A conversation with JESUS CHRIST SUPERSTARâ€™S Rudolph Searles III
SUMMER ISSUE 1.2
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When the team at the Ordway began working on the second issue of Encore, we realized that not only does the launch of this magazine correspond perfectly with the launch of our 2017-2018 Musical Theater Series, but that three of the four musicals included in this series are Ordway Originals – works that are produced and directed right here in our halls. As we discussed the concept of centering an entire issue on the theme of Ordway produced works, we also found ourselves exploring the question of what it means to be an Ordway Original. Ultimately, an Ordway Original is not just about the Ordway. In order to do what we do here, we rely on the entire community – artists, directors, educators, students, donors,
even our friends in the Arts Partnership are critical components of making what we do here at the Ordway as successful as it has been. Ordway Originals are also about contributing to and participating in this vibrant theater community that we are so fortunate to have here in the Twin Cities. Whatever we gain from being part of this community, we want to give back in excess. It’s about building connections with our donors, subscribers, and patrons, and about providing greater access to students and communities. And it’s about stories – the stories on stage, as well as the stories of how what transpires on stage is made possible. In this issue, you’ll find stories about the incredible
team behind Jesus Christ Superstar, the impact of our Arts Education programs, In The Heights’ Musical Director Eugenio Vargas and his unique background, and so much more. We even answer the burning question of just how many loads of laundry it takes to keep the cast of Irving Berlin’s White Christmas in high fashion. I am so very proud of the work we do here at the Ordway, and I can’t wait to share these stories with all of you.
Jamie Grant | President and CEO
Comprised of the Minnesota Opera, the Ordway, The Saint Paul Chamber Orchestra and Schubert Club— four performing arts organizations working together in service to our community.
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SUMMER ISSUE 1.2
ORDWAY E NCORE
CONTENT O P E NIN G N U M B E R S 6 8 11 14
By the Numbers Building the Creative Team Airing the Laundry Not Goodbye, Only Farewell
FE AT U RE A C T S 16 A Conversation with Rudolph Searles III 21 Diavolo 22 Can You Imagine 23 Donor Spotlight
A P P LAU S E 24 25 27 28 30
Ordway 2017 Spring Fête, Springtime in Paris Beyond the Stage Thank You Corporate, Foundation, and Public Partners 2017 Flint Hills International Children’s Festival Event Calendar
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ORDWAY ORIGINALS FOR THE 2016-2017 SEASON: • IRVING BERLIN’S WHITE CHRISTMAS • WEST SIDE STORY • BROADWAY SONGBOOK: HOLLYWOOD AND BROADWAY • BROADWAY SONGBOOK: REBELS ON BROADWAY
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O R D W A
BUILDING THE CREATIVE TEAM
Ordway’s Vice President of Programming and Producing Artistic Director James Rocco is no stranger to Jesus Christ Superstar. Rocco has directed the show 18 times and has played Judas in numerous productions, including the production choreographed by Susan Stroman and directed by Robert Johanson at Paper Mill Playhouse in the early 90’s. When neither Stroman nor Johanson was available to direct subsequent productions, they suggested that Rocco take the reins. He began to incorporate his conceptual vision into the show, and over time it has continued to evolve, influenced the many artists
who have touched it over the years. Now, the Ordway cast will add their own thoughts and concepts to the production, becoming part of a growing family surrounding Jesus Christ Superstar. While Rocco’s 2017 Ordway production draws on the tradition of the Paper Mill production, many of the elements, including the set, costumes, and musical arrangements, will be new and original designs. For any original production, one of the largest and most critical pieces of the puzzle is the set. The original set from Papermill was purchased and used by TUTS, but “when we reached out to TUTS, the set was being disposed of – it was pretty much shot,” said Luft. Because the Ordway building itself lacks space for construction and storage, there is also the question of where the set will be built. For some Ordway Original productions, a set can be purchased or rented, as was the case with 2016’s A Chorus Line, which utilized the original Broadway set, and 2015’s The Sound of Music. The set of Jesus Christ Superstar, however, is being built right here in the Twin Cities with a little help from our friends and partners at the Minnesota Opera. Musical Theater Series sponsored by BREMER BANK
PHOTO: LAURA ALPIZAR
JULY 18-30 | ORDWAY MUSIC THEATER ordway.org
ehind any great musical theater production is an extraordinary team. Much like The Avengers or the Ocean’s 11 gang, this group of skilled professionals, often unseen by the audience, brings their varied skills to the table to achieve an incredible feat – in this case, creating a platform without which the magic onstage would not be possible. We sat down with Ordway’s Production Director Andy Luft to learn more about the talented team behind this summer’s production of Jesus Christ Superstar.
O R I G I N A L
Luft knew that in order to build a set that not only fit Rocco’s vision of how the show should look and move but also fit within the Ordway space, they needed to find experts who were versed in set and lighting design, and who also knew the Ordway Music Theater intimately. To that end, they enlisted Minnesota Opera’s Technical Director Mike McQuiston, and local lighting designer Paul Whitaker.
The set itself is based on a neutral structure, providing a canvas that represents both anywhere and nowhere in particular. The lighting design will use “quite a bit of moving light and intelligent light,” Luft stated. “This allows for more texture, color variation, and precision.” The passerelle from 2015’s The Pirates of Penzance will also be brought back for Superstar, allowing for greater movement, and a greater feeling of intimacy with the audience.
Whitaker has worked with the Minnesota Opera, Children’s Theatre Company and the Guthrie, as well as many other local and national organizations, and recently worked on the Minnesota Opera’s production of Diana’s Garden. McQuiston, who has been with the Opera for many years and knows the Ordway crew and space well, was chosen to serve as technical director, charged with making sure the set fits into the Ordway space.
Sound Designer Andy Horka, an Ordway veteran who has worked on Damn Yankees, Irving Berlin’s White Christmas, and most recently West Side Story, also joins the team as Superstar’s Sound Designer. Costume Designer Mary Beth Gagner, who assisted Lynda Salsbury on the Ordway’s productions of Damn Yankees and Irving Berlin’s White Christmas, will take the helm on Jesus Christ Superstar. Gagner, who is also an instructor at Hamline University and the Minneapolis Art Institute, is working to blend more traditional garb with a more modern concept. “Some characters have to be traditional,” says Luft, “but some are being given a more modern feel.”
“The set needs to match the circular motion of the blocking and choreography,” Luft explained. “We’re working towards a set design that embodies the spirit and the concept of how the actors move on stage. There also has to be a feeling of isolation, and a feeling of vista.” In order to gather the physical materials, “we are working with the Opera between our stock and theirs, to see what we have and what we don’t.”
AIRING THE LAUNDRY WITH “IRVING BERLIN’S WHITE CHRISTMAS”
hen you think of putting together a show, you might think of endless hours of rehearsal, glitzy costumes, and building a stunning set. Some parts of show business are glamorous, but some of the most critical pieces in putting a show together are basic household chores — turned up to eleven. We had the pleasure of talking with Production Coordinator Julia Erickson about the ins and outs of…wait for it…laundry. For an enormous production like Irving Berlin’s White Christmas, how does the laundry get done? There were so many costumes for so many actors, and the costumes must need a good washing after a show full of dancing and singing! On a show like White Christmas, we start with what we call the skin layer for all actors — that is all undergarments from boxers, socks and tights to t-shirts, slips and bras. Every actor has 2 sets of these garments so one is always in the laundry with the other prepped for the show. Then with things like the men’s shirts, and there were a lot of those on this show, we also have 2 so one is in the laundry and the other prepped for the show. The suits typically get dry cleaned once through the run as do most of the dresses, though the women do have pit shields in their dresses that are laundered with the skins. Twice a week other costumes that can be laundered are done. Then we also have the odor eliminator trick of spraying the armpits with diluted vodka. Wow. How long does this process take? On a show like White Christmas we have a person whose only job is to keep track of and do the laundry. Typically this is 4.5 hours per day on a single-show day and 8 hours on a 2-show day.
If you had to guess, how many loads of laundry total do you think were run? I counted up the hours, and it’s about 122 hours of laundry. I’m curious about the number of loads. A guesstimate is totally fine. I would guess with the rehearsal we were somewhere around
425 loads of laundry for the run… That’s nuts! I didn’t even count rehearsals in my hour tally. How many hours do you think I should add to the 122 to account for the loads done after rehearsals? I would say another 36 hours for rehearsal period. How many total costumes do you think were involved in the production? Rough total, in this show, is about 800 costume pieces. This includes shoes and all of the accessories such as hats and gloves. I think we were over PHOTO: RICH RYAN
200 pairs of shoes in this show alone.
Eugenio Vargas u p c lo s e & p e r s o n al
I UNDERSTAND YOU ARE FIRST AND FOREMOST AN ACTOR – HOW DID YOU GET INVOLVED WITH THIS PROJECT, AND WHY ON THE MUSICAL DIRECTING SIDE?
WHAT’S YOUR HISTORY WITH IN THE HEIGHTS? IS THIS A SHOW THAT’S FAMILIAR TO YOU AND WHAT MAKES YOU EXCITED TO WORK ON THIS PROJECT?
I actually came to audition for James and Reid in February, during the season auditions in New York. As I walked out the door from the audition, I got a call from Lauren Villegas (who incidentally is playing Mary Magdalene in Ordway’s Jesus Christ Superstar). She said, “just so you know, they’re looking for a Musical Director for In The Heights and I gave them your name – I hope that’s OK!”
In The Heights has been a really important piece to me since I first moved up to [New York City] after college. It was one of the first things I came up here to see, and one of the first times I saw people who looked like me, up on stage in a big way. It’s beautiful, smart and exciting. For ten years, I wanted to be a part of the show. I will never forget that it was a different type of music – and that wasn’t just the inclusion of rap. It was unapologetically Latin music, and that was exciting for me as someone coming to the city as a young college grad hoping to make it as an actor. Until then it was either hoping casting directors would think I could pass as white, or hoping for one of the token roles for people of color. In The Heights brings to light the fact that for people of color, there really are not a lot of opportunities for us to get on stage and tell our stories. To see the audience moved to tears, and that it was a story about people like me, that was really powerful.
SO YOU’D ALREADY AUDITIONED FOR A PART IN THE CAST – WHAT MADE YOU DECIDE TO TAKE THE MUSICAL DIRECTOR GIG RATHER THAN PURSUING A ROLE ON STAGE? When it came down to being a part of the show, this obviously wasn’t necessarily how I imagined it. I could have gone down the road of callbacks, but I also know there will be plenty of chances to act, but maybe not so many chances to music direct. After a bit of hemming and hawing, I decided to go in that direction.
SEPT 12-24 | ORDWAY MUSIC THEATER ordway.org
When Eugenio Vargas first saw Lin-Manuel Miranda’s groundbreaking production in New York, he knew he wanted to be a part of IN THE HEIGHTS – but he always imagined his part would be on stage, not in the pit. Vargas, who is primarily an actor, was also a Musical Director in college. He continued to music direct occasionally, and in the past few years has started to shift focus from acting back towards music directing. We had the opportunity to chat with Vargas about getting involved in the Twin Cities, why IN THE HEIGHTS has a special place in his heart, his favorite projects, and more!
THINKING ABOUT THE SCORE ITSELF – WHAT ARE YOU MOST EXCITED ABOUT, AND WHAT DO YOU THINK WILL BE THE BIGGEST CHALLENGE IN TACKLING THIS SCORE?
go back and get a minor in conducting, and encouraged me to continue working in areas that challenged me. I’d love to go back and do that show again, knowing everything I’ve learned since then.
This whole score has been in my head for the past ten years. There are a couple of numbers that even now make me feel a lot of the same feelings I felt when I first heard them. I’m really excited to work with such a skilled company of actors to see how they feel and what they express, and to see them discover and feel what I’ve been feeling listening to the cast album all these years. The biggest challenge, for sure, is that the keyboard accompaniment is notoriously difficult. [Tony-winning Composer] Alex Lacamoire, who originally did the music, even said that the part is notoriously difficult to play. Getting that style and feel and groove with such a challenging part will be tough, but I have every confidence that I will get it together.
WHAT IS YOUR DREAM ROLE AS AN ACTOR? I know this might sound cheesy, but it was the first big professional show I saw when it toured to my town, the first cast album I ever owned and the first show I saw on Broadway – The Phantom of the Opera. It’s a sentimental favorite of mine, and I would love the chance to play Phantom.
IT HAS BEEN SO GREAT TALKING WITH YOU, EUGENIO. THANKS AGAIN FOR YOUR TIME AND WE CAN’T WAIT TO SEE WHAT YOU DO WITH IN THE THE HEIGHTS! Thanks! I’m so excited the Ordway is doing this show, and I can’t wait to bring it to Twin Cities audiences. I hope that with shows like In The Heights, we continue to engage even more new and different audiences.
WHAT ARE SOME OTHER PROJECTS YOU’VE WORKED ON AS A MUSICAL DIRECTOR? I’ve directed Carousel, The Wedding Singer, You’re A Good Man Charlie Brown, Rocky Horror, and probably a few others. I’m also the conductor for the Astoria Choir here in New York City, which is a 60-70 member choir in Astoria & Queens. We program everything from classical masses and requiems to musical theatre revues.
THAT IS SUCH A GREAT VARIETY! OF ALL THESE PROJECTS – MUSICAL, CLASSICAL, OR ANY OTHER GENRE – WHAT HAS BEEN YOUR FAVORITE? Oh that’s easy – it’s Carousel. The first time I directed it was in college. I understand why it’s a problematic show, but of all Rogers and Hammerstein’s work, the score is inarguably their best. The production I worked on was one of the larger student productions we did on campus, and it was the first large-scale orchestra I’d ever worked with. It was really what inspired me to
An Ordway Original in collaboration with Teatro del Pueblo
sponsored by TRAVELERS Musical Theater Series sponsored by BREMER BANK Generous support for Ordway Originals is provided by Marcia L. Morris
O R D WAY â€™ S V I C E P R E S I D E N T O F PROGRAMMING AND PRODUCING ARTISTIC DIRECTOR, JAMES ROCCO TO STEP DOWN IN DECEMBER
PHOTO: BRUCE JOHNSON PHOTOGRAPHY
lmost thirteen years ago, James Rocco left his upper-west side apartment in New York City to accept the newly created position of Producing Artistic Director of the Ordway. Rocco brought with him a rich and diverse background in music and theater that spanned the world’s finest venues from Broadway to Tokyo. He was captivated by the singularity of his mission: to revitalize Ordway’s Theatrical Programming by producing large scale musicals in the Twin Cities while continuing Ordway’s tradition of presenting the best of touring Broadway. Under Rocco’s leadership, the Ordway has been the proud home of classics like The Sound of Music, West Side Story, Singin’ in the Rain, and The Pirates of Penzance, as well as, groundbreaking new works like Next to Normal, August Osage County, and coming up this fall, Lin-Manuel Miranda’s In The Heights.
Producer Love, Janis – 2007 Ivey Award
The joy that these shows have brought us is immeasurable. But even more far-reaching, Rocco’s influence on the performing artists of the Twin Cities is without compare. He has tirelessly trained, supported, mentored, and created opportunities for professionals and newcomers in the field of musical theater.
The Rocky Horror Show – Best Musical of 2007, Star Tribune and Lavender Magazine
“I’ve been at the Ordway longer than any other theater in the course of my career,” said Rocco. “I feel fortunate to have worked with an incredibly talented and diverse group of artists from the Twin Cities that strengthened and built Ordway’s musical theater programming and gave me some unforgettable experiences.”
Joseph and the Amazing Technicolor Dreamcoat – Tour of Asia – In conjunction with Thirty Saints Productions and Broadway Asia
“The Musical Theater Series and Ordway Originals are set up for a successful future, in large part due to the many years of exceptional work by James Rocco,” said Jamie Grant, Ordway President and CEO. “I was drawn to the organization because of its rich history with and commitment to producing and presenting musical theater. James played a vital role in building that history and in the consistent creation and presentation of high quality productions. James will certainly be missed by me and so many others.”
West Side Story
We’d like to take this opportunity to look back and celebrate Rocco’s rich history with a selected list of his accomplishments at The Ordway.
Ordway Representative on Original Broadway Productions
Cabaret – 2008 Outstanding Musical Production Ivey Award, Best of 2008, Lavender Magazine Damn Yankees – Twin Cities Blogger Award, Best Theater Trend in Diversity and Non-Traditional Casting
The Pirates of Penzance – Twin Cities Bloggers Award, Favorite Musical Irving Berlin’s White Christmas Jesus Christ Superstar Co-Producer (with Park Square Theatre) Grey Gardens - 2009 Lavender Magazine Theater Event of the Year Presenter (Twin Cities’ Premieres) August, Osage County | Next To Normal Spamalot | Memphis | Edward Scissorhands The Addams Family | An American In Paris The Color Purple | Legally Blonde Community Partnerships Ballet of the Dolls | Theatre Mu | Theatre Latté Da Co-Creator, Director and Host Broadway Songbook® – Top Pick of 2013 Lavender Magazine, 2014 Favorite Thing, Cherry and Spoon Theatre Blog
Broadway Songbook PHOTOS BY WW IMAGES COURTESY REGINA WILLIAMS AND THIRTY SAINT PRODUCTIONS
A conversation with JESUS CHRIST SUPERSTAR’S Rudolph Searles III
Rudolph ‘Tre’ Searles III is a familiar face on the Ordway stage, having appeared in the Broadway Songbook® series, The Pirates of Penzance, A Christmas Story, The Musical, and more. This month, he returns to the Ordway as the
apostle Peter in Andrew Lloyd Webber’s Jesus Christ Superstar. We were fortunate enough to have the opportunity to chat with Tre about his favorite roles at the Ordway, his Superstar character, and more.
You’ve been in quite a few productions at the Ordway – what are a couple of your personal favorites, and why? Definitely The Pirates of Penzance. It was really fun getting to play a Pirate and be kinda wild and crazy and then switch and be one of the Mounties who were very regimented and orderly. Plus we got to sword fight! A Christmas Story, The Musical is up there as well. It was my first show at the Ordway and I just have such fond memories of that time. In Jesus Christ Superstar, you play the role of the apostle Peter. Tell us a little bit about your character – what aspects of Peter do you relate to, and which do you find challenging? I would describe Peter as vibrant and fiery. He’s also very loving which is something I relate to. The part I find challenging is how impulsive he is. He’s the “act first, ask questions later” type, whereas I tend to be a little more cautious.
When were you first introduced to Jesus Christ Superstar? Why do you think it continues to resonate with audiences? I was first introduced to this show in college. I heard Heaven On Their Minds and was immediately obsessed. There’s just something compelling about telling this story through rock music. The use of contemporary music I think makes it much easier for people to connect to it.
What are you most looking forward to about this new production, directed by James Rocco? I’m just excited to get to work with him again. Every time I’ve worked with him I’ve learned so much. I can’t wait to see his vision for the show and I’m thrilled that I get to be a part of bringing it to life.
PHOTO/COVER PHOTOS: PETER MYERS
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In The Heights
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DIAVOLO kicks off the 2017-2018 Music & Movement series with L.O.S.T. After thrilling Ordway audiences with their previous a giant morphing staircase with multiple doors, engagements, Los Angeles based dance group passageways and shifting surfaces. Dancers reckon DIAVOLO Architecture in Motion® with themes of journey and transition and returns to the Music Theater stage the tenuous balance we attempt to strike THR O U G H THE on October 25 with a new piece each day as both indomitable drivers and as CO U R SE O F co-commissioned by the Ordway’s unwitting passengers. “Cubicle,” which had O U R HU M AN Patricia A. Mitchell Fund for Dance with its Ordway premiere in 2015 to an incredible E XPE R IE NC E , WE additional support from The Scrooby audience response, explores the human Foundation. condition under a cramped and monotonous TE E TE R BE TWEEN workday reality, using a system of heavy and VU L NE R ABIL IT Y A N D Founded by artistic director Jaques portable wooden boxes to shape and reHeim in 1992, DIAVOLO uses multiple CO NTR O L , LOSIN G shape an ever-changing environment styles of dance and is famous for its AND R E SHAPIN G on stage. use of props and sets. Heim, who has O U R SE LVE S AS WE choreographed for Cirque du Soleil For Heim, the dancers in his company are TR AVE R SE THROUGH and was a creative director for the a critical piece of realizing his work both Opening Ceremony at the 16th Asian on and offstage. Dancers often collaborate O U R DAILY L IV ES Games in China, has developed a new with Heim on the shape and choreography AND WO R K . work entitled L.O.S.T. [Losing One’s Self of DIAVOLO’s works—and these are no Temporarily]. ordinary dancers. In addition to a wide range of dance styles, these artists—men and women alike— A full evening experience in 2 parts, L.O.S.T. features tumble over giant wheels, climb constantly morphing DIAVOLO’S newest works—“Passengers,” and structures, and accomplish impressive and acrobatic “Cubicle”—both of which were co-commissioned by feats. Undoubtedly, L.O.S.T. will provide thrilling and the Ordway. “Passengers” takes place on and around elegant dance, as well as food for thought.
OKEE DOKEE BROTHERS
Students from LAC Courte Oreilles band of Ojibwe attending the Native Pride show at the 2017 Flint Hills International Children’s Festival presented by the Ordway
For 26 years the Ordway has been committed to the engagement of school audiences through presentation of world renowned artistic voices that reflect students’ identities and expand their world views. Additionally, these performances are made accessible to school audiences with highly reduced tickets and the most generous bus reimbursement program in the state! In an effort to meet the growing demand for expanded content for all school age children, the Ordway will be launching several new initiatives: The Access tickets fund will allow qualifying schools to purchase tickets to our Music & Movement School Performances series for just 25¢ each! NEW! Young Audience School Performance Series will feature 5060 minute performances programmed specifically for students in grades pre-k to 3 for $4.00 a ticket!
2017/18 Young Audience school performances include: • CUENTOS: TALES FROM THE LATINO WORLD starring David Gonzalez
Beyond the stage the Ordway will continue to offer opportunities for both students and teachers to explore the arts through in-school artist residencies, workshops, educator professional development, and opportunities for students to perform and exhibit within our spaces. Learn more on our website at Ordway.org/education or by calling the Education Hotline at 651.282.3115 Support for Arts Education is provided by: Fred C. and Katherine B. Andersen Foundation, Travelers Foundation, 3M Foundation, Ruth and John Huss, Target Foundation, Hubbard Broadcasting Foundation, Ecolab Foundation, Hugh J. Andersen Foundation, U.S. Bank Foundation, Wells Fargo Foundation, Anna M. Heilmaier Foundation, Spire Credit Union, Mike and Kara Johnson, Foothills Foundation, Margaret H. and James E. Kelley Foundation, Thomson Reuters, Lillian Wright and C. Emil Berglund Foundation, RBC Wealth Management, MGK Inc., Clifford C. and Virginia G. Sorensen Charitable Trust
“ YOUNG PEOPL E AND THEIR TEACHERS ARE AMONG THE L ARGEST STAKEHOL DER GROUPS AT THE ORDWAY. WE ARE DEL IGHTED TO CONTINUE AND EXPAND THEIR PRESENCE IN THE ORDWAY’S ANNUAL PROGRAMMING AND LONG-
• Okee Dokee Brothers
TERM VISION OF EVERY COMMUNITY
• Mermaid Theatre’s GOODNIGHT MOON AND THE RUNAWAY BUNNY
ENGAGED AND EVERY STORY TOL D.”
—Shelley Quiala, Vice-president of Education and Community Engagement
F E AT U R E D O R D WAY D O N O R S
The Reissenweber family during a recent family vacation to Peru
Michelle poses with her great-niece (a future music lover!)
BETH REISSENWEBER first became
For MICHELLE HACKETT, becoming a Friend of the Ordway and Luminaria Society member was an easy decision. “I am a donor because I would like to see the Ordway continue to produce and present concerts for future generations to enjoy.”
acquainted with the Ordway after attending a McGough Construction holiday party. “I was overwhelmed by the beautiful venue, and my friend and I couldn’t stop taking photos of the space,” she says. Soon thereafter she, her husband, and their two children became season subscribers—“it’s a treat for the four of us to attend the Ordway.”
Along with her role as an Ordway usher, Michelle is a member of the Minnesota Chorale and first performed at the Ordway in December 1984 with the group. “One of my favorite memories is performing and recording Haydn’s The Creation and The Seasons in the Music Theater.”
After learning about the Ordway’s donor programs, Beth made the decision to become a Friend of the Ordway. “Supporting live performance is important to me. I have always loved musical theater. Now my daughter loves it and my son is getting into it, too. The quality of the musical theater at the Ordway is superb, and the live music is spectacular. During a live performance, my children can experience something they wouldn’t otherwise see or hear or feel.” Over dinner after a show, Beth and her family talk about what they’ve seen and how a particular song or storyline captured their imagination.
Her happy memories are not limited to her time as a performer. Michelle cites The Phantom of the Opera, Showboat, and The Pirates of Penzance as some of her favorite productions. “The Ordway produces and presents a variety of performances for all ages, and brings in performers from around the world!” Through her annual Friends donation and by remembering the Ordway in her estate plans, Michelle is helping to secure a future filled with colorful and creative performances for generations to come.
As Friends of the Ordway, the Reissenwebers have attended rehearsals to watch the process of bringing a production to life. This benefit, available to Friends, has helped enrich their family conversations. Overall, Beth says, “coming to the Ordway has allowed us to have family events and share something really special!”
Saturday|April 22 ordway.org/fete
Upon arriving at the Spring Fête on April 22, guests passed through a flower market and stopped beneath the Eiffel Tower for photos before ascending to the shop-lined boulevards of Paris. They strolled through a silent auction to the music of Cafe Accordion Orchestra while feasting on gourmet French delights like Tuna Nicoise Barquette, Coquille St. Jacques, and Chicken Coq au Vin. Then into the Concert Hall for Arts Partnership vignette performances and a live auction hosted by Frank Vascellero of WCCO News. Afterward, sweet and savory desserts and dancing to Pizzaz. The Fête’s Honorary Chairs, Ruth and John Huss, were celebrated for their unwavering support of the Arts Partnership and its member organizations—Minnesota Opera, the Ordway, The Saint Paul Chamber Orchestra, and Schubert Club. The Fête generated $350,000 for Ordway arts education programs, including reimbursement for bus transportation to student matinees (experienced by over 53,500 schoolchildren this school year), as well as $30,000 for the Arts Partnership Facility Fund.
Silver BeEvents Bremer Bank Mairs and Power, Inc. The Saint Paul Hotel Bronze Briggs and Morgan District Energy and Ever-Green Energy IntriCon Corporation Minnesota Wild AS OF 03/22/2017
3/22/17 12:19 PM
Above: patrons enjoying the Fête Bottom left: (L to R) Barry Kempton, John Clifford, Nancy Nicholson, Jon Limbacher, Ruth Huss, Jamie Grant, John Huss, Ryan Taylor Top right: Frank Vascellaro
PHOTOS BY: DAN NORMAN
B E YO N D T H E S TAG E HERE’S A LOOK AT SOME OF THE THINGS THAT HAVE BEEN HAPPENING BEYOND THE ORDWAY STAGE, INCLUDING ARTIST WORKSHOPS, COMMUNITY ENGAGEMENT ACTIVITIES, PANEL DISCUSSIONS, AND MORE.
1 OYATE OKODAKICIYAPI CO-CURATOR, ROSY SIMAS (RIGHT) WITH KAHA:WI DANCE THEATRE’S SANTEE SMITH (LEFT) AT THE WELCOMING GATHERING TO KICK OFF THE WEEK-LONG SERIES OF EVENTS. THE WELCOMING GATHERING TOOK PLACE AT THE TWO RIVERS GALLERY INSIDE THE MINNEAPOLIS AMERICAN INDIAN CENTER. 2 LOCAL NATIVE DANCERS SHARED THEIR PERSONAL EXPERIENCE TO A CROWD OF OVER 80 PEOPLE. HOSTED AT AND CO-PRESENTED BY THE COWLES CENTER FOR DANCE AND THE PERFORMING ARTS AND PRDUCED BY MICHÉLE STEINWALD. 3 RORY WAKEMUP, DIRECTOR OF ALL MY RELATIONS ART GALLERY (RIGHT) SPEAKING WITH AN ATTENDEE AT THE HARVEST STURDIES, AN OPENING RECEPTION OF AMRA’S ARTIST IN RESIDENCY, TANYA LUKIN LINKLATER. 4 CHRISTOPHER K. MORGAN, HAWAIIAN DANCER FROM BOSTON, MA, ENGAGES WITH FELLOW NATIVE CONTEMPORARY DANCERS AND LOCAL DANCE STUDENTS AT THE COWLES CENTER. HE VISUALLY DEMONSTRATES HOW HE FELT ABOUT BEING PULLED IN DIFFERENT DIRECTIONS FROM TRADITIONAL TO CONTEMPORARY, FROM BEING HAWAIIAN TO GROWING UP ON THE EAST COAST.
A COMMITMENT TO ARTISTIC, EDUCATIONAL, AND ECONOMIC ENGAGEMENT DEVELOPED IN PARTNERSHIP WITH COMMUNITIES OF COLOR.
O K O D A K I C I YA P I PHOTOS BY: TOMMY SAR
A U N I Q U E C E L E B R AT I O N O F N AT I V E M U S I C A N D DA N C E
THANK YOU CORPORATE, FOUNDATION, AND PUBLIC PARTNERS SPECIAL THANKS Public support for the Ordway is provided by This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.
Fred C. and Katherine B. Andersen Foundation Sponsor of the Flint Hills International Children’s Festival
$100,000 – $249,999
Sponsor of the 2017-2018 Musical Theater Series
Sponsor of In The Heights
With support from the Target Foundation Sponsor of Music & Movement Series
Sponsor of Education at the Ordway
$50,000 – $99,999
$25,000 – $49,999 Katherine B. Andersen Fund of the St. Paul Foundation
Sponsor of Kinky Boots
CORPORATE AND FOUNDATION PARTNERS The Ordway salutes the following organizations for their generous financial support and commitment to our artistic programming and community engagement activities.
$10,000 – $24,999 Hugh J. Andersen Foundation Andersen Corporate Foundation Best Buy Boss Foundation Dellwood Foundation The Dorsey & Whitney Foundation Anna M. Heilmaier Foundation Mardag Foundation McGough Construction Patterson Companies Robins Kaplan, LLP
$1,000 – $4,999 Accenture Arts Midwest Chinese Heritage Foundation Consulate General of Canada in Minneapolis District Energy St. Paul Fredrikson & Byron Foundation Hunt Electric Corporation, Saint Paul and Rochester IntriConn Corporation Lake Elmo Inn MGK Inc. Minnesota Wild RBC Wealth Management Margaret Rivers Fund Ultimate Events Warren Foundation Lillian Wright and C. Emil Berglund Foundation, Inc.
The Saint Paul Hotel Spire Credit Union $5,000 – $9,999 BNSF Railway Foundation Briggs and Morgan Carlson Family Foundation Hardenbergh Foundation Hazelden Betty Ford Foundation Hubbard Broadcasting Inc. and the Hubbard Broadcasting Foundation Art and Martha Kaemmer Fund of HRK Foundation Margaret H. and James E. Kelley Foundation, Inc. R.F. Moeller Jeweler New England Foundation for the Arts Thomson Reuters
Medical supplies in the Ordway First Aid Station are generously donated by REGIONS HOSPITAL.
International Children’s Festival support provided by: Flint Hills Resources, Cultural STAR Program of the City of Saint Paul, Xcel Energy Foundation, Ruth and John Huss, 3M Foundation, Spire Credit Union, Ecolab Foundation, BNSF Foundation, Consulate General of Canada
FLINT HILLS 2O17
Festival Presented by
! y a l p e m o C at the
he 17th Annual Flint Hills International Children’s Festival was a tremendous success – thanks to support from Flint Hills Resources. Together, we provided over 40,000 children, educators and families with access to a wonderland of awe-inspiring performances of music, dance, theater, puppetry, storytelling, and hands-on art activities. One of the nation’s premiere children’s Festivals, this year’s event brought together international performers on indoor stages in the Ordway, Landmark Center and the Lowry building. Additionally this year’s Festival featured the outdoor performance spectacle The Whale’s Tale from Australia! The Festival’s two outdoor stages– the Flint Hills World Music Stage in Rice Park and the Wells Fargo World Dance Stage in Landmark Plaza–featured hundreds of local artists throughout the week. During the Festival School Days (Tuesday-Friday) 19,444 schoolchildren representing more than 55 cities from Minnesota and Western Wisconsin experienced the joy of attending live music, theater, dance, and puppetry performances, many for the very first time. Thanks to the generous support of our sponsors, the Festival performances were
again accessible to a diverse audience of children and their families. Tickets to Family Weekend indoor performances were only $8 per person with a NEW pay-what-you can option for all performances. Tickets for student matinees cost $3.50 each, with free or highly subsidized busing available to all schools. Additionally the parks around the Ordway filled with free arts activities, art exhibits and performances on the Festival’s two outdoor stages throughout the week! Mark your calendars for the 2018 Flint Hills International Children’s Festival School Week May 29 –June 1, 2018 and the Festival Family Weekend June 2 & 3, 2018!
“Thank you again for another amazing Children’s Festival. If I could take pictures of my students as they watch performances with their jaws dropped, you would see clearly how much it means to them. The look on their faces says it all. I really do believe they are inspired and they will not forget the experience. Thank you!” -Karin Vanzyl, Phalen Lake Elementary
PHOTOS BY JOHN SCHAILDER AND TOMMY SAR
18-30 Jesus Christ Superstar ORDWAY 29 Capitol Steps Live ORDWAY
AUG 6 Engelbert Humperdinck: 50th Anniversary Tour ORDWAY 11 The Ohio Players ORDWAY
S EPT 8 We Can Be Heroes, The David Bowie Tribute Show by Collins Live ORDWAY
TRAVIS WALL’S SHAPING SOUND
12-24 In the Heights ORDWAY 15-17 Opening Weekend: Beethoven’s Triple Concerto SPCO 22-23 Beethoven/5: Jonathan Biss Plays Beethoven’s Fourth Piano Concerto SPCO 30 Cuentos: Tales from the Latino World starring David Gonzalez ORDWAY
OCT 6-7 Schubert’s Third Symphony SPCO
THE OHIO PLAYERS
7-15 Don Pasquale MN OPERA 16 Sally Awards ORDWAY
20 JazzMN Orchestra With Special Guest Wycliffe Gordon ORDWAY
28 Travis Wall’s Shaping Sound: After the Curtain ORDWAY
22 Sphinx Virtuosi ORDWAY 25 Diavolo presents L.O.S.T ORDWAY
29 Schubert Club: Sir András Schiff, piano SCHUBERT CLUB
26 Air Supply ORDWAY
29 Holy Spirit Mass – World Premiere ORDWAY
27-28 Patricia Kopatchinskaja Plays Mozart’s Fifth Violin Concerto SPCO
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This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.
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Issue 2 of the Ordway’s Quarterly Magazine, featuring Ordway Original musical theatre productions