of the common man, the bourgeoisie, and the aristocratic Précieux. Also like Shakespeare, his verse was always written in the service of the practical demands of the stage, and he tempered his classicism by incorporating into his comedies elements of the Italian commedia dell’ arte style, a largely improvisational tradition (and the inspiration of The Actors’ Gang style).

In addition, we have added a prologue – a letter written by Molière in defense of the play – in order to give the audience an idea of some of the obstacles Molière had to transcend to facilitate producing Tartuffe. We have also added the character of Madame de Maintenon, the mistress of Louis XIV, in the stead of the King’s officer.

Molière’s great thematic obsession was vice, and in each of his major comedies he holds a particular vice up to ridicule.

In “Tartuffe,” the vice of choice is hypocrisy, though the Jesuits thought Molière had a more specific and radical target in mind – that of false religious piety – and had the play banned from 1664 to 1669. But Molière is no radical.

If he is savage in his examination of vice and its effects, then he is certainly more moderate in his condemnation of those who perpetrate it. His judgments lack the ferocity of 18th-century literary avengers like Jonathan Swift or even Voltaire, who entertained radical solutions that Molière would never have countenanced. For Molière, a wise and moderate accommodation to the imperfect realities of human nature and social order is always the preferred course. As he demonstrates in “Tartuffe,” Molière considered both radicalism and absolutism to be disastrous solutions to the moral, social, and political corruption that he saw coursing through 17th- century French society. Though the period was ironically dominated by the absolutism of Molière’s great patron, Louis XIV, the moral and social tensions lurking just beyond the king’s vast influence eventually resolved themselves in the least moderate of ways: They found their full explosive expression in the French Revolution, a century after Molière collapsed on stage giving us his final, cautionary counsel.

Jon Kellam November 2012

Thomas Johnson UCLA Department of English

44 seven days of opening nights

Pierre Adeli (Tartuffe) was born in San Jose, raised in Iran and the Rockies of Colorado, and now lives in Los Angeles. He has worked with world-renowned directors including Simon Abkarian, Georges Bigot and Tim Robbins during his tenure with The Actors’ Gang, where he has been a member for nine years. He has degrees in broadcast journalism and political science from the University of Colorado.

Jef Bek (Sound Design) is a founding member of John Cusack’s New Crime Productions in Chicago and Zoo District Theatre in Los Angeles. Bek received an Ovation Award and two Garland awards for “Nosferatu,” an Ovation Award for “Pathe X,” a Garland Award and an LA Weekly Award for “The Master and Margarita,” and an LA Weekly Award for “Scenes From An Execution.” Bek served as a professor of interactive sound design at the University of Southern California and wrote the book, music and lyrics for “Evel Knievel The Rock Opera,” 2008 Musical of the Year L.A. Weekly Award Nominee. Bek performed live original music for “Tartuffe” at The Actors’ Gang in 2011.

Hannah Chodos (Mariane) graduated from Dartmouth College with a B.A. in religion in 2006, and returned to her hometown of Los Angeles to be an actress. She became involved with The Actors’ Gang in 2004 while she was still a student at Dartmouth, and has been training and performing with the company ever since. The Actors’ Gang: Julia, “1984;” Zita, “The Untouchable Bobby Fischer;” Mariane, “Tartuffe;” Chepi/Samuel, “Break the Whip;” Ensemble, “I Am Not a Racist, But…;” Noni, “Klüb;” Grand Guignolers: Little Red/Stepmother, “A Grand Guignol Children’s Show;” The Savannah Theater Project: Mildred, “Freedom! And the Sticky End of Make-Believe;” Vox Theater: She, “Here We Are;” Hayley/Ivy, “By So Falling.”

Adam Jefferis (Damis) is thrilled to be on the road with The Actors’ Gang. Over the past five years, Jefferis has been involved with every production of the Gang in one way or another. Favorite past credits with The Actors’ Gang include “Our Town,” “Break the Whip,” “Red Noses,” and all of the Shakespeare adaptations performed as part of the Gang’s summer series in the park. Jefferis is also an alumnus of iO West (formerly Improv Olympic) where he has performed “the Harold” with house teams Gypsy Lou and The La Fontaine Players. Commercial credits include several regional, national and worldwide spots that can now be viewed online.

He is a proud graduate of the University of Nebraska-Lincoln.

Jefferis would like to thank his family and friends for their continued love and support. A special thanks to Jon, Tim and The Gang for the invaluable training and friendships that have developed and flourished over the last couple of years.

Jon Kellam (Director) is currently co-artistic director and co-founding member of Zoo District Theatre, a resident director, member of and served as director of education at The Actors’ Gang. He is a member of Ensemble Studio Theatre LA, director of the GET LIT Players, also in L.A., and newly appointed theatre co-chair at CHAMPS Charter Multi Media and Performing Arts High School. Theater companies he has worked with nationally, either as an actor or director, include Steppenwolf, The Organic Theatre,

New Crime, The National Jewish Theatre, American Blues Theatre, Absolute Theatre, Baliwick, Chicago Actors Ensemble and Strawdog in Chicago; Playwrights Horizons, PS 122, Lincoln Center, Circle in the Square and Workhouse Theatre in New York City; The Los Angeles Theatre Center, Open Fist, Sacred Fools, EST LA, The Actors’ Gang, Zoo District, Theatre Theatre and REDCAT in Los Angeles, and The Powerhouse Theatre in Brisbane Australia. Directing credits in Los Angeles: The Actors’ Gang: “Tartuffe” (2005, 2011 and national tour 2013), “Drums In The Night,” “The Exonerated” (national tour), “The Trial of the Catonsville Nine” (LA, national tour and Brisbane, Australia).

Kellam assisted Simon Abkarian on “Love’s Labour’s Lost.”

The Edge-of-the-World Theatre Festival: “The Ass” by Parviz Sayyad. Zoo District: award winning production of “Nosferatu…Angel of the Final Hour” (directed/co-created), “Home…The Search for the Lost Tablet of Ur” (co-directed/ co-created). Theatre Theater: “Beggars in the House of Plenty,” directed by Larry Moss (fight director), Ruskin Group’s “Cowboy Mouth” in Santa Monica, and “Orpheus Descending” at Theatre Theater (fight coordinator and movement consultant). In New York City, Kellam directed and co-created “Monsoon Child” at the Harold Clurman. He co-developed and directed “The Artists Dream” in Krakow, Poland, written and performed by Ewa Boryczo (2010 in Los Angeles, San Diego and San Francisco). Teaching credits include a Commedia dell’ Arte workshop at Playwrights’ Horizons (New York City, 1992-1993), theater and Commedia dell’ Arte (The Los Angeles County High School, 2001-2009), adjunct professor/visiting artist (Cal State University Los Angeles, and directed “Imaginary Invalid”), and Occidental College. In June 2011, as a visiting teaching artist, he taught a physical for the University of Texas Abroad in Florence, Italy. He directed “Imaginary Invalid” and “Loves Labours, Lost” at Champs. In 2008, he received a Surdna Fellowship to study ‘clown’ based on the pedagogy of Jacque Lecoq and Yves Lebreton, with Philip Radice of Altelier Teatro Fisico and Andrea Casaca, artistic director of Teatrocart in Torin and Castelfiorentino, Italy.

Kellam is currently in process, directing and consulting on a multimedia solo performance piece based on the life, writings and films of Iranian poetess, activist and feminist Forough Farrokhzad, written and performed by Sussan Deyhim.

Tara Lamar (Stage Manager) graduated from the University of Southern California with a BFA in stage management.

Lamar has had the opportunity to work all over the world, with some of the best directors and actors she knows, but she calls Los Angeles home. Some of her favorite productions include “Agamemnon” (The Getty Villa), “West Side Story,” “On the Razzle,” “Love’s Labour’s Lost” (The Actors’ Gang) and “Moon Over Buffalo”. Lamar is a proud member of Actors’ Equity Association.

Jeremie Loncka (Valère) hails from the small farm town of Annawan Ill., in America’s heartland. He has been a member of the The Actors’ Gang for the past three years and during his time in Southern California has had the opportunity to work with some of the region’s best theaters.

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Memorable roles include Flote in Red Noses (The Actors’ Gang) and King Richard in Richard III (Guerilla Shakespeare Co.). He is very thankful to his parents for their love and support.

Will Thomas McFadden (Molière/Loyal/Laurent/Flipote): You may be asking yourself, “Who is this Will Thomas McFadden?” That’s a great question. Well, after earning his BFA in theater from University of California Santa Barbara, Will moved to Los Angeles to pursue a successful acting career in television and movies (although it continues to elude him). Now you’re probably wondering, “What are some of the multi-dimensional characters Will has brought to the stage?” Glad you asked. They include Frapper, the stuttering comedian from Red Noses, P.M. 3 in the stage adaptation of George Orwell’s 1984; Fag from The Rivals; and Yoda from The Tempest: Star Wars Edition. “What about films?,” you say. Well, how could you forget Will as Stevie Johnson from the 1992 straight-to-home-video comedy classic Only You? Where can you find more of this Will? Simple. Check out his YouTube channel, GoPotatoTV, or you can find him at The Actors’ Gang Theater in Culver City, Calif., … he pretty much lives there.

Rosalida Medina (Costume Design) designs for theater, film and all other forms of creative community that involve mingling passion for storytelling with human skills. Medina began her studies and developed her love of costuming in Paris, in high school theater, in the fashion business and at the Paris Opera House. She then followed her desire to discover who she was in America, where half of her heritage is from. This became another gathering of new adventures and including costume design for theater such as The Women and Raisin In The Sun; assisting teaching at the University of Wilmington, N.C.; designing for independent films; and continuing the costuming journey both in North Carolina and Los Angeles on productions such as Big Fish, Pirates Of The Caribbean and Warner Brothers TV shows. Since then, her creative-designer self has been fired up on features like Bitch Slap and Fred 2; TV shows like 1000 Ways To Die, and recently collaborating with amazing directors on productions for The Actors’ Gang including Red Noses, Atomic Holiday Free Fall, a remount of 1984, Oy, The Tempest: Star Wars Edition, and now Tartuffe.

Vanessa Mizzone (Elmire) is thrilled to be playing Elmire again in The Actors’ Gang production of Tartuffe. She has been a company member since 2004 and has played Emily in Our Town, the Queen in Gulliver’s Travels, and multiple roles in Drums In The Night, Blood! Love! Madness!, Pericles on The High Seas and in the national tour of Embedded. She has numerous film and TV credits, but most recently played the role of Lois on FX’s American Horror Story. She has trained in comedy at the Groundlings and has her Master of Fine Arts in acting degree from UCLA. She sends her love to Will and Frank the Tank.

Mary Eileen O’Donnell (Madame Parnell), a New Yorker, is a nine-year veteran of The Actors’ Gang. Since getting her degree in the United States and training in London, she has worked in New York, Los Angeles and in regional theater, 46 seven days of opening nights

as well as in movies, TV and commercials. Los Angeles: The Actors’ Gang: OY, Red Noses, Break the Whip (written and directed by Tim Robbins), Tartuffe, I Am Not a Racist, But..., Love’s Labour’s Lost, The Women of Lockerbie; Mark Taper Forum: Vigil (Olympia Dukakis’ understudy); Los Angeles Women’s Shakespeare Co: Twelfth Night, Richard III, Measure for Measure, Midsummer Night’s Dream, Winter’s Tale. Off Broadway: The Measures Taken (NYSF/Public Theatre), five seasons at the Classic Stage Co: Richard II, Hamlet, Wild Oats, Henry IV Parts 1 & 2, Doctor Faustus, Cuchulain, Leonce and Lena. Other New York: Soho Rep: The Blitzstein Project, Mandrake, Merchant of Venice. Regional theater: Christmas Carol (Pennsylvania Stage Company). Film: The Problem of Evil, Mrs. Henderson’s Cat, Girls! Girls! Girls!, Silver Bells, Sweet Nothing in My Ear, Tales from the Catholic Church of Elvis, Witchwise. TV: Law and Order: Los Angeles, Big Love, The Unit. Web Series: Josie and Dale.

Tim Robbins (Artistic Director) was born in 1958 in West Covina, Calif. and raised in New York City’s Greenwich Village.

Robbins has a long list of notable credits as an actor, director, writer and producer of films and theater. Key acting roles are in such films as Clint Eastwood’s Mystic River, Isabel Croixet’s The Secret Life of Words, Philip Noyce’s Catch a Fire, Robert Altman’s The Player and Short Cuts, Frank Darabont’s The Shawshank Redemption, The Coen Brothers’ The Hudsucker Proxy, Steven Spielberg’s War of the Worlds, Mark Pellington’s Arlington Road, Michael Winterbottom’s Code 46, Michel Gondry’s Human Nature, Tony Bill’s Five Corners, Adrian Lyne’s Jacob’s Ladder and Ron Shelton’s Bull Durham. Robbins has won numerous awards for his acting, including an Oscar, a Golden Globe and a Screen Actors Guild Award for Best Supporting Actor for Mystic River; and a Best Actor Award at the Cannes Film Festival and a Golden Globe for Best Actor for The Player. He was also nominated by the Golden Globes for Best Actor for Bob Roberts and by the Screen Actors Guild for Best Actor for The Shawshank Redemption.

As a director, Robbins distinguished himself with Cradle Will Rock, which he also wrote and produced, winning Best Film and Best Director at the Sitges Film Festival in Barcelona, Spain and the National Board of Review Award for Special Achievement in Filmmaking in the United States. Dead Man Walking, which he also wrote and produced, won multiple awards, including the Academy Award for Best Actress for Susan Sarandon, the Christopher Award, the Humanitas Award, and four awards at the Berlin Film Festival, as well as four Oscar nominations, including Best Director, and a Golden Globe nomination for Best Screenplay. His first film, Bob Roberts, won the Bronze Award at the Tokyo International Festival and Best Film, Best Director and Best Actor honors at the Boston Film Festival. Robbins serves as artistic director for The Actors’ Gang. As a playwright he has been produced in London, Paris, New York, Chicago, Los Angeles, and at the Edinburgh Festival in Scotland. One of his latest plays, Embedded, played to sold-out audiences for more than four months at the Public Theater in New York before playing at the Riverside Studios in London and embarking on a national tour in the United States. Most recently, he directed The Actors’ Gang in its shockingly relevant and wildly successful adaptation of George Orwell’s 1984 which for the past two years has toured to more than states and four continents.

From 2006 to the present, Le Petit Theatre de Pain’s production of Embedded has been touring France, most recently playing at the Theatre du Soleil in Paris. In the United States, Embedded was revived recently in productions in Chicago and Tampa. In addition, Robbins’ stage adaptation of Dead Man Walking has been performed at over 140 universities nationwide. (Rights to perform the play are exclusive to educational institutions until 2014. In order to obtain the rights for the play, universities must commit two departments other than theater arts to offer courses on the death penalty. Throughout the country and the world for the past four years, symposiums, lectures and debates have been held in conjunction with the theatrical productions, leading to a substantial increase in the dialogue and education surrounding this important issue.) Robbins is also very proud to sponsor educational programs with The Actors’ Gang that provide arts education to elementary, middle and high school students in the Los Angeles area. The Gang has also worked for the past three years providing theatrical workshops to incarcerated inmates in the California prison system.

Pedro Shanahan (Percussion/Keyboards) grew up performing in community and guerilla theater companies in Eugene, Ore. He has worked as a writer, director and producer for stage, screen and television, helping to create American Misfits (among other shows) for FUEL TV. Shanahan has been playing in bands since the ‘80s, touring in support of several albums with The Good Madmen, Birdie Jo! and the Rondo Brothers, as well as solo projects under the moniker Dirty Little Pedro. He is a relatively new member of The Actors’ Gang and an active teacher in the Prison Project and Homeboy Industries, as well as after-school programs.

He is grateful to be a member of this vital and talented group.

R. Christopher Stokes (Lighting Design) is a Los Angelesbased lighting designer. He is thrilled to work with The Actors’ Gang again on the Tartuffe tour. His recent shows include Helen at the Getty Villa in Malibu, Calif., Recycling: Washi Tales at the Los Angeles County Museum of Art, and The Sonneteer at The Village in Hollywood. He earned his M.F.A. in lighting design at the California Institute of the Arts under two-time Tony Award winner Donald Holder.

Stokes also holds a B.A. in theater from Bucknell University.

As an assistant, he worked on Spiderman: Turn Off the Dark, the revival of Promises, Promises on Broadway, the Off-Broadway musical Happiness at Lincoln Center, The Lion King national tour, and the TV show Smash. Learn more at www.StokesLD.com.

Donna Jo Thorndale (Madame de Maintenon/Translator) is an actress, writer and performer from Lexington, Ky. She has been a member of The Actors’ Gang since 2004 and most recently was directed by Tony Award-winning director Dominique Serrand in Red Noses. Other shows with the Gang include Deborah Brevoort’s The Women of Lockerbie, Bury the Dead, KLUB and Carnage: A Comedy by Tim Robbins and Adam Simon. Other Los Angeles credits include Gail in the West Coast workshop production of Nora Ephron’s Love, Loss & What I Wore, and Lady Macduff in Fahrenheit Macbeth by The SITI Company. Thorndale has been teaching incarcerated inmates with The Actors’ Gang’s Prison Project

since 2007, using the transformative tool of theater to directly address the recidivism rate in the California prison system. Professional training includes the Williamstown Theatre Festival, The Actors’ Theatre of Louisville, and study with director Anne Bogart, SITI Company. She holds a B.A. in theater from the University of Kentucky with minors in dance, forestry and political science.

Bob Turton (Cleante) has been part of The Actors’ Gang for three years. Other Gang credits include Red Noses, The Rivals, and the recent remount of 1984 directed by Artistic Director Tim Robbins. Regional theater credits include work with The Chicago Shakespeare Theatre, Steppenwolf, A Red Orchid Chicago and The Cleveland Play House. Turton is an alumnus of Northwestern University and a proud member of The Actors’ Equity Association. He offers infinite thanks to The Gang, Tim Robbins, Mom, Dad, and fellow Gangster Molly O’Neill for absurdly generous love and support.

P. Adam Walsh (Orgon) currently resides in London with his wife, Caliopie, and daughter, Sadie. He has more than 27 years of acting experience with many theater, film and television credits to his name. As a director, he’s helmed theater productions in London, New York, Los Angeles, New Orleans and Hong Kong. Walsh has also taught acting workshops at NYU’s experimental theater program, UCLA’s graduate acting program and The Colour House Theatre in London, as well as several universities and private organizations across the United States.

Sabra Williams (Dorine), having established a body of work as an actress and TV presenter in the United Kingdom and internationally, became an “alien of exceptional ability” and arrived in Los Angeles in 2002. She is honored to have been a member of The Actors’ Gang since 2004, playing leads in many plays. Williams also created The Actors’ Gang Prison Project and is currently Director of Outreach. She has a successful film and television career, including Mission Impossible 3 and recurring roles in ABC’s Injustice and CBS’ Three Rivers. “Working with people who understand the power of the arts to effect social and inner transformation is crucially important to me,” she says.

TOUR MANAGEMENT AND BOOKING David Lieberman/Artists’ Representatives info@dlartists.com | dlartists.com The Actors’ Gang The Ivy Substation 9070 Venice Boulevard.

Culver City, CA 90232 310-838-4264

theactorsgang.com

2012-2013 festival PROGRAM

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48 seven days of opening nights

PROGRAM TO BE ANNOUNCED FROM THE STAGE

WED 2/13 7:30 P.M. RUBY DIAMOND CONCERT HALL

T

ogether in concert, the Preservation Hall Jazz Band and the Del McCoury Band create a seamless blend of soul-lifting traditional harmonies as the high and lonesome sound of the Appalachians meets the hot and lively jazz of New Orleans. Fresh off a fruitful recording collaboration, as well as a joint performance at Pete Seeger’s 90th birthday celebration in Madison Square Garden, these American Musical Legacies are taking their show on the road. Audiences will thrill to this very special opportunity to witness the coming together of two legendary groups of musicians from two distinctly American musical lineages.

Since opening its doors to the public in 1961, it has been the mission of the Preservation Hall to showcase the national treasures of traditional New Orleans jazz music.

Forty-eight years later, the Preservation Hall Jazz Band still represents the best opportunity for music fans the world over to experience the planet’s happiest music. Boasting a

direct lineage from the earliest incarnations of New Orleans jazz, the current roster of the Preservation Hall Jazz Band features some of the Crescent City’s finest and most exciting musicians. These unforgettable, multi-generational players proudly carry on the traditions passed forward from the most prolific jazz heritage on Earth.

preservationhall.com The Del McCoury Band is a world-class bluegrass ensemble that performs original and traditional compositions with eloquent harmonies and “ferocious, purebred musicianship” (USA Today). Holding more than 30 trophies from the International Bluegrass Music Association Awards (including nine for Entertainer of the Year) and multiple Grammy awards and nominations, they’re the most honored group in bluegrass history, earning the acclaim of colleagues throughout the music industry, ranging from Dierks Bentley to pop star Bjork to jam band favorites Phish. Their fans, many of whom proudly claim the title of “Del- Head,” are equally diverse and unanimously passionate, filling venues from Carnegie Hall and the Kennedy Center to New Orleans’ Preservation Hall and the Grand Ole Opry.

delmccouryband.com 2012-2013 festival PROGRAM

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THU 2/14 8 P.M. NANCY SMITH FICHTER DANCE THEATRE

CO-SPonsored by: SEVEN DAYS OF OPENING NIGHTS & FLORIDA STATE’S MAGGIE ALLESEE NATIONAL CENTER FOR CHOREOGRAPHY

T Choreography: Kyle Abraham in collaboration with Abraham.In.Motion Dramaturge: Charlotte Brathwaite Editing Advisor: Alexandra Wells Costume Design: Kyle Abraham Scenic/Lighting Designer: Dan Scully Public Programs Developer: Maritza Mosquera Sound Editing: Sam Crawford Video Images courtesy of Chris Ivey Music: J.C. Bach, Jacques Brel, Benjamin Britten, Antonio Caldara, Sam Cooke, Colin Davis, Emmanuelle Haïm, Heather Harper, Donny Hathaway, Edward Howard, Concerto Köln, Philippe Jaroussky, Le Cercle De L’Harmonie, Alan Lomax, Ensemble Matheus, Fred McDowell, Hudson Mohawke, Alva Noto, Jérémie Rhorer, Ryuichi Sakamoto, Carl Sigman, JeanChristophe Spinosi and Antonio Vivaldi Performers: Kyle Abraham, Matthew Baker, Rena Butler, Chalvar Monteiro, Jeremy “Jae” Neal, Maleek Washington and Eric Williams

50 seven days of opening nights

he creation and presentation of “Pavement” is supported by the National Endowment for the Arts in cooperation with the New England Foundation for the Arts though the National Dance Project (NDP). Major support for NDP is provided by the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the Community Connections Fund of the MetLife Foundation. Support from the NEA provides funding for choreographers in the early stages of their careers.

Developed in part during a Choreographic Fellowship at the Maggie Allesee National Center for Choreography at Florida State University, “Pavement” was also created during a residency provided by The Joyce Theater Foundation, New York City, with major support from The Andrew W. Mellon Foundation as well as during a residency provided by The Joyce Theater Foundation, New York City, with major support from The Rockefeller Foundation’s NYC Cultural Innovation Fund and the Rockefeller Brothers Fund.

The creation of “Pavement” was made possible, in part, by the Danspace Project Commissioning Initiative with support from the Jerome Foundation. “Pavement” was developed, in part, during a creative residency at the Bates Dance Festival.

“Pavement” is made possible, in part, by the Lower Manhattan Cultural Council’s Swing Space program.

Pavement is a Harlem Stage WaterWorks Commission. Time Warner is the lead sponsor for WaterWorks, with additional support from the Lambent Foundation, National Endowment for the Arts, New York State Council on the Arts, New York City Department of Cultural Affairs, Jerome Foundation, American Airlines, Bob & Eileen Gilman Family Foundation, Mertz-Gilmore Foundation, and Capezio/Ballet Makers Dance Foundation.

Pavement

Program Notes and Acknowledgements In 1991, I was 14 and entering the 9th grade at Schenley High School in the historic Hill District of Pittsburgh. That same year, John Singleton’s film Boyz N The Hood was released. For me, the film depicted an idealized “Gangsta Boheme” laying aim to the state of the black American male at the end of the 20th century. Twenty years later and more than 10 years into the 21st century, I am focused on investigating the state of Black America and a history therein.

Reimagined as a dance work and now set in Pittsburgh’s historically black neighborhoods, East Liberty Homewood and the Hill District, Pavement, aims to create a strong emotional chronology of a culture conflicted with a history plagued by discrimination, genocide, and a constant quest for a lottery ticket weighted in freedom.

Men call the shadow prejudice, and learnedly explain it as a natural defense of culture against barbarism, learning against ignorance, purity against crime, the ‘higher’ against the ‘lower’ races.

– W.E.B. Du Bois

As two rival neighborhoods, their histories run parallel. Both experienced a cultural shift in the 1950s when jazz legends like Ella Fitzgerald and Duke Ellington performed at local theaters, and Billy Strayhorn spent most of his teenage years there. Over a century later, those same theaters are now dilapidated. The streets that once flourished on familyrun businesses and a thriving jazz scene now show the sad effects of gang violence and crack cocaine.

To our collaborators and supporters and the amazing staff of A/I/M, Danspace Project, Harlem Stage, Hobart and William Smith Colleges, The Joyce Theater Foundation, MANCC and NDP, thank you for believing in this project and for all that you’ve done to get this show up and running! To anyone who has ever supported my work by either donating to the company, recommending my work, or simply attending one of our shows in the city, at a time

when there are so many wonderful options, thank you for spending your time with us.

About the Company The mission of Kyle Abraham/Abraham.In.Motion is to create an evocative interdisciplinary body of work. Born into Hip-hop culture in the late ’70s and grounded in Abraham’s artistic upbringing in classical cello, piano and the visual arts, the goal of the movement is to delve into identity in relation to a personal history. The work entwines a sensual and provocative vocabulary with a strong emphasis on sound, human behavior and all things visual in an effort to create an avenue for personal investigation – and exposing that on stage. A/I/M is a representation of dancers from various disciplines and diverse personal backgrounds.

Combined together, these individualities create movement that is manipulated and molded into something fresh and unique. Abraham.In.Motion is a proud supporter of Dancers Responding to AIDS. Kyle Abraham/Abraham.In.Motion is a member of Pentacle (Dance Works, Inc.) a nonprofit service organization for the performing arts, Mara Greenberg and Ivan Sygoda, Directors. 246 W. 38th St., 4th, New York, NY 10018. Tel. (212)-278-8111; Fax (212)-278-8555.

pentacle.org For booking information, contact Sophie Myrtil-McCourty at the above address and number, extension 313, or at sophiem@pentacle. org. For international booking information, contact Bernard Schmidt Productions, Inc. at 16 Penn Plaza, Suite 545, New York, NY 10001, USA. Tel/Fax: (212)-564-4443. Email: bschmidtpd@aol.com.

bernardschmidtproductions.com

KYLE ABRAHAM The 2012 Jacob’s Pillow Dance Award recipient, Kyle Abraham, began his training at the Civic Light Opera Academy and the Creative and Performing Arts High School in Pittsburgh. He continued his dance studies in New York, receiving a BFA from SUNY Purchase and an M.F.A. from NYU’s Tisch School of the Arts.

Over the past few years, Abraham has received tremendous accolades and awards for his dancing and choreography, including a 2010 Bessie Award for Outstanding Performance in Dance for his work in The Radio Show, a 2010 Princess Grace Award for Choreography, a BUILD grant and an individual artist fellowship from the New York Foundation for the Arts, a Jerome Foundation Travel and Study Grant, and was selected in 2009 as one of Dance Magazine’s 25 To Watch.” In 2011, OUT Magazine labeled Abraham as the “best and brightest creative talent to emerge in New York City in the age of Obama.”

He is currently working on a commission by Alvin Ailey American Dance Theater and a new pas de deux for himself and acclaimed Bessie Award winning dancer and New York City principal Wendy Whelan while still creating new works for his company, A/I/M. 2012-2013 festival PROGRAM

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T F S U C  V A, T  D

School of Dance

2012 - 2013 Season MFA Concert, Feb 1 & 2, 2013 MFA Concert, Mar 1 & 2, 2013 FSU Dance in Sarasota!

Mar 22 & 23, 2013 Days of Dance Apr 19 & 20, 26 & 27, 2013

Photo by Lynn Lane For ticket information contact the Fine Arts Ticket Office at 850.644.6500 or tickets.fsu.edu All concerts held in Montgomery Hall on FSU’s Campus

dance.fsu.edu

Maggie Allesee National Center for Choreography

mancc.org

Matthew Baker (Dancer) originates from Ann Arbor, Mich., where, before launching into the dance world, he began his movement exploration as a gymnast and soccer player. Prior to relocating to New York City, Baker received his B.F.A. in dance from Western Michigan University. In addition to his work with Abraham.In.Motion, Baker has been dancing with KEIGWIN + COMPANY in New York since 2009. In 2010, he enjoyed assisting Larry Keigwin in choreographing Vogue’s Fashion Night Out: The Show, New York’s largest fashion show in history. Baker thanks Kyle and the rest of the A/I/M family for this opportunity to grow and share.

Eric Williams (Dancer) began his training as a youth in Pennsylvania under Kim Maniscalco and at the Academy of International Ballet. He continued his professional studies at the HARID Conservatory and the University of South Florida. Now a movement expresser, performer, improviser and educator, he is proud to call New York City his home.

This is Williams’ first season with Abraham.In.Motion, and he is humbled to be working for such an inspiring creator and dancing with such amazing people. He looks forward to continuing the enriching exploration of A/I/M’s wonderful ethos and dynamic.

Rena Butler (Dancer) is a native of Chicago and studied at the Chicago Academy for the Arts. Butler has performed with the Chicago-based salsa dance company Pasos Con Sabor, and the modern dance company Luna Negra Dance Theater. She’s also had the great privilege of studying dance abroad at Taipei National University of the Arts in Taipei, Taiwan. Butler was the recipient of the Bert Terborgh Award and graduated cum laude in 2011 from SUNY Purchase Conservatory of Dance. She has been a collaborator with Abraham/Abraham.In.Motion since 2011, and would like to thank her loved ones and educators for her successes.

Dramaturge

Chalvar Monteiro (Dancer), a native of New Jersey, began his formal dance training at Sharron Miller’s Academy for the Performing Arts. He went on to study at The Ailey School under the direction of Denise Jefferson, and earned a degree in dance from SUNY Purchase Conservatory of Dance. He was a member of Sidra Bell Dance New York, The Kevin Wynn Collection and Elisa Monte Dance.

Monteiro joined Abraham.In.Motion in June 2010. He has performed works by Judith Jamison, Thaddeus Davis, Paul Taylor, Merce Cunningham, George Balanchine, Doug Varone and Helen Pickett.

Jeremy “Jae” Neal (Dancer) was born and raised in Michigan and received his training from Western Michigan University. There, he performed in professional works such as Strict Love by Doug Varone, Temporal Trance by Frank Chavez and Harrison McEldowney’s Dance Sport.

Since relocating to New York, Neal has had the privilege of working with SYREN Modern Dance, Christina Noel Reaves, Catapult Entertainment, Katherine Helen Fisher Dance, Nathan Trice and now Abraham.In.Motion. Neal would like to thank his family and friends for their consistent encouragement and support.

Maleek Washington (Dancer) was born in the New York and at seven years old he was introduced to dance at Broadway Dance Center and the Harlem School of the Arts.

After attending LaGuardia High School for Performing Arts, Washington continued his education at The Boston Conservatory after joining CityDance Ensemble, touring to more than eight countries with them. Recently Maleek attended SpringBoard Danse, where he was able to join Jose Novas’s Company Flak for a season of European tours. This is Washington’s second season with Abraham in Motion. He would like to dedicate this season to the memory of his late grandmother, Duella Smith.

A native of Toronto, Ontario Canada, Charlotte Brathwaite (Dramaturge) is a freelance director whose works have been presented in New York and internationally. Her directing credits include Woman Bomb, Baryshnikov Arts Center; The Coming..., the Living Theater; American Schemes by Radha Blank, NYC Summerstage; Shakespeare’s A Midsummer Night’s Dream, A Streetcar Named Desire by Tennessee Williams; Kleopatra, Kolkata, India, and Smile Orange, Trinidad, West Indies. She holds an M.F.A. from Yale School of Drama, and is recipient of the Julian Milton Kaufman Prize and a Princess Grace Award.

charlottebrathwaite.com

Editing Adviser As principal dancer of the Ballet National de Nancy, Alexandra Wells toured the world and formed lasting partnerships with Rudolf Nureyev and Patrick Dupont.

Following her performing career, she returned to the United States first as rehearsal director with Ballet Hispanico and then as faculty member of L’École Supérieure de Danse du Québec. In 2002, she co-founded Springboard Danse Montréal with Susan Alexander. The mission of this project is to connect emerging artists to job opportunities while providing professional companies with dancers. In 2009, Wells designed the Movement Invention Project in New York City, under the umbrella of NJDTE. Its focus is on collaborative and improvisational skills. Since 1998 Wells has been a full-time faculty member at The Juilliard School in New York. In 2012, she was recognized for her entrepreneurial work with Springboard Danse Montreal in the Juilliard Convocation.

Scenic / Lighting Designer Dan Scully is a New York-based lighting and projection designer and has been designing for Kyle Abraham and Abraham.in.Motion for more than six years, including the Bessie Award-winning The Radio Show. Recent work includes 1969 (Alarm Will Sound/Carnegie Hall), The Witch of Edmonton (Red Bull Theater), The Orchestra Rocks!, (Carnegie Hall), Seven Last Words (Lincoln Center Chamber Orchestra Society) and The Wii Plays (Ars Nova), among other credits. Regional: Trinity Rep., GEVA, Asolo Rep., Cleveland Playhouse and Two River Theater Company.

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Scully is also the resident lighting designer for the Hudson Valley Shakespeare Festival.

Public Programs Developer Maritza Mosquera, artist community-transformation partner, has developed, organized and presented new practices in arts education and artist-led community collaborations with several organizations, including Chicago Arts Partners in Education, Finding History in Ourselves, Dialogues for Democracy and the Andy Warhol Museum.

She has taught in various schools and the universities across the country, including University of Pennsylvania, Temple University, and Perspectives and Noble Academies.

Mosquera is currently developing community engagement programs for Kyle Abraham/Abraham.In.Motion’s Pavement, presenting dialogue programs for Word of God at The Warhol Museum, and teaching with the TALL program in Pittsburgh. She has received grants from the Mid-Atlantic Arts Foundation, the National Endowments for the Arts, The Ford Foundation and The Multi-Cultural Arts Initiative for her own work, which she exhibits internationally.

She received an M.F.A. from the University of Pennsylvania and B.F.A. from the Maryland Institute College of Art. She studied at Skowhegan School of Painting in Maine.

Abraham is something of an emotional chameleon. His stage persona often appears as a street-smart dude who sports a tough armor, but we recognize it to be a shield for vulnerability.

– The Boston Globe

Sound Editor Sam Crawford completed both his B.A. in English and A.S. in Audio Technology at Indiana University in 2003. A move to New York City led him to Looking Glass Studios, where he worked on film projects with Philip Glass and Björk. His recent sound designs and compositions have included works for the Bill T. Jones/Arnie Zane Dance Company (Venice Biennale, 2010), Yin Mei Dance (Beijing, 2010), and David Dorfman Dance. He currently resides in New York City, where he works as a freelance composer, designer and engineer. He also plays lap steel and banjo in various groups, including Corpus Christi (Rome).

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56 seven days of opening nights

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PROGRAM TO BE ANNOUNCED FROM THE STAGE

FRI 2/15 7:30 P.M. RUBY DIAMOND CONCERT HALL

Throughout her illustrious career the Tony Award-winning actress has dazzled audiences and critics with her performances on stage and television, in concert, and on recordings.

on behalf of one or more humanitarian, social service or charitable organizations, regardless of whether such organizations relate to the theater. Along with good friend Mary Tyler Moore, she co-founded Broadway Barks!, an organization that promotes the adoption of shelter animals.

Broadway Barks! has evolved into an event that not only focuses on the plight of homeless animals but has opened the door of communication and fostered a spirit of community among the numerous shelters and rescue groups working throughout the New York City area. Their annual star-studded animal adoption event takes place in New York City’s famed Shubert Alley.

Peters recently starred on Broadway in the critically acclaimed production of Follies, after a highly successful run at the Kennedy Center. Prior to that, she starred in the Tony Award-winning masterpiece, A Little Night Music opposite Elaine Stritch. This year, Peters received her third Tony, The Isabelle Stevenson Award. This special award acknowledges an individual from the theater community who has made a substantial contribution of volunteered time and effort

Peters has also added author/songwriter to her roster of achievements with her debut children’s book, Broadway Barks!, a New York Times Bestseller, aptly named after the organization she co-founded. The book package includes a CD of an original song, written and sung by the author. Her second children’s book, Stella is a Star, features another of her original songs, of which all of the proceeds from the sale of both books go to Broadway Barks!

J

oin the stunning Bernadette Peters in an evening of songs from the best of Broadway’s stage including popular standards by Rodgers & Hammerstein and Stephen Sondheim, among others. Expect a glamorous evening with a full orchestra as only Peters can do.

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In 2003, she received her seventh Tony Award nomination for her electrifying portrayal of Momma Rose in Sam Mendes’ record-breaking Broadway revival of Gypsy, and her brilliant performance was captured on the Grammy Award-winning Gypsy cast recording. “Bernadette Peters is a revelation!”, Ben Brantley of The New York Times declared of her star turn in the show. Peters’ Angel Records CD, Sondheim, Etc., Etc.: Bernadette Peters Live at Carnegie Hall (The Rest of It), features never-before-released highlights from her historic 1996 highly anticipated solo debut at Carnegie Hall.

The concert was a benefit for Gay Men’s Health Crisis. This performance was repeated in Bernadette Peters in Concert, her London solo debut at Royal Festival Hall, which later was telecast on PBS and is available on DVD.

performing arts specials such as PBS’ Evening at Pops and The Kennedy Center Honors to early appearances in variety shows such as The Carol Burnett Show and an Emmy-nominated performance on The Muppet Show. She appeared in the starstudded Sondheim: A Celebration at Carnegie Hall and also played an opera diva on the verge of a nervous breakdown in Terrence McNally’s The Last Mile, both for PBS’ highly acclaimed Great Performances series. Other television credits include PBS’s Hey Mr. Producer!: The Musical World of Cameron Mackintosh and the ABC-TV special Quincy Jones: The First 50 Years.

Peters received an Emmy nomination for her performance in Fox’s hit TV series Ally McBeal. She portrayed the wicked stepmother in Cinderella with Brandy and Whitney Houston, and also starred in The Odyssey starring Armand Assante, David, Fall from Grace with Kevin Spacey, and The Last Best Year with Mary Tyler Moore. Peters also appeared in the Showtime movie Bobbie’s Girl (Daytime Emmy nomination) and Prince Charming, a TNT movie co-starring Martin Short and Christina Applegate.

A native of Ozone Park, N.Y., Peters began her performing career at the age of 3 with appearances on Juvenile Jury, the classic TV game show Name That Tune, and The Horn & Hardart Children’s Hour. She made her theatrical debut in This is Goggle, starring James Daly and Kim Hunter, directed by the legendary Otto Preminger. Still in As an actress, singer, her teens, she appeared in The Most comedienne and allHappy Fella and The Penny Friend and around warming presence, performed in the national touring Bernadette Peters has company of Gypsy.

Peters recorded the original title song for the 1998 feature film Barney’s Great Adventure: The Movie, written by famed Tony Award-winning Broadway composer Jerry Herman (Hello, Dolly!, Mame). She can also no peer in the musical be heard as the voice of Sophie in the Peters made her Broadway debut theatre right now. feature film Anastasia, as Angelique in 1967 in Johnny No-Trump, and in – The New York Times in the special home video Beauty 1968 starred with Joel Grey in the and the Beast: Enchanted Christmas, musical George M!, earning a Theatre as Sue in The Land Before Time: The World Award for her memorable Great Longneck Migration, and the voice of Rita the Cat in the portrayal of Josie Cohan. That same year, she received a popular Steven Spielberg animated program Animaniacs.

Drama Desk Award for her show stopping performance in the smash hit off-Broadway musical Dames at Sea, and A performer of amazing versatility, Peters has lit up the quickly became one of the most sought-after stars in silver screen in 17 films throughout her distinguished career. musical theater. One of Broadway’s brightest stars, Peters She received a Golden Globe Award for her memorable received both the Tony Award and Drama Desk Award for her performance in Pennies From Heaven. Film credits include critically acclaimed performance in Andrew Lloyd Webber’s The Jerk with Steve Martin, The Longest Yard with Burt hit musical Song and Dance. In June 1999, She earned her Reynolds, Silent Movie with Mel Brooks, Annie with Carol second Tony Award, her third Drama Desk Award, and an Burnett, Pink Cadillac with Clint Eastwood, Slaves of New York Outer Critics Circle Award for her portrayal of Annie Oakley with Mercedes Ruehl, Woody Allen’s Alice with Mia Farrow, in one of Broadway’s most popular musicals, the smash Tony Impromptu with Hugh Grant and Mandy Patinkin, and, It Runs Award-winning hit Broadway revival of Annie Get Your Gun. in the Family, starring opposite Kirk and Michael Douglas.

Peters also received Tony nominations for her work in the 1992 musical The Goodbye Girl; Stephen Sondheim’s Pulitzer In addition to numerous Grammy Award-winning Broadway Prize-winning musical Sunday in the Park With George; the cast albums including Gypsy and Annie Get Your Gun, Peters Jerry Herman/Gower Champion ode to the movies, Mack has recorded six solo albums: Sondheim, Etc., Etc.: Bernadette and Mabel; and the Leonard Bernstein/ Comden and Green Peters Live at Carnegie Hall (The Rest of It); Bernadette musical On The Town. In addition to these honors, Peters Peters Loves Rodgers & Hammerstein (Grammy Nomination); earned a Drama Desk nomination for her memorable portrayal Sondheim Etc.: Bernadette Peters Live At Carnegie Hall of the Witch in Stephen Sondheim’s Into the Woods.

(Grammy Nomination); I’ll Be Your Baby Tonight (Grammy Nomination); Bernadette Peters; and Now Playing.

While Peters is best known for her work in the theater, her career doesn’t end at the footlights. She boasts an impressive Peters has received numerous accolades throughout her list of television credits including her recent guest appearance distinctive career, ranging from the Tony Award to a star on on NBC’s new hit series SMASH. She has also appeared in the Hollywood Walk of Fame. The Police Athletic League, the Lifetime movie Living Proof opposite Harry Connick Jr.; an organization that runs 84 youth centers and 150 summer a guest-starring role in the two-hour 2008 season premiere camps for New York City’s neediest children, named her of the ABCTV hit series, Grey’s Anatomy, and a recurring role as Woman of the Year in 1999. A few weeks earlier, the on the popular TV hit Ugly Betty. She has appeared in several 58 seven days of opening nights

Actors Fund of America bestowed Peters with its Artistic Achievement Award. She has received the Special Advocate Award from the City of New York for her contributions to the gay and lesbian community, and is the youngest person to be inducted into the Theatre Hall of Fame. Peters also received the 2000 New York Heroes Award from the National Academy of Recording Arts & Sciences. In 2004, she was the Arts and Entertainment recipient of the Matrix Award from New York Women in Communications Inc. Other honors include the Sarah Siddons Actress of the Year Award and Harvard’s Hasty Pudding Woman of the Year for her “lasting and impressive contribution to the world of entertainment.”

Peters devotes her time and talents to numerous events that benefit Broadway Cares/Equity Fights AIDS, in addition to her “pet project,” Broadway Barks!. In 2009, she performed a critically acclaimed, one-night-only concert in New York City at the Minskoff Theatre, Bernadette Peters: A Special Concert for Broadway Barks Because Broadway Cares, with the proceeds going to both organizations.

She resides in New York City and Los Angeles.

Marvin Laird (Musical Director) is the composer of the award-winning Off-Broadway musical Ruthless! His collaboration with Joel Paley, the author/lyricist of that show, has been ongoing for 25 years. Their most recent piece, The Yiddish are Coming…! The Yiddish are Coming…! is currently playing regionally throughout North America.

Since the 1960s, he has conducted and/or written dance and vocal arrangements for more than two dozen Broadway and West End shows, including the award-winning production of Annie Get Your Gun and the 2003 Broadway revival of Gypsy, both starring Peters. Laird supplied the music for the Lar Lubovitch ballet Smile with My Heart, which had its world premiere with both Lubovitch’s company and the ABT in New York. In the early 1960s, he was assistant conductor for a national tour of Gypsy, which also featured a child actress named Bernadette Peters. The rest is history. Footnotes to that history include Laird writing dance music for two Academy Award films, Hello, Dolly and New York, New York; scoring Dynasty, The Love Boat and Quincy for television; and, most recently, conducting the critically acclaimed Broadway production of Stephen Sondheim’s Follies, again starring Peters.

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SAT 2/16 2 P.M., PEBBLE HILL PLANTATION

SUN 2/17 2 P.M., OPPERMAN MUSIC HALL

Fantasia, Op. 54 F. Sor (1778 - 1839) I. II. III.

Introduction Variations Allegro dans le gendre Español

Selections from Pièces de Clavecin J. Rameau (1683-1764) (arr. S. Assad) IV. V. VI. VII. VIII. IX.

Allemande Rigaudon Musette en rondeau Le Lardon Les Tendres plaintes Le Rappel des oiseaux

Prelude and Fugue No. 7 in C-sharp minor Prelude and Fugue No. 17 in B Major M. Castelnuovo-Tedesco (1895-1968) 60 seven days of opening nights

Three Sonatas D. Scarlatti (1685- 1757) I. II. III.

Sonata in D Major, K. 96 Sonata in F minor, K. 466 Sonata in D minor, D. 141

INTERMISSION

Two Works H. VIlla Lobos (1887-1959) I. II.

A Lenda do Caboclo Choros No. 5, “Alma Brasileira”

Interrogando J. Pernambuco (1883- 1947) Medley A. Sardinha “Garoto” (1915-1955)

Two Works E. Nazareth (1863-1934) IV. V.

Eponina Batuque

Dois Destinos D. Reis (1677- 1977) Tempo Feliz B. Powell (1937-2000)

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razilian-born brothers Sérgio and Odair Assad have set the benchmark for all other guitarists by creating a new standard of guitar innovation, ingenuity and expression. Their exceptional artistry and uncanny ensemble playing come from both a family rich in Brazilian musical tradition and from studies with the guitar/lutenist Monina Távora (1921-2011), a disciple of Andrés Segovia. In addition to setting new performance standards, the Assads have played a major role in creating and introducing new music for two guitars. Their virtuosity has inspired a wide range of composers to write for them, including Astor Piazzolla, Terry Riley, Radamés Gnattali, Marlos Nobre, Nikita Koshkin, Roland Dyens, Jorge Morel, Edino Krieger and Francisco Mignone.

Now Sérgio Assad is adding to their repertoire by composing music for the duo and for various musical partners, both with symphony orchestras and in recitals. They have worked extensively with such renowned artists as Yo-Yo Ma, Nadja Salerno-Sonnenberg, Fernando Suarez Paz, Paquito D’Rivera, Gidon Kremer and Dawn Upshaw.

The Assads began playing the guitar together at an early age and went on to study for seven years with Dona Monina.

Their international career began with a major prize at the 1979 Young Artists Competition in Bratislava, Slovakia.

Odair Assad is based in Brussels, where he teaches at Ecole Supérieure des Arts. Sérgio Assad resides in San Francisco, where he is on the faculty of the San Francisco Conservatory of Music.

The Assads’ repertoire includes original music composed

by Sérgio Assad and his reworkings of folk and jazz music, as well as Latin music of almost every style. Their standard classical repertoire includes transcriptions of the great Baroque keyboard literature of Bach, Rameau and Scarlatti and adaptations of works by such diverse figures as Gershwin, Ginastera and Debussy. Their touring programs are always a compelling blend of styles, periods and cultures.

The Assads are also recognized as prolific recording artists, primarily for the Nonesuch and GHA labels. In 2001, Nonesuch Records released “Sérgio and Odair Assad Play Piazzolla,” which later won a Latin Grammy. Their seventh Nonesuch recording, released in the fall 2007, is called “Jardim Abandonado,” after a piece by Antonio Carlos Jobim. It was nominated for Best Classical Album, and Sérgio later won the Latin Grammy for his composition “Tahiiyya Li Oussilina.”

A Nonesuch collaboration with Nadja Salerno-Sonnenberg in 2000 featured a collection of pieces based on traditional and Gypsy folk tunes from around the world. In 2003, Sérgio Assad wrote a triple concerto for this trio that has been performed with the orchestras of São Paulo, Seattle and the St. Paul Chamber Orchestra. In the summer of 2004, the Assads arranged a very special tour featuring three generations of their family. The family presented a wide variety of Brazilian music featuring their father, Jorge Assad (1924-2011) on the mandolin and the voice of their mother, Angelina Assad.

GHA Records has released a live recording and a DVD of the Assad Family live at Brussels’ Palais des Beaux-Arts. In the 2006-2007 season, the Assad Brothers performed Joaquin

Rodrigo’s “Concierto Madrigal for Two Guitars” and Sérgio’s arrangement of Piazzolla’s “Four Seasons of Buenos Aires” with the Los Angeles Philharmonic at the Hollywood Bowl.

The Assads were also featured performers on James Newton Howard’s soundtrack to the movie “Duplicity,” starring Julia Roberts and Clive Owen. In the 2010-2011 and 2011-2012 seasons, the brothers toured with a project titled “De Volta as Raizes” (Back to Our Roots) featuring Lebanese-American singer Christiane Karam, percussionist Jamey Haddad and composer/pianist Clarice Assad.

In February 2011, Odair Assad performed his first solo guitar concert tour in North America featuring concerts in New York and Montreal. Sérgio Assad has written another concerto for his duo, called Phases. It was premiered with the Seattle Symphony in February 2011. In the meantime, he has been nominated for two more Latin Classical Grammys in the Best Classical Composition Category for his piece for the LA Guitar Quartet and the Delaware Symphony, “Interchange,” and for “Maracaipe” for the Beijing Guitar Duo. In the fall of 2011, five members of the Assad family – Sérgio, Odair, Badi, Clarice and Carolina – joined together again for another evening of new and favorite Brazilian works. Their tour included stops in Qatar, Sweden, Germany, The Netherlands (to open the Brazil Festival) at The Amsterdam Concertgebouw, and three concerts in Belgium, with a finale at Le Palais des Beaux Arts in Brussels.

The Assad Brothers’ collaboration with cellist Yo-Yo Ma is ongoing. In 2003 the Brazilian record Obrigado Brazil was released, featuring Rosa Passos, Egberto Gismonti and Cyro Baptista. Sérgio Assad arranged several of the works on the disc, which captured a Grammy in 2004. In 2009, the brothers were featured on Yo-Yo Ma’s chart-topping release “Songs of Joy & Peace,” which features other guest artists as diverse as James Taylor and Dave Brubeck. In the piece “Familia,” Ma plays Sérgio’s composition featuring mother Angelina Assad, sister Badi and children Clarice, Rodrigo and Carolina. The release topped both the classical and mainstream Billboard charts and won a Grammy for Best Classical Crossover. In April 2012, the Assad brothers will tour North America with Yo-Yo Ma and pianist Kathryn Stott, in a program of Latin American works as arranged by Sérgio Assad as well as some of his original compositions, highlighted by concerts at the new Smith Center in Las Vegas and Chicago’s Symphony Hall.

Future plans include performances of a new duo guitar concerto written for Sérgio and Odair Assad by Sérgio’s daughter Clarice Assad, to be premiered at the Pro-Musica Chamber Orchestra in Columbus, Ohio. In the fall of 2012, the brothers returned to the University of Arizona in Tucson as visiting artists with support from the D’Addario Family Foundation. They also headlined the 4th International Tucson Guitar Festival with two performances at Holsclaw Hall and master classes for advanced guitar students. In the spring of 2013, the brothers plan another tour of their much-loved trio with the inimitable Paquito D’Rivera, as well as a record release of their project “Dances from the New World.”

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LET YOUR PRIDE TAKE CENTER STAGE Display your pride in Florida State University with the purchase of an FSU license plate. Proceeds from plate sales are applied to the university’s general scholarship fund to support need- and merit-based scholarships for Florida State students.

Rebates for first-time buyers, as well as gift certificates and information on purchasing your FSU license plate is available online at fsu.edu/mytag.

FLORIDA STATE UNIVERSITY LICENSE PLATE

SAT 2/16 7:30 P.M. RUBY DIAMOND CONCERT HALL PROGRAM TO BE ANNOUNCED FROM THE STAGE

I

n the summer and fall of 2005, three young black musicians, Dom Flemons, Rhiannon Giddens and Justin Robinson, made the commitment to travel to Mebane, NC, every Thursday night to sit in the home of old-time fiddler Joe Thompson for a musical jam session. Thompson was in his 80s, a black fiddler with a short bowing style that he inherited from generations of family musicians. He had learned to play a wide-ranging set of tunes sitting on the back porch with other players after a day of field work. Now he was passing those same lessons on to a new generation.

When the three students decided to form a band, they didn’t have big plans. It was mostly a tribute to Thompson, a chance to bring his music back out of the house again and into dance halls and public places. They called themselves The Chocolate Drops as a tip of the hat to the Tennessee Chocolate Drops, three black brothers: Howard, Martin and Bogan Armstrong, who lit up the music scene in the 1930s. Honing and experimenting with Thompson’s repertoire, the band often coaxed their teacher out of the house to join them on stage.

Thompson’s charisma and charm regularly stole the show.

Being young and living in the 21st century, the Chocolate Drops first hooked up through a Yahoo group, Black Banjo: Then and Now (BBT&N), hosted by Tom Thomas and Sule Greg Wilson.

Flemons was still living in Arizona, but in April 2005, when the web chat spawned the Black Banjo Gathering in Asheville, NC, he flew east and ended moving to the Piedmont, where he could get at the music firsthand. Joe Thompson’s house was the proof in the pudding.

The Chocolate Drops started playing around, rolling out the tunes wherever anyone would listen. From town squares to farmer’s markets, they perfected their playing and began to win an avid following of foot-tapping, sing-along, audiences. In 2006, they picked up a spot at the locally based Shakori Hills Festival, where they lit such a fire on the dance tent floor that Tim and Denise Duffy of the Music Maker Relief Foundation came over to see what was going on. Giddens remembers being skeptical when this local Hillsborough, NC, guy with a goofy smile and a roster of old blues musicians offered to take them on and promote their music. The band was still figuring out who they were, and Duffy was offering to house them with people 2012-2013 festival PROGRAM

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such as Algie Mae Hinton; musicians who were not pretenders to a tradition, but the real thing.

The connection turned out to be a great match. While the young Drops were upstarts in a stable of deep tradition, they were also the link between past and future. They began to expand their repertoire, taking advantage of what Flemons calls “the novelty factor” to get people in the door and then teaching and thrilling them with traditional music that was evolving as they performed. They teased audiences with history on tunes such as Dixie, the apparent Southern anthem that musicologists suggest was stolen by the black-face minstrel Dan Emmert from the Snowden family, black Ohio musicians who missed their warm, sunny home. The Drops gave new energy to old tunes like John Henry and Sally Ann, adding blues songs, Gaelic acappella and flat-footing to the show.

The band moved up through the festival circuit, from the Mount Airy Fiddler’s Convention to MerleFest. They shared the stage with their new fan, Taj Mahal, and traveled to Europe. In 2007, they appeared in Denzel Washington’s film, The Great Debators, and joined Garrison Keiler on Prairie Home Companion. In 2008, they received an invitation to play on the Grand Ole Opry.

“The Drops were the first black string band to play the Opry,” Duffy notes. “The Opry has a huge black following, but you don’t see that on stage.” Opry host Marty Stewart pronounced the performance a healing moment for the Opry. Off-stage, the connection to the Music Maker Relief Foundation meant a place to record. In 2007, Music Maker issued Dona Got a Ramblin’ Mind, and, in 2009, Carolina Chocolate Drops and Joe Thompson. In 2010, with the release of their Nonesuch recording Genuine Negro Jig, the group confirmed its place in the music pantheon. With its tongue-in-cheek, multiplemeaning title, the album ranges boldly from Thompson’s Cindy Gal to Waits’ Trampled Rose, and Giddens’ acoustic hip hop version of R&B artist Blu Cantrell’s Hit ‘Em Up Style.

Rolling Stone Magazine described the Carolina Chocolate Drops’ style as “dirt-floor- dance electricity.” If you ask the band, that is what matters most. Yes, banjos and black string musicians first got here on slave ships, but now this is everyone’s music. It’s OK to mix it up and go where the spirit moves.

DOM FLEMONS “I left Arizona because I knew the music would take me somewhere–but I had no idea!”

You don’t have to be born in the Piedmont region of North Carolina to feel the music in your blood. For Dom Flemons, it all began with a PBS documentary about the history of rock n’ roll. “There was an episode on the folk music revival that got me wanting to do it,” Flemons explains. “At the time, Dylan albums were inexpensive, so I started buying them. From there, I read about the folk scene in New York City, and I tried to do that in Phoenix. I began busking and playing in coffee houses.”

The Arizona native calls this a natural progression backwards.

Before moving into music, Flemons wrote short stories and appeared at poetry slams, including two national events, and he helped to establish NorAz Poets, a nonprofit organization that organizes slams within the state. Building upon his fascination 64 seven days of opening nights

with the 1960s and his interest in playing guitar, he started to collect recordings of the early masters and used them as teachers. He then added banjo to the mix, going for the sound of the old-time players: “A friend let me borrow a five-string banjo with a missing string. He didn’t like the fourth string. So I learned how to frail, and I did an approximation of claw-hammer without the fifth string. I didn’t even know it was essential to have a fifth string!”

Flemons clearly shares a flare for the intrepid with his bandmates. While still a student, he headed off for Encanto Park in Phoenix and jumped into Wednesday night music jams. If, at times, he was the only young player and the only black man with a banjo, Flemons didn’t care. At the park, he met fellow banjo player and accomplished percussionist Sule Gregory Wilson, who told him about plans for a Black Banjo Gathering in North Carolina. “At first it was just supposed to be a one-day fish fry,” Flemons recalls, “so I didn’t see how I could afford to go. Then I saw the list growing, and I figured I had to get there!”

The Black Banjo Gathering in April 2005 turned out to be the motivator that shifted Flemons’ life from Arizona busker to Piedmont string-band musician. He was introduced to players he’d only heard on recordings, such as Algie Mae Hinton (blues and buck-dancer), Clif Ervin (bones), Daniel Jatti (African gourd banjo, or ekontane), and idols such as Mike Seeger, co-founder of the influential New Lost City Ramblers, who’d spent a lifetime both preserving and innovating. He learned about blackbanjo.com and met Piedmont string-band legend Joe Thompson, who was intrigued, to put it kindly, by Flemons’ peculiar banjo picking style.

Compelled to move to the Piedmont, Flemons began to collaborate with Rhiannon Giddens, who formed the old-time/ African roots band Sankofa Strings with him and Gregory Wilson, and he followed her to Thompson’s house where Justin Robinson was playing. Without even planning, Dom’s music revival dream became real: “It gave me a different perspective, going from being someone who was learning from recordings to sitting next to the artists and hearing them talk and seeing how mannerisms are translated into the music.”

On stage, Flemons rolls from one instrument to another with a fearless attitude toward tradition and repertoire. As he now reflects, “The unique experience I had getting into the old-time music really informed the way I have been able to process a lot of it. A lot of people ask me, ‘How do you do this old-time music and have it stay contemporary to you as a person?’ What people forget is that on stage, I might be playing music that’s 100 years old, but that doesn’t mean my ears are only listening to music that’s 100 years old. I got into this via old rock n’ roll, 60s rock and folk and went back from there. A couple of things got me into thinking about how to smash all of it together, particularly Mike Seeger’s way of taking different kinds of traditional music and putting them together to make new music. And being into the songsters like Lead Belly and Henry Thomas, I heard them and knew they weren’t doing straight blues like Robert Johnson and Skip James. I always wondered how it all fit, so when I met Joe and found out about the black string-band stuff, that was where the connections started happening–these songsters fit into this broader string band and folk music tradition, and then you have things like blues and jazz, and even gospel music, wrapped up in it.”

RHIANNON GIDDENS “We’re first and foremost entertainers and musicians,” says Giddens. “The other stuff enriches and deepens the experience, but if you can’t enjoy the music, we aren’t doing our job.”

The North Carolina native’s energy and enthusiasm is hard to contain. Talents and fascinations, whims and obsessions tumble over each other and pour out in a fiery stage performance rooted in disciplined virtuosity, her operatic training channeled into the freewheeling world of old-time music. This is her story in a nutshell: Giddens’ father was a classically trained singer whose legacy was a warning not to study voice before the age of 16.

So Giddens waited until she was 16 and set off for choral camp. It was great, so she applied to the prestigious Oberlin Conservatory in Ohio and soon found herself plunging into the deepest part of the classical vocal river — opera. “I did five operas and three main roles,” Giddens summarizes, “I got into it pretty hardcore.” So hardcore, in fact, that she decided to take some time off. That’s when Giddens “eased into the folk world,” as she puts it, though, in truth, she had already been sparked by a flyer at Oberlin advertising English country dancing. “I’m a Jane Austen fan and that’s what they do in her books. Turned out to be contra.” Back home, with a day job in graphic design, Giddens began to attend weekly contra dances, moving rapidly from dancing to calling to actually playing the music: “I decided I wanted to play fiddle, so I went into a store in Greensboro and picked one off the wall, gave it a draw and bought it. It was a cheap Chinese fiddle–hard to play, but that toughens you up.”

Hands on the fiddle, Giddens began to mix it up, singing with her sister, Lalenja Harrington; joining up with Cherise McCloud (“who is a Mezzo”); forming a Celtic band, Gaelywand; and entering Scottish music competitions. She read about North Carolinian fiddler Joe Thompson in Cece Conway’s African Banjo Echoes in Appalachia, saw him perform, “and went down to his house and kinda played along.” Then Joe had a stroke but, interest sparked, Giddens heard about blackbanjos.com and hooked up with Sule Greg Wilson and Tom Thomas doing web work for the Black Banjo Gathering. After the gathering, Giddens added Sankofa Strings, an old-time/African roots band with Sule and Dom Flemons, to her list; exchanged contact info with Justin Robinson; and heard that the indefatigable Joe was having music sessions at his house again, which led to the formation of the Carolina Chocolate Drops. At the same time, she followed up on an invitation from Daniel Laemouahuma Jatta to visit Gambia, got a gig as a singing hostess at the Macaroni Grill, and saved up the money for a trip to Africa. By 2006, the Carolina Chocolate Drops were moving to the top of the list. Four years later, the band was a full-time job – along with a new daughter who is already a veteran road warrior.

HUBBY JENKINS As a fledging performer, Hubby Jenkins played in the kind of rock-oriented bands for whom covering a Bob Dylan classic was their closest brush with traditional music. But around the time the New York City native–already proficient on the alto sax, cello and bass—was finishing high school, one of his friends picked up a Howlin’ Wolf CD, and Jenkins and his peers found a

gateway to a hitherto-unexplored world of country blues and old-time music. As Jenkins recalls, “We were all crazy about Howlin’ Wolf. I remember listening to Skip James for the first time, and it was the most intense music I’d heard in my entire life. That’s when I got a guitar, I quit my job, became a hobo and started to learn more about country blues. I heard Robert Johnson, Reverend Gary Davis and Blind Willie Johnson, who became my favorite guitar player of all time.”

Tradition is a

guide, not a jailer. We play in an older tradition but we are modern musicians.

– Justin Robinson For Jenkins, now 26, his higher musical education started on the streets: Busking became a calling. He developed his guitar and vocal craft on the sidewalks and subway platforms of New York City, performing material by those venerable artists whose work he was quickly absorbing. An ambitiously itinerant musician, he soon took his show on the road, playing on the streets of cities throughout the United States. At home, his talent did not go unnoticed and he was welcomed on the traditional music scene–a local circuit of clubs, small theaters and coffee houses that was under the mainstream radar but thriving, especially in his home borough of Brooklyn. (Search for Jenkins on YouTube now and one can find a wealth of performance and workshop clips from such venues as the Jalopy Theatre and School Of Music, Banjo Jim’s, and the Brooklyn Rod and Gun Club.) Jenkins performed with such groups as Ether Frolic Mob, featuring legendary East Village fiddler Peter Stampfel and John Cohen of the New Lost City Ramblers; Feral Foster’s Roots & Ruckus; and Eden & John’s East River String Band. During a session for guitarist Blind Boy Paxton at ERSB’s home studio, Jenkins first worked with Carolina Chocolate Drops co-founder Dom Flemons, whom Jenkins had earlier met and befriended, appropriately enough, in Washington Square Park, the Greenwich Village proving ground for New York City’s finest buskers.

Like his fellow members of the Carolina Chocolate Drops, Jenkins has North Carolina roots. (The other side of his family originally hailed from Puerto Rico.) He delved into this side of his lineage further as his adult musical investigations took him from country blues into ragtime and old-time music and he cultivated an interest in traditional jazz. Admits Jenkins, “It was a big awakening for me to find African-Americans at the roots of American music. Our first American music was coming from the plantations, from the South. Our first American identity in pop music is coming from there. That was a really powerful idea for me and helped me get into the string-band tradition and connect things more.”

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SUN 2/17 7:30 P.M. RUBY DIAMOND CONCERT HALL selections and band members to be announced from the stage

M

arcus Roberts grew up in Jacksonville, Fla., where his mother’s gospel singing and the music of the local church left a lasting impact on his own musical style. After losing his sight at age 5, he began teaching himself to play piano a few years later. He had his first formal lessons at age 12. He studied classical piano at Florida State University with Leonidus Lipovetsky. While at Florida State, he won the first of many competitions and awards garnered over the years. At age 21, he began touring with Wynton Marsalis and stayed for more than six years.

Roberts’ critically acclaimed legacy of recorded music reflects his tremendous versatility as an artist and includes solo piano, duets and trio arrangements of jazz standards, as well as original suites of music, large ensemble works,

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THE MUSIC OF JELLY ROLL MORTON and symphony orchestra recordings (beginning with his Grammy-nominated Portraits in Blue, Sony Classical, 1996). He premiered his ground-breaking arrangement of Gershwin’s Concerto in F for Piano and Orchestra with the New Japan Philharmonic and with the Berlin Philharmonic for their annual Wäldbuhne concert (DVD: A Gershwin Night, EuroArts 2003). Roberts’ record release of New Orleans Meets Harlem, Volume 1 in 2009 was his first on his own label. The recording demonstrated how Roberts has used the early ragtime, blues and New Orleans’ jazz influences, combined with the virtuosic Harlem styles to create an entirely new sound. In the fall of 2011, the Marcus Roberts Trio released their first recording of holiday music, Celebrating Christmas.

Roberts’ deep respect for the contributions and achievements of the great masters of jazz and classical music has led to his highly innovative and original piano style and philosophy of jazz improvisation. He is also an extremely active composer and arranger, with numerous individual compositions and entire suites of music, including Romance, Swing, and the Blues, Deep in the Shed, Time and

Circumstance, In Honor of Duke, From Rags to Rhythm, and The Sound of the Band. He has received various commissioning awards, including ones from Jazz at Lincoln Center, Chamber Music America, ASCAP, and the North Carolina Association of Jazz Educators. His most recent commissioning award from the Atlanta Symphony Orchestra is for a piano concerto that premiered in 2012.

I never plan to stop studying and sharing in the creation of great music. When I play, I play for the people. Jazz is not elitist. It was created and grew from the soil of our fertile and, at times, difficult American experience, and it will resonate as long as our democratic structure exists.

– Marcus Roberts Roberts is also dedicated to the training and development of younger musicians (Jason Marsalis, Marcus Printup, Nicholas Payton, Ronald Westray, Vincent Gardner and Roland Guerin, to name a few). Roberts and his trio regularly provide master classes, workshops, lectures, demonstrations and residency programs while on tour. His commitment to jazz education can also be seen in his role as associate artistic director for the Savannah Music Festival where he directs the annual Swing Central high school band competition and educational programs for students from all over the country. When not on tour, Roberts lives in Tallahassee, where he serves as an assistant professor of jazz studies in the College of Music at his alma mater, Florida State University.

RODNEY JORDAN Rodney Jordan is a native of Memphis, Tenn., where he grew up playing the bass in church and with his high school orchestra. He later studied music with London Branch, Alvin Fielder and Andy Hardwick at Jackson State University in Jackson, Miss. During his college years, Jordan joined the Mississippi Symphony Orchestra, where he served as assistant principal bassist. After graduating, he became chair of the string department at the Dougherty County Public School and served as principal bassist with the Albany Symphony Orchestra in Albany, GA. Teaching has always been an important part of Jordan’s life and career. In addition to teaching strings in Dougherty County, he also taught in the DeKalb County Georgia School System.

During his years in Georgia, Jordan served as a bass instructor at Darton College (part of the University System of Georgia) in Albany and at Georgia State University in Atlanta. While living in Atlanta, Jordan became one of the city’s most active jazz bassists, performing and recording with some of America’s finest jazz musicians, including Marcus Printup, Mulgrew Miller, James Williams, Milt Jackson,

George Coleman and Russell Gunn. He joined the faculty in the College of Music at Florida State University in 2001, where he now holds the rank of associate professor of jazz studies. Jordan teaches jazz bass, jazz combo playing, music education classes and a jazz styles class.

It was at Florida State that Jordan and Marcus Roberts first met and played together. From the beginning, the two had a close musical bond, playing and teaching together on many occasions. “One of the first things that I noticed about Rodney was his dedicated work ethic”, says Roberts. “When I observed students around him, I noticed that they became more serious just from working with him. His example inspires and leads them to greater commitment to learning how to play this music. Students respect him because he practices what he preaches. He also spends a lot of extra time with the students and is never too busy to answer their questions.”

Jordan joined the Marcus Roberts Trio in 2009. It was evident during that first official performance of the new formed trio at the prestigious Wigmore Hall in London that Jordan thoroughly understood Roberts’ unique trio conception. Jordan is one of the most versatile jazz bassists on the scene today. His tone is rich and soulful when he plays hauntingly beautiful phrases with the bow. Just as readily, he plays fast virtuosic passages with apparently effortless skill. Jordan’s knowledge of harmony from his classical bass training, combined with the relentless feeling of swing in his playing, is a perfect fit for the powerful, melodic, bluesbased, syncopated improvisational sound of the Marcus Roberts Trio.

Jordan’s passion and dedication to the music is evident in every note he plays. There is little doubt that he will make a lasting contribution to his instrument and to jazz music.

JASON MARSALIS Jason Marsalis is the youngest son of pianist and music educator Ellis Marsalis. He began playing drums at age 3 and by age 6, he was studying with the legendary drummer James Black. After graduating from New Orleans Center for the Creative Arts high school, he studied music at Loyola University in New Orleans. Marsalis has been an active and visible part of the New Orleans jazz scene for many years.

Marsalis’ association with Marcus Roberts dates back to 1987, when Roberts was playing with his brother, Wynton Marsalis. Jason Marsalis began touring with Roberts in 1994 at age 17. He arrived for his first gig with all of the music from Roberts’ CD Gershwin for Lovers completely memorized and played it straight through without a mistake. Roberts knew then that young Marsalis would be an anchor for his band, and he has held the drum chair ever since. Marsalis has been featured on all of Roberts’ group recordings with trios, large ensembles and symphony orchestras since 1995.

Marsalis has also been instrumental to the development of the philosophy and style of the Marcus Roberts Trio. His 2012-2013 festival PROGRAM

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We call him‘the genius of modern piano,’ because he is.

– Wynton Marsalis

drum sound is clear, precise, well-balanced, intelligent and highly varied. Marsalis believes in “letting the music take over.” He does not force the music in a particular direction, but instead uses his tremendous jazz vocabulary and quick reflexes to determine the appropriate colors and timbres for the musical situation. He is a great accompanist with a dynamic range that may be light as a feather or split the air like a cannon. He plays with equal parts discipline and spontaneity. He also has “perfect rhythm,” which means that he can keep many different tempos and time signatures in his head simultaneously without getting lost.

Marsalis draws from the whole history of the drums to express his own very elaborate and organic drum style. One of his signature talents is his use of drum styles that are not traditionally associated with the jazz trio, such as those of Jo Jones, Max Roach, Art Blakey, Elvin Jones, Roy Haynes and Tony Williams. He is also inspired by the sounds and

philosophy of the great trios of Errol Garner, Ahmad Jamal, Nat King Cole and Oscar Peterson. Marsalis brings all of his unique talents and broad knowledge of jazz history and styles together when he solos on the drums. Marsalis has also produced three albums under his own name: Year of the Drummer (1998), Music in Motion (2000), and Music Update (2009), which features him playing the vibraphone.

He has also performed on several CDs with his father, pianist Ellis Marsalis, and a number of other artists.

Marsalis makes significant contributions to the trio’s outreach goals through education. He inspires and encourages young musicians to study the history of jazz, and he is skilled at providing them with the specific information and tools needed to unlock their own talents. In short, Marsalis has perhaps the strongest voice on his instrument in his generation.

SPONSORED BY

SKD Consulting Group, Inc. SUPPORTS SEVEN DAYS OF OPENING NIGHTS

210 South Monroe Street Tallahassee, FL 32301 scott@skdgrp.com 68 seven days of opening nights

MON 2/18 8 P.M. STUDENT LIFE CINEMA

G

eoffrey Gilmore is the creative director of Tribeca Enterprises, a New York company that includes the Tribeca Film Festival, the Tribeca Cinemas and the Tribeca Film Festival Doha. He joined Tribeca after serving 19 years as director of the Sundance Film Festival, where he was responsible for film selection in all sections of the festival, as well as managing the festival and providing overall artistic direction. Gilmore helped lead Sundance to prominence by premiering a number of off-center films, including “Reservoir Dogs,” “Hoop Dreams” and “Little Miss Sunshine.”

Gilmore regularly presents and hosts a range of seminars and conferences about independent filmmaking and distribution in international venues including Mexico, Argentina, Japan, China, Israel, Brazil, Spain, Germany, Canada and France. He is a member of the faculty of the UCLA School of Theater, Film and Television, where he teaches in the Producers Program. He also is a Distinguished Lecturer at the College of Motion Picture Arts The Film

A MOVIE YOU HAVEN’T SEEN VI School at Florida State University, where he teaches business trends and practices of the motion picture industry.

He annually teaches a special master class for the Paris Film School, Le Femis and the Ludwigsburg Film Academy.

Gilmore has served on numerous international film juries, including those of the Sarajevo Film Festival, the Locarno Film Festival, the Berlin International Film Festival, the Moscow Film Festival, the Shanghai Film Festival and the Jerusalem International Film Festival, and on committees ranging from the National Endowment for the Arts to the California Arts Council. For 15 years, Gilmore served as head of the UCLA Film and Television Archive’s Programming Department.

Gilmore holds a master’s degree in film criticism and has written extensively on the American independent film scene.

He has appeared on numerous cable and radio programs and has served on the board of the Independent Feature Project and on the Independent Spirit Awards Committee.

2012-2013 festival PROGRAM

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MON 2/25 7:30 P.M. RUBY DIAMOND CONCERT HALL

(SONG LIST IS SUBJECT TO CHANGE)

Soufle Van – Mangaje (Blows the Wind – I am in trouble) A haunting song about being lost in a storm at sea. A mariner is lost and the only way to orient himself is by the sun, but it is night-time.

Tande (Listen) A protest song denouncing the misery and suffering of the Haitian people during the Duvalier government.

Preludio (Prelude) The first of a series of songs based on Jacques Roumain’s novel “Masters of the Dew”Tells of the hard situation that people from village in Haiti are facing caused by the lack of water.

Edem Chante (Help Us Sing) A freedom song created during the dark days of the Duvalier regime.

Llegada (Arrival) Manuel’s arrival has been announced. He is a brave man determined to find a source of water to quench his people’s terrible thirst. He is the main character in Jacques Roumain’s book ‘Gouverneurs de La Rosee.’

Pa gen dlo (No water) The people, animals and crops have no water.

Simbi Simbi, queen of clear waters, has been invited to a rite but decided not to go because there is something preventing her way and nobody knows what it could be.

Balada de Annaise (Annaise’s Song) Words from a Clotaire Saint-Natus poem based on Jacques Roumain’s novel. A love song, Annaise is Manuel’s girlfriend. She is grateful to him for finding the spa that will water her garden.

Boullando (Ball On My Back) A traditional Creole song with double meaning, telling the story of an adolescent girl who didn’t listen to her mother’s advice and got pregnant.

Tripot A gossip is rejected by the neighborhood because he always wants to know everything about everybody. Uses the “Konpa” rhythm, which is danced frequently in Haiti.

Marasa Elu (A special child) Tells the story of an orphan child begging for help.

Jubileo Another song with words from a Clotaire Saint-Natus poem. The whole town sing and dance because now they have water to drink, to cook and wash, and also for their animals. They have built canals to bring the water to their houses thanks to Manuel.

70 seven days of opening nights

Fey Oh Di Nou (Oh Leaves Tell Us) A group of people get together to invoke the divine power of some medicinal plants in order to heal a very poor man. He shows no signs of improvement after much praying.

Lanmou Rive A song about young love.

Panama Mwen Tonbe (My Hat Fell Off) A traditional song from Haiti. A man riding a horse leaves Jacmel toward Lavale. Near Bene his hat blows off, then he asks the people coming behind him to pick it up for him.

Pou Ki Ayiti Kriye? (Why Does Haiti Cry?) Written by Teresita Romero Miranda after returning from the Cuban aid mission to Haiti following the earthquake. The question is: Why does Haiti continue to suffer so much when it has such a beautiful natural and human gift to survive just like any other country?

Veinte años (Twenty Years) El bodeguero (The Shopkeeper) Camina como Chencha (Walk Like Chencha) A Guaracha is a genre of Cuban popular music – usually with a humorous topic. This one is about a girl who has gambadas (bandy legs) like Chencha.

Pale, Pale (Talk, Talk) Traditional/Boukan Ginen arranged by Teresita Romero A protest song based on a folkloric song condemning the Duvalier government’s military atrocities. Also decrying the chaotic situation in Haiti and the misery the people have suffered.

Juramento (A Promise) A traditional Cuban song that is known worldwide, rich with lyricism and poetry, written in the first half of the 20th century

by Miguel Matamoros.

Emilia Diaz Chavez, Choir Director | Andres Roxpamel Ortega Diaz | Yordanka Sanchez Fajardo | Marina Collazo Fernandez | Dalio Arce Luis | Marcelo Andres Luis | Nieves Candelario Madarigaga | Fidel Romero Miranda | Teresita Romero Miranda | Irian Rondon Montenjo | Kelso Ridell, Tour Manager

P

repare to be blown away: Hear the passionate melodies, wild harmonies and richly textured arrangements of these 10 inspiring vocalists and you will know this is something new from Cuba – the most original vocal sound to come out of the island in a long while. The Creole Choir’s Cuban name, Desandann, means literally “descendents,” and with songs like ‘Papa Danbala,” “Tandé” and “Liman Casimir” they tell the stories of their Haitian ancestors, who were brought to Cuba to work in near-slave conditions in the sugar and coffee plantations until the 1959 Revolution. Desandann sing in Creole, Cuba’s second language, spoken by almost a million people, a pragmatic fusion of African, French, and other languages. It’s the language of a people twice exiled: first to Haiti from Africa through the iniquitous slave trade, then from Haiti to Cuba and tricked into a second slavery by their French masters after the Haitian Revolution of 1790. Other Haitians arrived in the 20th century fleeing political upheaval, poverty and oppression during the barbaric regime of Papa Doc Duvalier, which held power from the 1950s to ’70s, marked by reigns of terror and the brutality of his private militia, the Tonton Macoutes.

This vibrant 10-piece group – five men and five women who dance when they sing – are a cornucopia of remarkable voices.

They hail from beautiful Camagüey, Cuba’s third city, twothirds down toward the eastern end of the island, designated a UNESCO World Heritage Site in 2008 for its colonial

architecture. There, they’ve studied music to university level and are all members of the Provincial Choir, which the leader, Chavez directs. Desandann emerged out of the choir in 1994, a difficult time for Cubans when the economy fell into a black hole after the end of support from the Soviet Union. While times were hard, the singers were encouraged by reclaiming the traditions of their families. “For us music is like food, it feeds the spirit and is a major inspiration for everyday life.”

The choir tell a story of riding from Camagüey to Santiago de Cuba during these years and the train breaking down. They sang; and soon the whole train was listening: Tremendous applause and more singing ensued, and suddenly the train got going again!

Multiple award winners, this Grammy-nominated choir sings the vital music learned at home from grandparents and parents, as well as the songs of some of the foremost groups on the contemporary Haitian scene. From laments to protest songs like “Tandé,” permeated by the homesickness of exile and the eternal dream of returning home, to ritual prayers and celebratory freedom dances, each song tells a powerful Haitian story kept alive in Cuba. The Creole Choir has taken these songs back to Haiti, where its enthusiastic reception at festivals around the island has inspired members to learn directly from 11170-0111-TAL-GVA_v1:FSU-ad 1/13/2011 Haitian artists. As they sing in “Eden Chanté,” – “Listen to us!”

Greenberg Traurig proudly supports the

Seven Days of Opening Nights 2011 Festival

1800 Attorneys | 32 Locations° | www.gtlaw.com Supporter of the arts at Florida State University and in the Tallahassee Community

Greenberg Traurig is a service mark and trade name of Greenberg Traurig, LLP and Greenberg Traurig, P.A. ©2011 Greenberg Traurig, LLP. Attorneys at Law. All rights reserved.

Contact: Fred Baggett in Tallahassee at 850.222.6891. °These numbers are subject to fluctuation.

11170 2012-2013 festival PROGRAM

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TUE 3/5, WED 3/6, & THU 3/7 8 P.M. RICHARD G. FALLON THEATRE

SECOND CITY T

he Second City opened its doors on a snowy Chicago night in December of 1959. No one could have guessed that this small cabaret theatre would become the most influential and prolific comedy theatre in the world.

greatest comedy series of all time and featuring an all-star cast that included Martin Short, Andrea Martin, Catherine O’Hara, John Candy, Eugene Levy, Dave Thomas, Joe Flaherty and Rick Moranis.

With its roots in the improvisational games of Viola Spolin, The Second City developed an entirely unique way of creating and performing comedy. Founded by Spolin’s son, Paul Sills, along with Howard Alk and Bernie Sahlins, The Second City was experimental and unconventional in its approach to both theatre and comedy. At a time when mother-in-law jokes were more the fashion, The Second City railed against the conformist culture with scenes that spoke to a younger generation.

By the 1980’s, The Second City had become much more than a small cabaret theatre on Chicago’s north side. In the middle of the decade, The Second City would begin a new era as Second City Toronto proprietors Andrew Alexander and Len Stuart would buy out Bernie Sahlins’ interest in The Second City Chicago and set in motion a new era of innovation for the company.

The Broadway success of Mike Nichols and Elaine May–members of The Second City’s predecessor, The Compass Players–put attention on the fledgling company. Soon, alumni of The Second City–such as Alan Arkin, Barbara Harris, Robert Klein, David Steinberg and Fred Willard–began to cement the theatre’s reputation for developing the finest comedic voices of each and every generation. With the debut of NBC’s Saturday Night Live, populated by Second City Alums John Belushi, Dan Aykroyd and Gilda Radner, the theatre became internationally known for its ever increasing roster of comedy superstars.

Soon, Second City’s sister-theatre in Canada developed its own sketch comedy series, SCTV, hailed as one of the 72 seven days of opening nights

Today, The Second City continues to produce the premiere comic talent in the industry. From Mike Myers to Steve Carell, Stephen Colbert to Tina Fey–The Second City imprint is felt across every entertainment medium. Additionally, The Second City has grown well beyond a single stage to become a diversified entertainment company. Second City Training Centers in Chicago, Toronto and Los Angeles teach thousands of students every week; four touring companies perform Second City revues all over North America and abroad; Second City Communications has become an industry leader in bringing improv-based methodologies to the corporate sector; and Second City continues to create unique media in television, film and the digital realm.

NICOLE C.

HASTINGS

JOHN

ADAM

HARTMAN

PEACOCK secondcity.com facebook.com/ thesecondcity twitter.com/ thesecondcity

PAT

REIDY

NICOLE C. HASTINGS A native of Northern California, has been performing improv in Chicago for a couple of years. Since training at the Second City Conservatory and Music Improvisation program as well as iO, Nicole has performed with the Second City Training Center’s SketchCo and Infinite Sundaes, and she proudly continues to perform with her all-female team Eleanor. A graduate of Barnard College of Columbia University in New York, she has a life goal of going somewhere entirely new every year. Nicole thanks her mom, family and friends for their unending support.

JOHN HARTMAN is so happy to be with The Second City. He performed with The Second City Touring Company, improvises at the iO Theater, is a member of Baby Wants Candy and is half of the duo Witaske and Hartman. He has written and performed two solo shows at The Annoyance Theatre: Your Friends and Enemies and I’m Sorry I Missed You, both of which received Time Out Chicago Critic’s Picks, and has performed at the TBS Just for Laughs Festival. He’d like to thank his friends, family and the lovely people he gets to play with every day.

ADAM PEACOCK Grew up just outside of Detroit and attended Eastern Michigan University. He was a cast member in The Second City’s Got Balls:

EMILY

WALKER

An Evening Of Sports Comedy in Detroit and most recently was a cast member for the Second City on the NCL Spirit and NCL Pearl. Adam can also be seen performing with Ghostman and Schitck Mahorn. He would like to thank his mom, grandparents, the entire Motley Crew, the Wolfpack and all of his pals.

PAT REIDY Performing with the talented members of the Second City Touring Company is a dream come true for Pat. He has appeared in many original productions with sketch groups Cowboy Don, Batch 285, and his original show Pat Reidy Fails: LIVE!!! He is proud to have been a part of many productions at the Annoyance Theater where he also teaches improv.

Pat would like to thank The Second City for this amazing opportunity, as well as Mick, Jen, Nick, his family, and his girlfriend Ali for their love and support.

JOHN THIBODEAUX Hails from St. Louis and moved to Chicago in 2009. At Second City he performs regularly with Infinite Sundaes and has been seen in two Outreach and Diversity shows; Eat, Pray, Lie and most recently Rahm Wasn’t Built in a Day. John performs at iO with A Raptor, and elsewhere with The Nerdologues. He would like to thank his parents, friends, and Caitlin for all their support.

3, 2, 1, blast off.

2012-2013 festival PROGRAM

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74 seven days of opening nights

A comedy powerhouse.

– Chicago Tribune

EMILY WALKER

ANTHONY LEBLANC (Director)

Hails from the mountains of Eastern Kentucky. She has studied improv, sketch comedy and musical improv with The Second City and iO. She’s performed in numerous sketch and improv shows all over Chicago and in NYC, Kalamazoo, Grand Rapids, Louisville and Nashville. She was a part of the The Second City’s Training Center’s House Ensemble, with whom she performed Six Degrees of Desperation, and has performed for The Second City on The NCL Spirit and EPIC. She and Chelsea Devantez make up the musical comedy duo Ding! She would like to thank Second City for this amazing opportunity.

Is from Beaumont, TX. He performed with Boxaganga while obtaining a Computer Science and Physics BS at Loyola University New Orleans. An original member of DSI: The Beatbox, He wrote two Second City Chicago Main Stage Reviews; America: All Better and Taming of the Flu. He hopes that Second City helps him one day realize his dream of working for NASA, programming A.I. computer systems. He thanks Mom, Dad, David, Bond, Kennedy, his friends...and of course...Stephen Hawking.

BARRY BRANFORD (Stage Manager) Is a proud new addition at Second City. He has stage managed at a wide variety of venues across Chicago, New York, and Atlanta, where he’s often been found working on new scripts or incomprehensible avant-garde pieces, including several World and American premieres. Some personal favorites include Hamletmachine and A Couple of Poor, Polish Speaking Romanians (Trap Door Theatre), T.M.L.M.T.B.G.B (NYC Neo-Futurists), and Paradise Hotel (ICE Productions). Thanks go to family and friends whose support seems to get only stronger as years progress, and who inspire him to think and create everyday.

BEN HARRIS (Music Director) An actor/musician who has made Chicago his home for the past four years, Ben is a recent graduate of Columbia College, from which he received a B.A. in theater. Recent Chicago credits as an actor include Blindfaith Theatre’s Jeff nominated production of Woody Guthrie’s American Song, and TUTA theatre’s two most recent productions: The Wedding (on which he also acted as Music Director) and Baal. Head to bensky.bandcamp.com to hear Bensky, Ben’s band of which he is the sole member. Ben has no one to thank–certainly not his wonderful family, his professors at Columbia or his mentor, Luke Nelson–since he has accomplished everything by himself.

All actors and stage managers are members of Actors’ Equity Association, the professional union for actors and stage managers.

2012-2013 festival PROGRAM

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SAT 3/23 8 P.M. | OPPERMAN MUSIC HALL

TOGETHER AND SOLO Toy............................................................................. Trad Cabo Verde Ragajuma......................................................................El Hadj N’Diaye Strange Comforts....................................... John Etheridge (b. 1948) Places Between.............................................................John Etheridge Malinke Guitars..............................................John Williams (b. 1932) Ludwig’s Horse.......................................................................Paul Hart

Intermission Msanduza.................................................Abdullah Ibrahim (b. 1934) Goodbye Pork Pie Hat...................... Charles Mingus (1922 – 1979) Six Lines.........................................................................John Etheridge

JOHN ETHERIDGE Prelude, Fugue and Allegro in E-flat Major BWV 998 .............................. J.S. Bach (1685 – 1750) Marylebone Elegy......................................... Stephen Goss (b. 1964)

JOHN WILLIAMS Extra Time............................................................John Williams

JOHN WILLIAMS AND JOHN ETHERIDGE 76 seven days of opening nights

JOHN WILLIAMS Born in Melbourne, Australia, John Williams is a foremost ambassador of the guitar. He was taught by his father, afterwards attending summer courses with Segovia at the Academia Musicale Chigiana in Siena, Italy, and studying music at the Royal College of Music in London. By the early 1960s he had performed in London, Paris, Madrid, Japan, Russia and the United States. He has since toured the world, playing both solo and with orchestra and regularly on radio and TV. Williams records for Sony Classical.

Amongst his collaborations with other musicians, those with Julian Bream, Itzhak Perlman, Andre Previn, Cleo Laine, John Dankworth and Daniel Barenboim are particularly important.

His other musical activities have included the groups SKY, John Williams and Friends, Attacca, The National Youth Jazz Orchestra with Paul Hart, Paco Pena, the Chilean group IntiIllimani, and various collaborations with Richard Harvey.

Williams maintains a wide-ranging interest in contemporary music. Examples have included his recording of music by the Japanese composer Toru Takemitsu with the London Sinfonietta, an album featuring the music of Peter Sculthorpe and Nigel Westlake called “From Australia,” and his CD of music by the Cuban composer Leo Brouwer, “The Black Decameron,” which includes Brouwer’s Fourth Concerto. His many other

recordings include several of Rodrigo’s “Concierto de Aranjuez,” concertos by Richard Harvey and Steve Gray, “Vivaldi Concertos,” “The Great Paraguayan,” “John Williams Plays the Movies,” “The Guitarist” (which includes his own “Aeolian Suite” with string orchestra), and the “Arpeggione” sonata by Schubert and “Concerto, Op.30” by Giuliani with the Australian Chamber Orchestra, in which he plays an 1814 Guadagnini guitar. The highly successful “Profile” and “The Seville Concert,” both directed by David Thomas for London Weekend Television’s “South Bank Show,” are particular examples of Williams’ enthusiasm for communicating music on television.

In 2001, Sony Classical released his CD “The Magic Box,” in which his group John Williams and Friends presented adaptations of African music. This includes music from Senegal, Cameroon, Zaire, South Africa, Madagascar and Cape Verde.

The group toured the United Kingdom, United States, Australia, Singapore, Malaysia, Germany, Spain and Italy. Other recent releases by Sony Classical include his solo CD “El Diablo Suelto,” a collection of Venezuelan music by composers including Figueredo, Sojo, Lauro, Fernandez and Gutierrez; “The Ultimate Guitar Collection”; and duo CD “Places Between” with jazz guitarist John Etheridge, recorded live in Dublin, Ireland.

Williams’ most recent release is a solo CD “From a Bird,” a collection of his own pieces and some traditional Irish tunes, available online at www.fretsonly.com.

Williams’ duo with Richard Harvey has seen them travel throughout the United Kingdom, Europe and the Far East with their “World Tour” program. His “Together & Solo” program with John Etheridge includes solo sets from each of them and together includes original compositions from both artists, music from Africa and the United States, and a new commission by composer Paul Hart. In the 2009-2010 season, Williams and Etheridge toured the United Kingdom and Europe; Williams also gave solo recitals in the UK and Japan, and toured the UK with the English Chamber Orchestra.

In 2007, Williams was presented with an Edison lifetime achievement award. He has played often for films, such as “The Deerhunter” (Cavatina) and “A Fish Called Wanda.” He also plays tennis (badly), badminton (average), chess (quite good), table tennis (better), and likes talking (about anything). He lives in London.

JOHN ETHERIDGE John Etheridge enjoys a glowing reputation throughout the jazz world and beyond, and has been described by Pat Metheny as “one of the best guitarists in the world.” He is a prodigiously gifted and creative player whose approach to music can only be described as “eclectic,” as he refuses to accommodate or even acknowledge artificial musical boundaries. His range is well illustrated by his years of touring and recording with the iconic Stephane Grappelli while simultaneously doing likewise with the legendary jazz-fusion group The Soft Machine. Etheridge is equally at home on acoustic and electric guitar and his willingness to engage with so many styles is matched by his ability to excel in any of them. He has played with John Williams, Yehudi Menuhin, Dizzie Gillespie, Herb Ellis, Mundell Lowe, Nigel Kennedy, Pat Metheny, Birelli Lagrene, Barney Kessel, Vic Juris and countless others. Etheridge’s ability as an outstanding composer is sometimes overlooked, but he is often under pressure from audiences to feature more of his own material.

Etheridge’s promise was evident even during his earliest days of playing, and he received recognition and encouragement from both Jimi Hendrix and Eric Clapton. After graduating in the History of Art in 1970 from Essex University and returning to London, Etheridge started to get seriously noticed when working in various bands, such as ex-Curved Air violinist Darryl Way’s Wolf, an early jazz/rock outfit with whom he recorded three albums. Others included Icarus, Abednigo, the shortlived Warhorse, and the wonderfully monikered Global Village Trucking Company. His 1975 leap into the front ranks came when he was contacted by The Soft Machine after they had been given his number by the departing Allan Holdsworth. The Soft Machine enjoyed legendary status as Europe’s premier jazzfusion exponents, and Etheridge made a real impression as part of the band.

It is a measure of both the breadth of Etheridge’s ability and the recognition and regard he commanded from fellow musicians that less than a year after joining The Soft Machine, the great Diz Disley suggested that he would be Disley’s ideal successor to play alongside the stellar jazz violinist and ex-sparring partner of Django Rheinhardt, Stephane Grappelli. When Etheridge met up with Grappelli, he did not consider himself remotely to be a “Django” player, but he knew the repertoire and was a great improviser. He clearly made his mark, because he spent the next six years touring the world in collaboration with Grappelli in what he describes as one of his happiest times in music; he certainly refers to this period with great affection. Etheridge played on a number of recordings with Grappelli, including two featuring the peerless classical violinist Yehudi Menuhin.

Through the 1980s and ’90s, Etheridge could be found honing his craft and extending his range even further through collaborations with the likes of Vic Juris and Dick Heckstall-Smith. In the late ’70s and early ’80s, he played a series of solo concerts in Australia and went on to play duo dates in the United States with bass player Brian Torff, with whom he had worked in the Grappelli band. In 1985, Etheridge worked with fellow guitarist Gary Boyle in both duo and quartet setups. Between ’89 and ’93, he toured with Whatever, led by the ubiquitous ex-Pentangle bass player Danny Thompson, and joined luminaries such as Alan Skidmore, Stan Tracey and Henry Lowther on the 1990 album “Elemental.”

Around this time, Etheridge was also working frequently with Elton Dean as the Elton Dean/John Etheridge Quartet with a rhythm section composed of Fred Baker and Mark Fletcher on bass and drums, respectively. The great Manouche guitarist Birelli Lagrene was another touring partner in what was a gypsy jazz feast for their audiences.

In 2006, Etheridge began touring a new program in a duo set-up with John Williams, the most celebrated classical guitarist of this generation. The two Johns had worked together before, most notably on their interpretations of African music with Francis Bebey, Richard Harvey, Chris Laurence and Paul Clarvis and documented on the CD “The Magic Box.” The program was recorded live at the Dublin International Guitar Festival and was released in 2006. In subsequent years, the duo has toured the United States, Australia, New Zealand and Europe.

Tour Management:

ARTS MANAGEMENT GROUP, INC. 37 West 26th Street, New York, NY 10010 2012-2013 festival PROGRAM

77

WED 4/10 7:30 P.M. | RUBY DIAMOND CONCERT HALL

Program will be announced from the stage Program will be divided into two halves with a 20-minute intermission.

The Artists Pandit Shivkumar Sharma is one of the most popular and revered Indian classical musicians of our time and is widely accepted as our greatest living santoor player. Throughout a performance career of more than 50 years, Shivji, as he is affectionately and respectfully known, has fashioned another genre of instrumental music, creating an audience of new listeners and ardent fans of Indian classical music.

If the santoor today needs no introduction, it is due to his work and genius, since he has brought this little-known Kashmiri folk instrument to the classical concert halls of 78 seven days of opening nights

Featuring

PANDIT SHIVKUMAR SHARMA, Santoor AND ZAKIR HUSSAIN, Tabla India and the world. Shivji has made important modifications to his instrument, refining the santoor to 92 strings and increasing the range to cover a full three octaves. At the same time, he created a new technique with which he is able to masterfully sustain notes and maintain sound continuity.

Shivji was trained by his father, Pandit Uma Dutt Sharma, and learned vocal music and tabla before beginning his study of the santoor, thereby receiving a complete musical training, as evident in his work and performances. His openminded approach has resulted in popular and innovative recordings, including “Call of the Valley,” “Feelings” and “Mountains.” So far released more than 100 albums. He has had a long and successful career composing for films and has made the sound of the santoor indispensable to Indian film music. His compositions for blockbusters such as “Silsila,” “Lamhe,” “Chandni” and “Darr” are all-time favorites.

He is also a dedicated teacher, imparting his knowledge in the Guru Shishya tradition to the next generation of musicians, training students from all over the world. His

If there is such thing as a tabla superstar, Indian virtuoso Zakir Hussain is it.

– Chicago Tribune son and disciple Rahul Sharma has already made a name for himself as a formidable talent and performer. Shivji has garnered many prestigious awards, notably being named an Honorary Citizen for the City of Baltimore, USA (1985); Sangeet Natak Academy Award (1986); Maharashtra Gaurav Puraskar (1990); Honorary Doctorate from the University of Jammu (1991); Padma Shri (1991); Ustad Hafiz Ali Khan Award (1998); Padma Vibhushan (2001); Tansen Samman (2004); Master Deenanath Mangeshkar Award (2005); Honoured by The House of Representatives of the state of New Mexico (2007); International Cultural Ambassador Award by World Bank (2007); Honorary Degree of Doctor Of Letters of The Indira Gandhi National Open University in 2008; and Honoured by Sangeet Natak Akademi with The Sangeet Natak Akademi Fellow (Akademi Ratna) in 2012.

santoor.com Zakir Hussain is considered one of the greatest musicians of our time. Along with his legendary father and teacher, Ustad Allarakha, he has elevated the status of his instrument, the tabla, both in India and around the world. A favorite accompanist for India’s leading classical musicians and dancers, Hussain is also widely recognized as a chief architect of the world music movement with his many historic collaborations, including “Shakti,” “Remember Shakti,” “Diga,” “Planet Drum” and his ever-changing moveable feast, Masters of Percussion. In 2012, Zakir was named Best Percussionist in the Downbeat Critics’ Poll.

A child prodigy, Hussain began touring at the age of 12, becoming the most acclaimed Indian musician of his generation and one of the world’s leading percussionists.

He is the recipient of many honors, including a recent Grammy in the Best Contemporary World Music category for “Global Drum Project” with Mickey Hart, Giovanni Hidalgo and Sikiru Adepoju; Padma Bhushan from the government of India in 2002; and the 1999 National Heritage Fellowship, the United States’ most prestigious honor for a master in traditional arts. In 1992, “Planet Drum,” an album co-created and co-produced by Hussain, became the first recording to win a Grammy in the Best World Music category and also won the Downbeat Critics’ Poll for Best World Beat Album. Both Modern Drummer and Drum! magazines named him Best World Music Drummer and Best World Beat Percussionist, respectively, in 2007. In 2009, his music was showcased for four soldout nights at Carnegie Hall’s Artist Perspective Series.

Also in 2009, Hussain was named an Officer in the Order of Arts and Letters by France’s Ministry of Culture and Communication. Most recently, the National Symphony Orchestra commissioned and presented his Concerto for Four Soloists at the Kennedy Center. He has contributed

to innumerable recordings and has received widespread recognition as a composer for his many projects, scores and soundtracks, including “Little Buddha,” “In Custody,” “Vanaprastham,” “Mystic Masseur,” “Mr & Mrs. Iyer,” YoYo Ma’s “Silk Road Project” and the acclaimed “Concerto for Banjo, Bass and Tabla” commissioned by the Nashville Symphony for its opening gala in 2006 and co-composed with his constant colleagues, Edgar Meyer and Bela Fleck. In March 2013, SF Jazz in San Francisco will present four nights featuring Hussain and his music for their much-anticipated new center’s inaugural season.

zakirhussain.com

North Indian Classical Music Any performance of North Indian classical music depends considerably on the mood and inspiration of the artists and their rapport with the audience. Therefore, the selection of ragas and talas will be chosen according to the mood of the evening and announced just prior to the performance by the artist. Moods from solemn and sad to romantic and restless are said to be embodied like personalities in the thousands of ragas in classical literature.

Indian classical music is a highly developed musical language that expresses itself entirely through melodic tone rows called raga. Whereas in Western music a major key may be said to symbolize happiness and a minor key sadness, different ragas express or symbolize a whole variety of emotions, as well as the various times of day and seasons of the year. In Indian music there is no harmony, so all musical meaning must rest with the interrelation of the notes in each particular raga. The octave is divided into the same number of semitones as the Western chromatic scale, but the intervals are not tempered. Furthermore, most musicians deviate from these intervals in certain ragas by sharpening or flattening specified notes microtonally. In North Indian music, such as will be heard in this program, microtonal inflections are used as a means of emotional expression on certain predetermined notes.

Only seven of the 12 semitones have names: Sa, Re, Ga, Ma, Pa, Dha, and Ni (equivalent to Doh, Re, Me, Fa, Soh, La, and Ti). The other five are thought to be alternatives for Re (second), Ga (third), Ma (fourth), Dha (sixth) and Ni (seventh). Sa (first) and Pa (fifth) are fixed.

A raga selects five, six or seven of the named notes or its variants, and in some cases both alternatives of a note are used. The ascending and descending lines of raga need not necessarily use the same notes, nor the same structural 2012-2013 festival PROGRAM

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sequence, as a raga is not just a scale. Rather, a raga implies elements of melodic shape that are brought out by omitting certain notes, by placing more emphasis on one note than another, by certain zigzag shapes, and by end notes, on which characteristic cadences may rest.

Often these are the inflections mentioned earlier. These inflections, also called Gamak, give the performer tremendous scope for expression and variation of interpretation during his or her performance.

Veena,” or the hundred-stringed lute. Unlike other stringed instruments, which are usually plucked, the santoor is played by striking the strings with two curved hammers made of walnut. The santoor was first presented on the classical stage by Shivkumar Sharma in Bombay in 1955, when the maestro was only 17 years old. Used in the early decades of the 20th century to accompany a style of singing known as Sufiana Mausiqi, the santoor is thought to have been spread around the world by itinerant Gypsies.

The most important note in any raga is the tonic, around which the development of the raga evolves. It must be pointed out that in Indian music, once the instrument has been tuned, the tonic never changes, as opposed to Western music where the tonic may change frequently during a work by way of modulation and harmonic development.

Indian music is entirely melodic, firmly rooted in its tonic, and any apparent harmony is a matter of coincidence rather than intention. However, if a prominent note is stressed particularly in a passage, a Western listener could possibly imagine this as a change of tonic - or key.

The tabla, the premier North Indian classical percussion instrument, consists of a pair of single-headed tuned kettledrums. The left-hand drum, banya, is made of an alloy of copper and silver with a goatskin membrane and provides a bass note of indefinite pitch. The right-hand drum, tabla, has a hardwood body, and the membrane is stretched by a number of thongs and eight wooden blocks that are used for tuning the drum to the keynote Sa. In the center of the membrane, there is a small black circular area composed of a dried paste made from flour, iron and manganese filings and other ingredients. This increases the resonance of the drum considerably. Each drum stroke has its own particular name: Na, Ta, Dha, Dhin, Trik, and so forth, and the rhythmic patterns are transmitted orally through these onomatopoeic names.

The Instruments The santoor was known in India as the “Shata Tantri

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Seven Days of

Opening Nights

Learning is at the core of Seven Days of Opening Night’s mission. It is our passion and joy to deliver outstanding educational experiences to the community.

The 2012-2013 season is no exception, with performances to K-12 audiences by the Preservation Hall Jazz Band and master classes to university students by the Second City Touring Company, just to name a few.

Financial support from sponsors, grantors, members and ticket buyers afford Seven Days of Opening Nights the ability to provide all of the educational outreach in our community at no cost, even offering transportation to schools for off-site performances.

Take a few minutes and review the myriad educational programs Seven Days of Opening Nights presents to the community.

ANTHONY ZERBE, Actor

Private Lessons for 10 theater students, lecture to film students, lecture to theater students

CHERYL STRAYED, Author

Lecture to creative writing students

PRESERVATION HALL JAZZ BAND

Performance for Leon County sixth-grade students encompassing public, private and home-schooled students.

KYLE ABRAHAM, Dancer/Choreographer

Class for dance students

SĂŠrgio and Odair Assad, Guitar

Master class for guitar students

MARCUS ROBERTS, Piano

Performances and master classes to middle- and high-school band programs in Leon County

GEOFFREY GILMORE, Film

Film screening and question-and-answer session for film students

CREOLE CHOIR OF CUBA

Performance for elementary students at Florida State University Schools

SECOND CITY TOURING COMPANY

Improvisation workshop for a Leon County high-school drama program, Improv workshop for theater students, writing workshop for film students

JOHN WILLIAMS, Guitar

Question-and-answer session for guitarists in the community

ZAKIR HUSSAIN, Tabla

Performance for students at a Leon County high school 2012-2013 festival PROGRAM

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82 seven days of opening nights

MEMBERSHIP MEMBERSHIP 2013 2013 MEMBERSHIP MEMBERSHIP 2013 2013 MEMBERSHIP MEMBERSHIP 2013 2013 BENEFITS BENEFITS MEMBERSHIP MEMBERSHIP 2013 2013 BENEFITS BENEFITS MEMBERSHIP MEMBERSHIP 2013 2013 MEMBERSHIP 2013 BENEFITS BENEFITS

MEMBERSHIP 2013 - 2014

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$50 $100 DEBUT

• $1,000 $500 PARTNER FRIEND

• • $500 $250 $250 $100 ASSOCIATE FRIEND ASSOCIATE DEBUT

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PARTNER’S PARTNER’S • • $1,500+ $1,500+ $1,000 PARTNER CIRCLE CIRCLE

• $1,000 $500 PARTNER FRIEND

• • $500 $250 $250 $100 ASSOCIATE FRIEND ASSOCIATE DEBUT

• $100 DEBUT

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• $1,000 $500 $1,000 $500$500

• $500 $250 $500 $250 $250

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