Newman Center Presents Magazine 2014-2015, February 5, 2015

Season 2014 | 2015

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FROM THE EXECUTIVE DIRECTOR Welcome to Newman Center Presents, and thank you for your participation and support! Our 12th season features the eclectic mix of artists you’ve come to expect. Together, we discover new artists and new works while also reacquainting ourselves with old friends.

NEWMAN CENTER STAFF EXECUTIVE

Gregg Kvistad, Provost and Executive Vice Chancellor Stephen W. Seifert, Executive Director Richard Michel, Budget Manager Miriam Tobin, Administrative Assistant EVENT SERVICES Diane L. Roth, Assistant Director Sarah A. Whitnah (née Johnson), Event and Community Outreach Manager Andrea Copland, Event Coordinator MARKETING Natalie Raborn, Marketing Director PATRON SERVICES Dee Getchel, Assistant Director PRODUCTION SERVICES Garret Glass, Assistant Director Shakeel Wahab, Stage Operations Coordinator/ Audio Engineer Zack Jovanovich, Stage Operations Coordinator/ Lighting Engineer TICKETING SERVICES

Richard Moraskie, Assistant Director, Ticketing Services Max Manoles, Assistant Manager of Ticketing ADVERTISING INFORMATION

This program is produced for the Newman Center

by The Publishing House, Westminster, CO Angie Flachman Johnson, Publisher Annette Allen, Art Director and Production Coordinator Michele Garner, Graphic Design & Layout Wilbur E. Flachman, President

The season opens with Edgar Meyer and Chris Thile, two genredefying musicians in an explosion of creativity. With the Hot Sardines we find traditional jazz in the lusty grasp of a young generation of performers, a tap dancer among them! Capitol Steps help burst a few political bubbles, while the audience creates the soundtrack for the Swiss theatrical pantomime troupe MUMMENSCHANZ. The King’s Singers, legendary for their unaccompanied vocal harmonies, will take great advantage of June Swaner Gates Concert Hall’s natural acoustics, as will the Colorado Symphony with renowned conductor and soloist Pinchas Zukerman.

Four dance companies show the breadth of movement as artistic expression, from China’s first non-governmentally supported contemporary dance company, to Bill T. Jones’ exploration of the human condition, to Aspen Santa Fe Ballet’s display of today’s most exciting choreographers, to Diavolo’s thrilling and dangerous work with stage contraptions.

We also continue our presentation of artists building on the great traditions of concert hall music but eager to express their own experiences of today’s world. The French double bassist Renaud Garcia-Fons added a fifth string to his bass and developed techniques for playing it so that it fits right in to small ensembles of instruments from various world music traditions. Hear that flamenco guitar? It might just have been Renaud’s bass. The exploratory jazz jam band Medeski Martin & Wood allies with Alarm Will Sound (last here for the thought-provoking multi-media show 1969) for an evening of new music created just for us and CU Presents.

Roomful of Teeth, an a cappella ensemble of eight, uses vocal performance practices from around the world to create mesmerizing, thrilling, beautiful sound palettes. The youngest winner of the Pulitzer Prize in music is one of their members. She won the Prize, and the group won a Grammy, for a work you’ll hear in their show. Donal Fox, a pianist of prodigious reach, explores the intersections of improvisation in jazz and Baroque classical music.

We’re also excited to have the it gets better tour come to Denver for a week of anti-bullying residency work in schools and community centers, culminating in a performance featuring six members of the Gay Men’s Chorus of LA and a community chorus created in Denver just for this show.

Welcome to your performing arts center at the University of Denver. Thank you for coming.

Have a great time!

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Stephen W. Seifert Executive Director 2014-2015 Newman Center Presents

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NEWMAN CENTER’S VISION STATEMENT At the Robert and Judi Newman Center for the Performing Arts, our responsibility, our purpose, and our vision are to: • Celebrate, entertain, inspire, and feed the imagination • Give voice to the innate human need for expression through performance • Educate and prepare better citizens of our community • Begin conversations of ideas • Foster an eagerness for and habits of curiosity and learning • Make the major sources of our own and other cultures accessible to our community • Embrace our differences; celebrate diversity of forms, attitudes, traditions, and populations • Challenge assumptions and encourage creativity and new work, even at the risk of failure • Help teach our cultural heritage through the performance of great works from the past and support creativity by contemporary artists whose new voices will be remembered in the future • Demand excellence and integrity without avoiding controversy • Remind our community that the performing arts have value to our society because they: • Create self-esteem which is earned by striving to achieve high standards • Integrate with other disciplines such as language, history, math, and science • Foster communication and interpersonal skills

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2014-2015 Newman Center Presents

FROM THE CHANCELLOR Welcome to another remarkable evening at the Robert and Judi Newman Center for the Performing Arts. With its beautiful concert halls and theaters designed specifically to showcase human creativity, the Newman Center has emerged as one of the crown jewels of Denver’s arts scene. There is no other complex like it anywhere in the state.

Over the years, Denver audiences have come to count on the Newman Center and its acclaimed performing arts series. Night after night, the curtain rises on cutting-edge dance troupes, avant-garde music ensembles, or theatrical companies with an experimental bent. By helping us explore our common humanity and look at life from differing perspectives, these productions foster thought, appreciation, delight and community. This is just one of the many ways in which the University of Denver lives its vision of serving the public good.

The Newman Center’s stages are also a catalyst for an explosion of student talent.

Every production by students in our Lamont School of Music and Department of Theatre represents a transformation of energy, enthusiasm and dedication into art. Here at the Newman Center, our students pursue their passions and discover their capacity to collaborate and create, to which the rest of us can only say, encore!

Enjoy tonight’s performance. May it be just one of many offerings you enjoy with us this season.

Rebecca S. Chopp Chancellor, University of Denver

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Proud supporter of the Newman Center’s 2014–15 Proud supporter of the Newman Center’s 2014–15 season of dance, theater, music and performance. season of dance, theater, music and performance.

THANK YOU We applaud the following partners for their support of the Robert and Judi Newman Center for the Performing Arts at the University of Denver. Because of their generosity, Newman Center Presents can introduce dancers, musicians, actors, singers, composers, and story tellers to the University community and to our fellow citizens throughout Denver and Colorado.

If you are interested in becoming a Newman Center Presents sponsor, please contact Natalie Raborn, Marketing Director, at Natalie.Raborn@du.edu or 303.871.4154.

FOUNDING PARTNER

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2014-2015 Newman Center Presents

First Night: Masquerade!

October 11

To Jack, with Love February 15

Merry Band of Brass in Sherwood Forest November 15

Celtic Fantasy March 13, 14 & 15 All New Free Public Concert!

How the Brass Saved Christmas December 20 & 21

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Colorado Remembers at the Colorado Freedom Memorial May 23

303-871-7720 newmantix.com

2014-2015 Season All performances take place in June Swaner Gates Concert Hall at 7:30 p.m. unless otherwise noted, and include a free Behind the Curtain discussion one hour before curtain with guest lecturers. Check www.newmancenterpresents.com for additional details. Artists and programs are subject to change.

Chris Thile & Edgar Meyer Tues, Sep 23, 2014 / 7:30 p.m.

Following his stunning, sold-out concert for Newman Center Presents last season, mandolinist extraordinaire Chris Thile returns to open our season, this time with legendary American bassist and composer Edgar Meyer. Thanks to his unparalleled instrumental technique and his gift for composition, Edgar’s work is appreciated by a vast and varied audience.

Each of these unique musicians is the recipient of a MacArthur Foundation “Genius” award, and each has collaborated with leading musicians of many genres, from Yo-Yo Ma, Emmanuel Ax, and Joshua Bell to Béla Fleck, Mark O’Connor, and Zakir Hussain.

Presenting Sponsor – Creative Instinct Hot Sardines Speakeasy Nights Fri, Oct 10, 2014 / 7:30 p.m.

Take a blustery brass lineup, lay it over a rhythm section led by a stride piano virtuoso, and tie the whole thing together with a magnetic, one-of-the-boys frontwoman whose voice recalls another era, and you have the Hot Sardines. This NYC outfit (with a tap dancer) has been called “consistently electrifying” (Popmatters). The Sardine sound—wartime Paris via New Orleans, or the other way around—is steeped in the kind of music Louis Armstrong, Django Reinhardt, and Fats Waller used to make: straightup, foot-stomping jazz. Pianist-bandleader Evan “Bibs” Palazzo and Paris-born singer Miz Elizabeth (who owe their collaboration to meeting via Craigslist) describe their

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2014-2015 Newman Center Presents

band as “born in the 1920s, but raised in the ’00s,” reflecting a philosophy that Hot Jazz, Dixieland, and Tin Pan Alley tunes are all pop music, not historical artifacts to be handled with kid gloves.

Sponsored by Newman Center Members Capitol Steps Fri, Oct 17, 2014 / 7:30 p.m.

The Capitol Steps began in 1981 as a group of U.S. Senate staffers who set out to satirize the very people who employed them. In the years that followed, having bit the hands that fed them, many of the Steps also ignored the conventional wisdom not to quit their day jobs. The ensemble now tours the U.S., delivering heaping portions of much-needed good humor to the long-suffering American public as the best antidote to politics. They have recorded over 30 albums, given many thousands of shows, and they’re funny— very funny!

Founding Partner –The Denver Post MUMMENSCHANZ Sat, Nov 8, 2014 / 7:30 p.m.

Sun, Nov 9, 2014 / 2:00 p.m.

MUMMENSCHANZ is a legendary Swiss silent mask theater troupe that performs in a magical, surreal style.

Founded in 1972, the group became popular for its play with bizarre masks and forms, light and shadow. Their weird, timeless creatures join other incredible, colorful, enchanting forms. In 1973, MUMMENSCHANZ toured the USA, Canada, and South America and later enjoyed a three-year run on Broadway.

They appeared as special guest stars in the first season of The Muppet Show in 1976.

They also appeared on the award-winning TV show Northern Exposure in the 1990s.

In 2012, they toured the world with a 40th anniversary show. If you like MOMIX and Pilobolus, you will enjoy MUMMENSCHANZ! This is a great experience for the whole family!

Presenting Sponsor – VAL-U-ADS® – Nov 8 Sponsored by Newman Center Members – Nov 9 Pinchas Zukerman, soloist and conductor with the Colorado Symphony Sun, Nov 16, 2014 / 2:00 p.m.

Violist and violinist Pinchas Zukerman has been a phenomenon in the world of music for over four decades and is highly regarded as both a conductor and an instrumentalist. Newman Center Presents is proud to present the best orchestra in our region, the Colorado Symphony, in the region’s best acoustical venue. Come experience classical music as it is meant to be heard.

Sponsored by Newman Center Members Beijing Dance/LDTX Tues, Nov 18, 2014 / 7:30 p.m.

Established in 2005, Beijing Dance/LDTX is China’s first independent, professional, contemporary dance company, beholden in no way to the government. LDTX translates literally as Thunder Rumbles Under Heaven. Artistic Director Willy Tsao, China’s foremost figure in modern dance, and Deputy Artistic Director Li Hanzhong hold true to the

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2014-2015 Season company’s origins, bringing to the stage a diverse repertoire, giving young Chinese artists a place to express themselves freely, and highlighting the works of Chinese choreographers.

This technically exquisite and thoughtprovoking company tours throughout Asia, Australia, Europe, and North America.

It also hosts the annual Beijing Dance Festival, bringing the rest of the world’s most innovative work to the nation’s capital.

With performances, educational programs, commercial engagements, classes, and outreach activities, Beijing Dance/LDTX serves as an important voice in the evolution of contemporary Chinese dance.

This project received support from Colorado Creative Industries; WESTAF, the Western State Arts Federation; and the National Endowment for the Arts.

The King’s Singers Wed, Dec 10, 2014 / 7:30 p.m.

The King referred to was Henry IV, founder of King’s College, Cambridge (1441), where the original King’s Singers was founded in 1968.

This legendary ensemble has over 150 recordings and 200 commissioned works to its credit, ranging from Renaissance scores to transcriptions of tunes by The Beatles. With another 120 international performances on its schedule each year, The King’s Singers is one of the most famous vocal groups in the world. Come celebrate the holidays with this peerless ensemble.

Sponsored by Newman Center Members

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2014-2015 Newman Center Presents

Renaud Garcia-Fons Quartet La Línea del Sur Sat, Jan 10, 2015 / 7:30 p.m.

From the moment Renaud Garcia-Fons first held a double bass at age sixteen in Paris, the future of the instrument was destined for change.

In a flash of insight, he saw possibilities to use the bass to explore all the music that interested him—classical, jazz, Persian, Indian, Mediterranean, South American, and other forms from the world over. He added a fifth string to the high register and innovated bowing and pizzicato techniques. The result is an utterly new sound—an amalgam of double bass, cello, violin, guitar, lute, oud, and more—that exceeds any conventional idea of playing the double bass.

La Línea del Sur features a quartet made up of Renaud on double bass, Flamenco guitarist Kiko Ruiz, accordionist David Venitucci, and percussionist Pascal Rollando.

Sponsored by Newman Center Members Bill T. Jones/Arnie Zane Dance Company Play and Play – An Evening of Movement and Music Sat, Jan 24, 2015 / 7:30 p.m.

Sun, Jan 25, 2015 / 2:00 p.m.

Play and Play showcases Bill T. Jones’ brilliantly i n v e n t i v e choreography set to some of the most enduring music of the ages, including works by Mendelssohn and Mozart. The distinguished director and choreographer has shaped the evolution of contemporary dance over the past three

decades, garnering MacArthur Foundation “Genius,” Obie, and Tony awards, as well as Kennedy Center Honors and a 2014 National Medal of Arts. The evening’s program includes D-Man in the Waters (1989), a joyful tour de force and genuine classic of modern dance. All of the music will be performed live by students of the Lamont School of Music.

[Program includes nudity.]

This project received support from The Antonia and Vladimir Kulaev Cultural Heritage Fund, Inc. Medeski Martin & Wood + Alarm Will Sound Thu, Feb 5, 2015 / 7:30 p.m.

Alarm Will Sound returns to Newman Center Presents after its provocative multimedia show, 1969, a few years ago. AWS is one of the most creative alternative classical musical ensembles working today. Just beyond the cutting edge, this 20-member group consists of young, unstuffy musicians presenting virtuosic new compositions. Medeski Martin & Wood has been an experimental jazz and jam-band trio since 1992. This improvisation-driven group, led by keyboardist John Medeski, offers a unique, groove-oriented mix drawing from jazz, African music, funk, and hiphop. Both AWS and MMW have performed throughout the world, from Carnegie Hall to the Biennale in Frankfurt, from Lincoln Center to the Montreux Jazz Festival.

This performance marks the premiere of all new works created jointly by the two ensembles for performance at the Newman Center and at the University of Colorado.

Sponsored by Newman Center Members

Aspen Santa Fe Ballet Sat, Feb 21, 2015 / 7:30 p.m.

Sun, Feb 22, 2015 / 2:00 p.m.

Aspen Santa Fe Ballet’s bold vision—top global choreographers, distinctive groundbreaking works, and virtuoso dancers—has fostered a jewel of a dance company in the American West.

For 17 years, ASFB has served as a prestigious arts incubator and a showcase for choreographic invention, to both popular and critical acclaim. ASFB’s repertoire resonates with eclecticism and energy. The company exudes a European classical aesthetic charged with American athletic vigor. Since 1996, ASFB has commissioned over 27 new works. Among their many choreographer-collaborators are Jorma Elo, Nicolo Fonte, Trey McIntyre, Moses Pendleton, Dwight Rhoden, and Cayetano Soto.

Sponsored by Newman Center Members Roomful of Teeth with the Colorado Symphony Fri, Mar 6, 2015 / 7:30 p.m.

Founded in 2009, Roomful of Teeth is a vocal project dedicated to mining the expressive potential of the human voice. Through study with masters from non-classical traditions the world over, the eight-voice ensemble continually expands its singing techniques and, through an ongoing commissioning project, invites today’s brightest composers to create a repertoire without borders.

Their debut album was released in 2012.

The New York Times called it “sensually stunning.” It was included on many Best of 2012 lists, topping the classical charts on iTunes and Amazon, even breaking into the top 10 on the Billboard charts.

NPR called the album “fiercely beautiful and bravely, utterly exposed.” The album

won a Grammy for Best Chamber Music/ Small Ensemble Performance. In April 2013, ensemble member Caroline Shaw received the Pulitzer Prize in Music for “Partita,” one of the works on the debut album. An iTunes exclusive EP of “Partita” was subsequently released and ranked number one on iTunes Classical charts.

ROT will be joined by a string ensemble from the Colorado Symphony.

This project received support from The Antonia and Vladimir Kulaev Cultural Heritage Fund, Inc. Donal Fox Inventions Trio: Scarlatti Jazz Suite Project Thu, Apr 2, 2015 / 7:30 p.m.

Declared “one of the most successful classical/jazz unions in recent memory”

by All About Jazz, Donal Fox and the Scarlatti Jazz Suite Project will bring an electric energy to June Swaner Gates Concert Hall. Fox plays with an improviser’s spirit of adventure, whether playing stride piano on Baroque repertoire or blending the harmonic language of the New Viennese School with bebop. Be prepared to be wowed as he de- and reconstructs Bach, Piazzola and Schumann, adding propulsive grooves and using composed themes as springboards for glorious improvisational flights. Fox has earned a reputation for fluency across the genres which has led to collaborations with jazz artists such as David Murray, John Stubblefield, and Oliver Lake, as well as the Richmond Symphony, American Composers Orchestra, and the St. Louis Symphony. With his wide-ranging tastes and virtuosity, you can also expect music from Monk, Coltrane, and Ornette Coleman to round out the evening.

Supported by The Porter Adventist Hospital Endowment for the Performing Arts

it gets better Speak Theater Arts / Gay Men’s Chorus of LA / It Gets Better Project Fri, Apr 24, 2015 / 7:30 p.m. it gets better provides a performing arts response to the difficult issue of bullying, one of the most challenging issues among today’s young adults and adolescents. Written and directed by Speak Theater Arts’ Liesel Reinhart, whose company lives by the mantra “don’t be boring!,” it gets better is infused with the dynamic musical energy of the Gay Men’s Chorus of Los Angeles and the internationally recognized It Gets Better Project.

In the course of a single week, six members of the Gay Men’s Chorus of LA will work closely with students and schools in a series of workshops, rehearsals, and community dialogue. The week will culminate in a performance of the show in the Newman Center and is intended to heighten awareness of bullying and its damaging effects on any community. The show features a local chorus and local guests and will include video and text projections from the archives of the It Gets Better Project.

This project received support from Colorado Creative Industries; WESTAF, the Western State Arts Federation; and the National Endowment for the Arts.

Diavolo Sat, May 9, 2015 / 7:30 p.m.

Sun, May 10, 2015 / 2:00 p.m.

Diavolo, returning to Newman Center Presents after two spectacular performances several years ago, uses abstract and recognized structures on stage to explore the relationship between our built environment and the fragile human 2014-2015 Newman Center Presents

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BOX OFFICE INFORMATION

2014-2015 Season body. Diavolo calls itself “architecture in motion” and fuses many different movement vocabularies—from everyday pedestrian movement to ballet, contemporary dance, acrobatics, gymnastics, martial arts, and hip-hop.

According to Artistic Director Jacques Heim, “What we do on stage is like a live abstract painting. There is no narrative, but strong themes pervade the work such as human struggle, fear, danger, survival, chaos, order, deconstruction, reconstruction, destiny, destination, faith, and love.”

Diavolo’s performances will include Fluid Infinities, a stunning work set to the music of Philip Glass, commissioned by the LA Philharmonic and premiered in The Hollywood Bowl.

Sponsored by Newman Center Members

DID YOU KNOW?!

There are about 500 events in the Newman Center every year, which means that the Newman Center has hosted almost 5,500 events in 11 years!

Of those 500 events per year, about 350 are through the Lamont School of Music, about 100 are community rentals, about 25 are Newman Center Presents, and about 25 are by the Department of Theatre.

Nearly 150,000 people attend events at the Newman Center every season!!!

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2014-2015 Newman Center Presents

M Allan Frank Family Box Office 2344 E. Iliff Ave., Denver, CO 80208 Hours: Mon–Fri, 10 a.m.–4 p.m.Sat, 12 p.m.–4 p.m. (Sep–May) Phone: 303.871.7720 Email: newmanboxoffice@du.edu Website: www.newmancenterpresents.com Tickets can be purchased in person at the Newman Center Box Office, by phone at 303.871.7720 during the hours listed above, or online anytime at www.NewmanTix.com. Service charges may apply for tickets purchased by phone or online.

Discounts are available for students, seniors, and DU faculty and staff. For more information, or to request accommodations for a disability, call 303.871.7720.

Group discount tickets are available for groups of eight or more to most NCP events.

For information, contact Molly Epstein at molly@mepstein.net or 303.619.6196.

To view a listing of our previous 11 seasons, please visit www.newmancenterpresents.com and select Archive.

COMMISSIONED WORKS The Newman Center is committed to bringing new works of music and dance to life. We are excited to have commissioned or co-commissioned the following works: Co-commissioner, “Kites Over Havana,”

by Paquito D’Rivera, performed by the composer with Imani Winds Commissioner, “WE MARCH,” Concerto for Guitar and String Orchestra, by Daniel Bernard Roumain, performed by Eliot Fisk, guitar, and the Stuttgart Chamber Orchestra

Co-commissioner, “Foreign Bodies,” by Diavolo Dance Theater, commissioned by the Los Angeles Philharmonic Orchestra, Esa Pekka Salonen, Music Director, and cocommissioned by the Carpenter Performing Arts Center, Cal State Long Beach Co-commissioner, “Reign Forest,” by Robert Moses, co-commissioned by EcoArts Connections and Lincoln Center Fort Collins, performed by Robert Moses’ Kin Dance Company Co-commissioner, “Provenance,” by Maya Beiser with composers from Israel, Palestine, Algeria, Morocco, Iran and the US, co-commissioned by The Carnegie Hall Corporation, The International Festival of Arts and Ideas, The Jerome Foundation, The Kathy Abelson Foundation, Ronald P. Stanton, NYFA, and NYSCA. Performed

by Maya Beiser, cello, Jamey Haddad, percussion, Shane Shanahan, percussion, Bassam Saba, oud, and Shahrokh Yadegari, live electronics Co-commissioner, “Bolero Colorado,” by Larry Keigwin, co-commissioned by EcoArts Connections and the Denver School of the Arts, performed by Keigwin + Company and Denver community performers Co-commissioner, “Imaginary City,” by So Percussion, co-commissioned by Myrna Loy Center/Helena Presents, Flynn Center for the Performing Arts, The Cleveland Museum of Art, DiverseWorks, and National Performance Network Commissioner, “NO one To kNOW one,” by Andy Akiho, performed by the composer and The Playground Ensemble during the Newman Center Presents’ Mile High Voltage Festival Co-commissioner, “the wood & the vine,” by David Lang, co-commissioned by University of California, Riverside and Santa Fe Concert Association

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2014-2015 Newman Center Presents

Co-Commissioner, “Lifeboat No. 6,” by Payton MacDonald, performed by the composer, JACK Quartet and co-commissioned by Denver Friends of Chamber Music, Historic Denver, Inc., and the Molly Brown House Museum Young Voices of Colorado Co-commissioner, “From Darkness to Light,” music by Ofer Ben-Amots, choreography by Garrett Ammon, co-commissioned by Ballet Nouveau Colorado, Central City Opera, Colorado Symphony Orchestra, Robert E. Loup Jewish Community Center, Mizel Arts and Culture Center, and performed as part of A Journey of the Human Spirit Commissioner, solo, acoustical guitar version of Derek Bermel original work “Ritornello” performed by guitarist Mak Grgić

BEHIND THE CURTAIN The Newman Center hand-selects each and every Presents performance, bringing to Denver entertaining, intriguing, and thought-provoking dancers, actors, and musicians. We invite you to join us for free Behind the Curtain discussions where artists, members of the ensembles, or experts in the field discuss anything from that evening’s program to the history and influences of the genre to key moments to watch and listen for during the performance.

Talks are free, take place in June Swaner Gates Concert Hall, are open to the public, and start one hour before curtain. Tickets are not required for these pre-performance talks and no RSVP is necessary.

Please check the Newman Center event calendar for updates to Behind the Curtain and upcoming speaker announcements. (Speakers are subject to change.)

THE LAMONT SCHOOL OF MUSIC & DEPARTMENT OF THEATRE The University of Denver’s Lamont School of Music presents more than 300 concerts

a year, many of them free. Complimentary performances include concerts by the symphony orchestra, choirs, wind ensemble, soloists, jazz ensembles, and steel drum ensemble. Some of these concerts require free tickets are available in person only at the Newman Center Box Office. Tickets may be reserved online for a small service charge at www.newmantix.com. Again this season, $5 reserved seats in the Parterre section may be purchased for Lamont Symphony Orchestra concerts.

In addition to free concerts, faculty recitals and guest artist performances are presented with a $10 ticket price. DU students, Pioneer Card holders, and other students with valid ID are complimentary.

Fall and Spring Lamont Operas and Musicals, South Pacific and The Merry Wives of Windsor, are reserved seating ranging from $11 to $30.

Summer and holiday carillon concerts are presented on the Ritchie Center lawn by artists from around the nation.

For information, visit www.du.edu/lamont or call the Concert Line at 303.871.6412.

Follow us on Facebook, Twitter, and YouTube.

DU’s Department of Theatre offers students the ability to take part in numerous productions throughout the academic year, including a full slate of student-created productions, all of which are open to the public.

For the 2014-15 season, the Department of Theatre will present: • A staged reading of Cleansed (Sep 2014, Byron Theatre) • Fall Quarter’s main stage productions of The Nina Variations by Steven Dietz (Oct 2014, White Box Theatre at J-MAC) and Seagull by Anton Chekhov (Oct and Nov 2014, Byron Theatre) • A staged reading of Rapture, Blister, Burn (Jan 2015, Byron Theatre)

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DEPARTMENT OF THEATRE (continued)

• Winter Quarter’s main stage productions of An Evening of One Acts: Beth, Lobster Boy, and The Dumb Waiter by various authors (Feb 2015, Black Box Theatre at J-MAC) and Stage Door by Edna Ferber and George S. Kaufman (Feb & Mar 2015, Byron Theatre) WASH PARK GRILLE

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• A staged reading of God of Carnage (Apr 2015, Byron Theatre) • Spring Capstone Cycle—Cycles 1 and 2: Senior Capstone Productions (Apr & May 2015, Byron Theatre • Independent Student Productions throughout the year Call 303.871.2518 or visit www.du.edu/theatre for information about all Department of Theatre events.

Tickets for Lamont and Theatre productions can be purchased at the Newman Center Box Office, Mon–Fri, 10 a.m.–4 p.m., and Sat, 12 p.m.– 4 p.m. (Sep–May), by phone at 303.871.7720, or online at www.newmantix.com. (Phone and online orders are subject to service fees.)

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2014-2015 Newman Center Presents

DU ENRICHMENT PROGRAM (continued)

are the ingredients that make the Enrichment Program so popular. The Newman Center proudly partners with the Enrichment Program to bring you innovative courses like you’ve never experienced before. Meet with DU’s expert faculty, gather with likeminded adults to embark on a unique and meaningful journey, and connect with Denver’s rich cultural community. Check program inserts for upcoming Newman Center related classes. Fall 2014 registration is available now for classes held September through early December, and Winter/Spring 2015 offerings, held mid-January through mid-May, will be announced in early December. To view and register for courses across a wide range of subjects, please call 303.871.2291 or visit www.universitycollege.du.edu/enrichment.

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The University serves the cultural community in many ways. One of those ways is by making rehearsal and performance venues in the Newman Center available for rent by community groups at rates which are subsidized by the University. About 100 performances in the Newman Center each year are produced by beloved local non-profit organizations. While universities may not themselves be recipients of funds from the Scientific and Cultural Facilities District (SCFD), most of the Newman Center’s rental clients do receive annual support from the SCFD.

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These avid philanthropists and winners of the 2014 Colorado Business Committee for the Arts’ John Madden Jr. Leadership Award smile when they remember becoming involved in the campaign to create an outstanding center for the performing arts at the University of Denver. Daniel L. Ritchie, then chancellor, invited Judi to head the effort when the Center was only a dream. Later, the Center was named in the couple’s honor.

The couple’s passion for performing arts and education harmoniously intersected with the Newman Center, which is home to exceptional performance venues and DU’s Lamont School of Music and Department of Theatre. “Dan Ritchie has often said that love is the principal ingredient in any successful building,” says Judi. “The Newman Center, as well as the University’s many other new buildings, show just how true that is.” The Newmans appreciate the masterful collaboration between Ritchie and DU Architect Emeritus Cabell Childress, and the expertise of Joseph Docksey, then director of the Lamont School, and William Temple Davis, then chairman of DU’s Department of Theatre. They delight in the superb array of Newman Center Presents’ programs presented

by Executive Director Stephen Seifert.

Prominent in Denver’s cultural community, the Newmans serve on many boards. Among those, Bob is a member of the University’s Board of Trustees. He also is a member of the Executive Advisory Board of the Daniels College of Business at DU. Judi sits on the Visiting Committee for the Frost School of Music, the Academic Affairs Committee, and the Board of Trustees of the University of Miami. “Each year brings more recognition to this venue and its world-class programs,” says Bob. “Judi and I are delighted to be part of the University of Denver community.”

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Medeski Martin & Wood + Alarm Will Sound February 5, 2015

There will be a 20-minute intermission this evening.

No portion of this performance may be photographed, recorded, filmed, or videotaped.

Sponsor Newman Center Members

Educational residency work and master classes are sponsored in part by The Newman Center Endowed Fund for Experiential and Cultural Learning.

This programming is sponsored in part by The Porter Adventist Hospital Endowment for the Performing Arts.

Medeski Martin & Wood + Alarm Will Sound

1

TONIGHT’S PROGRAM Payton MacDonald, Kid Tau Mammal Miles Brown, Northern Lights John Medeski, The Eye of Ra Billy Martin arr. Jason Price, Coral Sea John Medeski, Billy Martin, Chris Wood, and John King arr. Courtney Orlando, Anonymous Skulls John Medeski, Billy Martin, Chris Wood, and John King arr. Stefan Freund, End of the World Party * Program subject to change.

ACKNOWLEDGEMENTS Tonight’s program is part of Alarm System, a program that expands the circle of musical artists creating great music for Alarm Will Sound. Lead support for Alarm System is provided by The Andrew

W. Mellon Foundation with additional support from The Paul R. Judy Center for Applied Research.

PROGRAM NOTES Kid Tau Mammal I composed Kid Tao Mammal (unworldliness weirdo) for Alarm Will Sound and Medeski Martin & Wood. Herman Melville conceived of the fictitious character Kid Tao, and fan writers of Philip K. Dick alternate universes subsequently adapted him for their own purposes.

His exploits typically involve Dodge Challengers, hard-core acid use, bivy sacks, and liberal shampoo applications with Alterna Ten, all of which he funds by selling shares of his Google stock. Kid Tao’s YouTube videos include music by Eminem, Jules Massenet, Earl Scruggs, and the jazz trio Medeski Martin & Wood, typically arranged by the talented members of Alarm Will Sound.

—Payton MacDonald, 2014 Northern Lights As this project was developing, I began writing for my own jazz quintet based in the Metro-Detroit area. During a period of inspiration two years ago, I composed a melody that turned into a really fun vehicle for improvisation for the band. It had a haunting quality, but was open enough to encourage experimentation and energetic drive. I thought this would be the perfect tune to arrange for the two groups.This tune, which I entitled Northern Lights, has a cyclic form consisting of a series of dominant chords set under the winding melody. The name is inspired by the atmospheric effects created at the northern latitudes, but also draws inspiration from the Detroit bar where I played bass with a jazz trio every Wednesday for the last three years. The pianist and drummer in the trio are also in my current group, and the tune became my dedication to them and the music we have made to date. To me, the connection between my role as a bassist in a keyboard trio (like MMW) and my role as a bassist in Alarm Will Sound made the decision to arrange this tune obvious, as I draw upon each aesthetic throughout

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Medeski Martin & Wood + Alarm Will Sound

the piece. Given this unique opportunity, I was really anxious to write music that would feature both aspects of my personality and highlight the strengths of the members of both groups.

—Miles Brown The Eye of Ra According to the ancient Egyptians, the Eye of Ra is considered to be the female counterpart to the Sun God, Ra, and is simultaneously his daughter, consort, and mother. The all-seeing Eye of the life giving force of the Sun is the one that’s tears gave rise to humankind. She is herself the potential of life through love, the red light that appears before the dawn, the morning star. The Eye of Ra also represents the destructive forces of Ra’s power, a fierce and violent defender against chaos.

Music is a plane of wisdom; because music is a universal language, it is a language of honor, it is a noble precept, a gift of the Airy Kingdom, music is air, a universal existence . . . common to all the living. Music is existence, the key to the universal language. Because it is the universal language.

—Sun Ra Coral Sea Like most of my work, Coral Sea is an experiment. Hey! I’m an experimental artist! Most often, I do not have anything in particular in mind when I compose unless I am asked to compose for a film. This may sound cliché: I let the music flow through me. This piece flowed through me in two parts. In my little backyard studio in New Jersey, I was playing around, improvising on the piano . . . I decided to record what was happening in that moment. It was a “garden” of sound, color, and phrases that was pleasing to me. When I listened to that first piano

PROGRAM NOTES (continued)

Much later, when we (Medeski Martin & Wood) were asked to contribute compositions for this particular concert, I figured now was the time to get this piano recording arranged for Alarm Will Sound.

What is turning out to sound very different from my original recording certainly does represent the spirit of my expression through tonality, melodic phrasing, and spirit. It is impressionistic. I am excited, once again, to experiment using this clever arrangement by Jason Price. The musicians on stage tonight will—more often than not—interpret the given notes and tonalities in this arrangement. With the freedom to echo and resonate the various given notes played by the lead voices (marimba, keyboard, piano), the orchestra will always be in flux, like the ebb and flow of the sea. We will also incorporate Stridulations, my rhythmic-game piece. This “flurry” of cricket inspired phrases will add another dimension for this world premier.

Anonymous Skulls & End of the World Party The title Anonymous Skulls is borrowed from a Paul Auster book, City of Glass. A majority of Medeski Martin & Wood (MMW) joint compositions were often conjured up at rehearsal sessions or in a recording studio. In this case, MMW spent the first week of September 2003 at “Shacklyn” (the bands Brooklyn rehearsal/recording space) with producer John King (Beastie Boys: Pauls Boutique, Beck, The Dust brothers). John [King] painstakingly recorded every possible groove and improvisation the band had in them at the time. After a full seven days (on the eighth day Billy’s second son, Sawyer, was born), the producer assembled and shuffled the recorded parts into various forms, asking MMW to add anything else that it needed, and the record was mixed and sent off to become End Of The World Party (Just in Case). This composing process was more in the spirit of how hip-hop tracks were constructed— something Billy, John, and Chris admired back then. This surprising new arrangement by Courtney Orlando sometimes features Alarm Will Sound vocals emanating from the orchestra, a “reproduction” of Medeski’s Mellotron keyboard part from the original recording (in fact, the first keyboard emulator! woah).

I chose Coral Sea as a title to reflect (no pun intended!) my love for the sea and the life it encompasses. I particularly remember the first time I went snorkeling with my father in a cove and coral reef in Bermuda around 1972. The variety of color and patterns seemed endless! It was a very profound experience. Imagine a boy who grew up in an apartment building in New York City who had never been to a “tropical” location now swimming over and through a forest of living color.

—Billy Martin aka illy B

We can say the same about the composing process for End of the World Party. That title comes from our early days when MMW spent self-imposed residencies on the Big Island of Hawaii. MMW spent weeks and sometimes months at a time in a shack in the jungle isolation where they would throw a farewell End of the World Party (just in case) which was dubbed by the bands dear friend, a treehouse dweller, philosopher, drummer, farmer—the “Shack-man” himself : Carl Green. Aloha nui nui!

track, I recorded again—a counterpart on piano. A sort-of conversation with myself. A duo. “How did I do that?! Don’t ask. Just get someone to transcribe it! Good Luck.” You can hear the original duo piano recording on Wandering Music (AmuletRecords.com).

ABOUT ALARM WILL SOUND

Alarm Will Sound is a 20-member band committed to innovative performances and recordings of today’s music. They have established a reputation for performing demanding music with energetic skill.

Their performances have been described as “equal parts exuberance, nonchalance, and virtuosity” by the Financial Times of London and as “a triumph of ensemble playing” by the San Francisco Chronicle. The New York Times says that Alarm Will Sound is “one of the most vital and original ensembles on the American music scene.”

The versatility of Alarm Will Sound allows it to take on music from a wide variety of styles. Its repertoire ranges from European to American works, from the arch-modernist to the pop-influenced. Alarm Will Sound has been associated since its inception with composers at the forefront of contemporary music, premiering pieces by John Adams, Steve Reich, David Lang, Michael Gordon, Sir Harrison Birtwistle, Aaron Jay Kernis, Augusta Read Thomas, Derek Bermel, Benedict Mason, and Wolfgang Rihm, among others. The group itself includes many composer-performers, which allows for an unusual degree of insight into the creation and performance of new work.

Alarm Will Sound is the resident ensemble at the Mizzou International Composers Festival. Held each July at the University of Missouri in Columbia, the festival features eight world premieres by emerging composers. During the weeklong festival, these composers work closely with Alarm Will Sound and two established guest composers to perform and record their new work.

Medeski Martin & Wood + Alarm Will Sound 3

ABOUT ALARM WILL SOUND (continued) Alarm Will Sound may be heard on eight recordings. Radio Rewrite, their release on Nonesuch, is the world-premiere recording of Steve Reich’s newest work for large ensemble, based on the music of Radiohead. Their genre-bending, critically acclaimed Acoustica features live-performance arrangements of music by electronica guru Aphex Twin. This unique project taps the diverse talents within the group, from the many composers who made arrangements of the original tracks, to the experimental approaches developed by the performers.

Alarm Will Sound was Artist-in-Residence at the Metropolitan Museum of Art in 2013-14.

In 2010, the group developed and performed the Dirty Projectors’ The Getty Address in its new identity as a live performance piece at the Lincoln Center, Disney Hall, and the Barbican. Music that Dirty Projectors front-man David Longstreth created on a computer by meticulous and complicated sampling, looping, and layering is translated and arranged by Matt Marks, Alan Pierson, and Chris Thompson for 23 musicians of both bands.

In 2011, after three years of development, Alarm Will Sound presented 1969, a multimedia work using music, action, image, and text to tell a story about great musicians—John Lennon, Karlheinz Stockhausen, Luciano Berio, and Leonard Bernstein—and their responses to the social, political, and creative tumult of the late 1960s.

Members of the ensemble began playing together while studying at the Eastman School of Music in Rochester, New York. With diverse

experience in composition, improvisation, jazz and popular styles, early music, and world music, they bring intelligence and a sense of adventure to all their performances.

For more information and to join the mailing list, visit Alarm Will Sound’s website at www.alarmwillsound.com.

ALARM WILL SOUND Erin Lesser, flutes Christa Robinson, oboe Hideaki Aomori, clarinet Elisabeth Stimpert, clarinets Michael Harley, bassoon Matt Marks, horn Jason Price, trumpet Michael Clayville, trombone John Orfe, piano Chris Thompson, percussion Matt Smallcomb, percussion Courtney Orlando, violin Caleb Burhans, violin Isabel Hagen, viola Stefan Freund, cello Miles Brown, bass Alan Pierson, Artistic Director Gavin Chuck, Managing Director Jason Varvaro, Production Manager Peter Ferry, Production Assistant

ABOUT MEDESKI MARTIN & WOOD Wide open: That’s the phrase John Medeski uses to describe his bandmates’ musical sensibilities, the attitude he seeks in himself, and the spirit of musical adventure that Medeski Martin & Wood have pursued for two decades.

The trio’s amalgam of jazz, funk, “avant-noise,” and a million other musical currents and impulses is nearly impossible to classify, which is just how they like it. Medeski’s keyboard excursions, Chris Wood’s hard-charging bass lines, and Billy Martin’s supple, danceable beats

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Medeski Martin & Wood + Alarm Will Sound

have come to resemble a single organism, moving gracefully between genre-defying compositions and expansive improvisation atop a relentless groove.

Floridian Medeski had his first out-of-body experience playing a Mozart piano sonata as an adolescent. He soon began playing at every opportunity—from school musicals and talent shows to marching band, in which he served as a percussionist—and had his mind blown by an Oscar Peterson record. As a teen, he formed his own jazzfusion trio and was invited to tour Japan by legendary bassist Jaco Pastorius. He made his way to the New England Conservatory of Music (NEC) and entered its boundary-pushing Third Stream department, which nurtured his improvisational impulses and encouraged him to find his own musical voice. He worked as a sideman in Boston and rediscovered roots music playing seven nights a week Mr. Jelly Belly.

ABOUT MEDESKI MARTIN & WOOD (continued) California-born, Colorado-bred Wood, meanwhile, learned folk and blues songs at the feet of his musician/biologist dad and poet mom, swooned at the fearless innovations of Mingus and Monk, attended NEC, and eventually studied with Geri Allen, Dave Holland, and other luminaries. His apprenticeship with these powerful music figures was, he admits, a humbling one. “Sometimes my lesson would consist of me improvising for an hour with Geri watching,” he relates. “It was terrifying, because it exposed every weakness. But the more you accept who you are, the more free you are to express that. Your bag of tricks as a player becomes a doorway to infinite possibilities.”

Martin, who’d grown up in New York and New Jersey, imbibed a range of musical currents from his classical violinist father and Radio City Rockette mother, but it was his older brothers who first exposed him to rock and soul. He fell in love with Hendrix, James Brown, Sly Stone, Zappa, and KISS and began bashing his uncle’s kit; soon he was in the jazz band at school, then at the preparatory division of the Manhattan School of Music. As a musical omnivore in New York City, he studied with assorted greats, mastered an array of percussion instruments, formed the samba band Batucada, and played with everyone from jazz-pop superstar Chuck Mangione to Bill Frisell to New York’s avant-garde heroes the Lounge Lizards.

and hybrid forms, this loose-knit community inspired them. “Everybody was reaching for something new, drawing from every genre, looking for new sounds,” says Wood. “It was a high-risk situation; not everything worked. But when it did, it was beautiful.”

They also played a series of week-long engagements at the Village Gate with assorted drummers. While these gigs were rewarding, they still fell squarely within the parameters of “jazz”—until they played with Billy Martin, about whom Moses had often raved. Medeski had jammed with the drummer before, finding his very un-jazzlike use of funk, hip-hop, and Brazilian and African grooves bracing and—you guessed it—“wide open.” “I’d also seen him play live with his band Illy B,” he recalls. “He was really creative and he got all the girls dancing.

I thought, ‘This guy’s got something.’”

Adds Wood, “Billy didn’t play jazz, but he improvised like a jazz player.

It shifted things for me—he wouldn’t necessarily start swinging when I played a walking bass line. He brought the eighth-note feel that makes hip-hop and Brazilian beats so compatible with jazz, and he didn’t play like a drum machine; he was always playing interactively.”

“My spirit is all about experimenting,” Martin explains. “If I could just experiment and improvise 24 hours a day, I would be happy.”

What the three had in common before their band was a relationship with jazz mentor/drummer Bob Moses, who first brought his conservatory-trained protégés Medeski and Wood together for a session. “John was a madman,” Wood recalls. “He could drive the music, but it wasn’t about the limelight—just raw enthusiasm. He had a freer spirit than you find in most musicians. It was inspiring to be around.”

When the three assembled at Martin’s Brooklyn pad for their first jam session, the chemistry was immediate and undeniable. “Billy started playing a beat. Chris started playing a bass line. I started playing. And it was instant music,” Medeski remembers, noting that his transcription of this, MMW’s first recorded flight, became the track “Uncle Chubb” on their first album. Martin joined them at their subsequent Village Gate sets, and they never looked back.

And Medeski’s first impression of the bassist? “He was a monster, a badass,” the keyboardist marvels. “He was technically so strong, and played with such energy. I felt a kinship with him, rhythmically and energetically. He was young and wide open and could recall anything you taught him—he just has that kind of mind. I thought, ‘This guy’s a good resource.’”

The trio still hadn’t chosen a name when they began booking gigs in jazz clubs; downtown godfather John Lurie gave them a shortlist, from which they selected the mad moniker Coltrane’s Wig. “We pissed off a lot of jazz-club owners with that,” Medeski volunteers, a little sheepishly. “They were like, ‘What is wrong with you?’” The name lasted through exactly one round of home-made press kits (created with the gear in the basement of Martin’s highly supportive dad).

Much regional touring, notably in the southern U.S., followed. 1992 saw them release their debut album, Notes From Underground.

The two soon found themselves in New York, where they shared an apartment; many hours of jamming, animated chatting about music, and poring over the keyboardist’s vast record collection ensued.

The pair had moved to the city with the intention of becoming jazz sidemen, but what they encountered there altered their course. Their passion for jazz was undimmed, but they found the city’s jazz scene stifling—Medeski compares it to the classic zombie flick Night of the Living Dead—and gravitated instead to the freewheeling downtown art-music world. Populated by boundary-pushing creators of all stripes

Though they started out with a more-or-less straightforward pianobass-drums jazz setup, the threesome expanded their sound with unusual configurations. Medeski added electric piano (outfitted with distortion pedals and other effects) and began switching back and forth among Hammond organ, Clavinet, Mellotron, and other keys.

Wood alternated between stand-up and bass guitar, stuck paper behind his strings for a “snare” effect, and occasionally employed a Medeski Martin & Wood + Alarm Will Sound

5

ABOUT MEDESKI MARTIN & WOOD (continued) drumstick as a slide. Martin, who enjoys, in his words, “the whole pots and pans approach,” began keeping an international assortment of percussion instruments in his battery, as well as objects for banging that are not typically considered musical. “You need to be in touch with that feeling you had as a child when you listened to sound,” Medeski insists. “Everything going on around you is music. When you’re in touch with that, you can play from that deep place more easily—you can create music with real freedom and openness.”

Though the “jazz spirit,” as they like to call it, has been ever-present in their sonic voyages, Medeski Martin & Wood have won over a substantial audience that rarely responds to instrumental music, let alone a guitar-less trinity purveying an unholy blend of Jimmy Smith, György Ligeti, and the Art Ensemble of Chicago. In fact, their club and festival appearances are packed with alternative-rock lovers as well as jam-band aficionados and jazz heads. “I blame Billy for that,” Medeski muses, hazarding that the drummer’s body-moving beats tend to disarm even the most pop-minded listeners. “Once they feel the groove he’s playing, I can get in there and infect their minds much more easily—and Chris can lay it down to keep them from losing it.”

The band’s onstage adventurousness sparked an experimental approach to recording as well—as on 1996’s solar-powered ShackMan, recorded in a plywood shack amid the mango trees and plumerias on Hawaii’s big island (and featuring Martin’s artwork on its cover); the funked-out 1998 Blue Note disc Combustication, which enlisted two radically different engineers to create complementary sonic approaches; the acoustic live set Tonic (2000), recorded in New York, and its plugged-in twin, 2001’s Electric Tonic; 2004’s End of the World Party (Just in Case), produced by John King of the Dust Brothers; their two collaborations with guitarist John Scofield, A Go Go (1998) and Out Louder (2006, under the name Medeski Scofield Martin & Wood); the 2008 children’s record Let’s Go Everywhere; and the 2008-09 Radiolarian series, a trilogy of albums generated according to a strict policy of “Write > Tour > Record > Repeat,” as the band noted in an online announcement. They’ve also founded and run their own label, Indirecto.

MMW has also backed up a diverse roster of artists, including punk godfather Iggy Pop (both live and on his album Avenue B), R&B sax giant Maceo Parker, MacArthur Genius Grant recipient John Zorn, and pop singer-songwriter Natalie Merchant.

The band members have also kept things fresh by pursuing scores of other projects. Medeski produced two albums by the Wood Brothers, Chris Wood’s rootsy partnership with his brother, Oliver, as well as work by the Dirty Dozen Brass Band; has played with a dazzling array of artists, including The Word with Robert Randolph, Ray LaMontagne,

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Medeski Martin & Wood + Alarm Will Sound

The Blind Boys of Alabama, John Zorn, Trey Anastasio, Susana Baca, and the rock band Grizzly Adamz; fronted his own band, John Medeski & The Itch; and performed as a solo pianist. He and Martin have also performed and recorded as the duo Mago. Martin, for his part, has recorded several solo discs and an album of breakbeats (under his own name and as Illy B), collaborated with DJ Logic, DJ Spooky, Dave Burrell, and other artists, authored a book, pursued his own visual art, and produced and directed Fly in a Bottle, a feature-length documentary film about the making of the Radiolarian series. The Wood Brothers have released three LPs and an EP of cover songs and toured with the likes of Zac Brown Band, Levon Helm, Bruce Hornsby & The Noisemakers, and k.d, Lang.

The three also conduct a yearly musical retreat, Camp MMW, in the Catskills; with music classes, seminars, films, guest teachers, and jam sessions, the August gathering encourages promising musicians of all stripes to get out of their comfort zones.

Their reflections on having reached the extraordinary milestone of playing together for some 20 years? Medeski replies with a laugh, “We’re in a really good place. We’ve been writing a lot of new music.

We always want to create a certain vibration in the evening—we’re doing something new and feeling the excitement, that’ll do it.”

“I think we’ll be reflecting on the anniversary a lot, pulling out old material and approaching it in new ways,” ventures Wood. “We’re always growing and changing, and the fact that we’re always doing stuff with other people keeps it alive, because we bring fresh energy to the group.”

“Musically, we’re changing all the time,” Martin asserts, adding that the band’s constant improvisation produces moments when “We look at each other like, ‘Oh my God, how in the hell did we just decide to do that?’ We look at each other with our mouths open sometimes, and that’s the beautiful thing about it.”

“This band is each of us expressing who we really are,” summarizes Medeski. “That’s all.”

And so Medeski Martin & Wood enter their third decade together, as wide open as ever.

Medeski, Martin, and Wood Personnel John Medeski, keyboard Billy Martin, drums Chris Wood, bass

THANK YOU The Newman Center would like to thank John Medeski (Medeski Martin & Wood), Alan Pierson (Alarm Will Sound), and moderator Stephen Seifert (Executive Director of the Newman Center) for leading this evening’s Behind the Curtain lecture.

UP NEXT

BEHIND THE CURTAIN

See complete event descriptions on pages 8–12 of the Newman Center Presents program.

Join us before each Newman Center Presents performance for an opportunity to learn more about anything from the evening’s program to the history and influences of the genre to key moments to watch and listen for during the performance. Tickets are not required for these FREE Behind the Curtain talks, and no RSVP is necessary. Talks take place one hour before curtain in June Swaner Gates Concert Hall, entering on Orchestra Level East for seating.

Aspen Santa Fe Ballet Sat, Feb 21, 2015 / 7:30 p.m.

Sun, Feb 22, 2015 / 2:00 p.m.

Roomful of Teeth with the Colorado Symphony Fri, Mar 6, 2015 / 7:30 p.m.

Donal Fox Inventions Trio: Scarlatti Jazz Suite Project Thu, Apr 2, 2015 / 7:30 p.m.

Remember: COMPLIMENTARY parking is available for all Newman Center Presents shows in the Newman Center garage.

The next Behind the Curtain speaker will be: Aspen Santa Fe Ballet Sat, Feb 21, 2015 / 7:30 p.m.

Sun, Feb 22, 2015 / 2:00 p.m.

Jean-Philippe Malaty (Executive Director of Aspen Santa Fe Ballet) and moderator Stephen Seifert (Executive Director of the Newman Center)

FOOD FOR THOUGHT Before each Newman Center Presents performance, starting at 6pm, DU Catering Services offers a selection of tasty snacks for purchase in Joy Burns Plaza. So whether you come before the Behind the Curtain lecture or head into the Plaza afterwards, you can get a quick bite before show time!

GIVE THE GIFT OF THE ARTS—GIFT CERTIFICATES! Gift Certificates in any amount are available at the Newman Center Box Office and are redeemable for the purchase of tickets for any performance of the Newman Center Presents 2013–14 Season. They are perfect for birthdays, anniversaries, and special gifts year round!

The Box Office is open 10 a.m.–4 p.m. Mon–Fri, 12 p.m.–4 p.m. Sat (Sep–May), and one hour before performances.

Medeski Martin & Wood + Alarm Will Sound

7

NEWMAN CENTER MEMBERS & DONORS For information about becoming a Newman Center Member and donor opportunities, please see pages 30–36 of the Newman Center Presents program. Memberships and Donations received July 1, 2013–June 30, 2014 are listed on pages 39–42 of the program.

Newman Center Memberships since July 1, 2014 BENEFACTOR Community First Foundation Beverlee Henry PARTNER Stephen W. Seifert and Davol G. Tedder SPONSOR Gordon Appell Family Charitable Fund Sean and Natalie Raborn – Power Quip SUPPORTER Carolyn A. Agosta and William Rauschert William Rauschert Leslie Smith Beltrami Mary Jo Craige Barbara Jean Hamilton Kathryn Heet Montjoy C. and Frank A. Kugeler Marian D. Lauterbach Newman Center Donors since July 1, 2014 Charmatz Family Antonia & Vladimir Kulaev Cultural Heritage Fund, Inc. Yolanda McAllister Tracy Paige Forest O. Peneton In memory of Fran Seifert Karin Bond

DID YOU KNOW?!

8

Michael E. Leighton – Sage Family Fund W. Peterson Nelson – Nelson Family Foundation Jean and Ed Onderko Richard K. Replin and Elissa Rae Stein Kathryn Spuhler William A. Stolfus and Andrea G. Richardson Adrian Tinsley CONTRIBUTOR Mary Brothers Charlene S. Byers Herschel and Barbara Cravitz Joel S. Cohen and Kathryn L. Oberdorfer Roger L. and Suzanne O. Kinney Mike Moore Jennifer Newman Paula Roney Kathy A. and Donald D. Rosenkrans

In honor of Susanne W. Hamilton, Edith Berline, and Max Wilmersdoerffer Barbara Hamilton and Paul Primus Newman Endowment for Experiential & Cultural Learning In honor of Margot & Allan Frank In honor of Sue Anschutz Rodgers Beverlee Henry

Ruth Elaine Schoening Carolyn Strand Susan Deese Tracy FRIEND Kenneth A. and A. Louise Beard Karin Bond Matt Chalek Russel R. DeWitt Max E. Donaldson Miriam Farrington Andrew Hornbrook Ross and Vicki Kazer Jim LeNoir Isabelle Marques Mark Paller Jenene C. and James J. Stookesberry J. Alton and Dorothy J. Templin

In honor of Robert and Judi Newman Jennifer Newman In honor of Jane Quinette Stephen W. Seifert and Davol G. Tedder In honor of Cynthia Secor Adrian Tinsley

For facts about the Newman Center, please go to www.newmancenterpresents.com/didyouknow.

Medeski Martin & Wood + Alarm Will Sound

Founding Partner

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iva Fest B s t r Ar enve f eek D r C l erry Festiva useum o h C t pera k Arts enver M hills Ar O y lac Cit yD nt oot tral enver B Societ ague F ural Ce n e C e D e lt r Film iends L ood Cu l West Fair seum e s ’ v Improving e n a l r u w M De op es ion bF Lake umenriching ill Pe ver Art mpany e and Nat o Stori s D H s l d a o le if n d m it Co alley Cap Fair De heatre ut for L n Snow e Disab Colora V l i o a d the lives of h s e V O s t e p ra e ic rT Colo o Stat r Cente y Dining azz As ter for l Olymp xperienc Arts Fe u a J d e n a k r those in our lifeE en Ce ee ns ouv bra lora enve peci ild y Cr tival D r et N llet Co tions D ublic Li n Garde Sports ure Scommunity.

W l r l e e a h h T B C P es se l o a rado Opera C Arts F nver Mu il Fair rado B r Attrac Denver h Huds ationa for the o l h o t l C N h a ck te ic ce ty of ut olo De Foot a o C ver Cen lo Class e for Yo Society hts Ra s Taste ntral Ci nver Bla ociety y e a u M g rt Fair Ce m De r Film S ds Leag Cultur Den ver Po A l Hik lerosis de of Li s a g n v n i e n rd mi eople’s De useu Denve b Frien kewood l Weste est iple Sc ara r F e P M o c s f t n y a o t Scie Fine Ar nal Mult Colorad the Per itol Hill P nver Ar Compan ife Dum mass L Nationa ories o L e n o t p r ir D Theatre Out for en Snow isabled rado S o Cap olde m Nati o Opera ter fo ado Ca a F D e r p o r de eu As or the Col Colorad ate Cen au Colo o Stat r Cente ining azz n s D Mus and Ro c denverpostcommunity.com a i f p J u d r e m ry e St w New llet Nouv t Colora ns Denv blic Libra ardens ts Cente cial Olymt Nouvea olorado enve Sho D C a io u pe lle or nG lle air B ado Ba Attract enver P Hudso onal Sp Cure S Fair Ba o Ballet actions er Pu F h i t D r er al he lor th env ad th at 9He ayo Co er Cent Classic for You ciety N ce for t 9Heal o Color nter Att ssic D th Hud n v e la a y u e lo o de M ens Den nver Po ival Hik rosis S ghts R undatio de Ma enver C r Polo C e for Yo ociet i o e S o e k D e t d L l i c Follow us: Facebook.com/dpcommunity Twitter:@dpcommunity v Gar ence D rts Fes iple Sc ade of Valley F ival Cin rdens ce Den tival H lerosis e of L i r t l a s c l i d t n & Sc n Fine A onal Mu rado Pa nce Va rts Fes tanic G & Scie Arts Fe ltiple S o Para ce V e e i u e o d n i o e l r A t d Gol um Na era Co e Exper Creek enver B f Natu lden Fin ional M Colora Experie erry t a p f e o y i D h a er Go ife Mus odeo O he Wildl a Cherr stival ra C ck A seum enter seum N deo Op e Wildl e u p e r R M T O C h F Ope Arts and lorado l Mu and Ro rado T l City nver Bla er nver ills Art e y e z t i i D k a C v o o h of C entral ver Blac ociety e Foot enter M k Show e of Col entr um De y25Den fo C S e c r C 2014-2015 Newman Center Presents u n i C n t s o g a a Out Mu mp Fair um De ver Film ds Lea ultural ern St ge Tas ple’s F g o t n C r i n A n e t a n i e C o Mus any De mb Frie ewood nal Wes s on St l Hill Pe Denver Theatr rary D u k p e

Endowment Recognition

Porter Adventist Hospital is proud to support the Newman Center for the Performing Arts and all those who pursue excellence in our community.

porterhosptial.org | 2525 S. Downing St., Denver, CO 80210 | 303-778-1955 Porter Adventist Hospital is a member of Centura Health, Colorado’s largest hospital and healthcare network.

Centura Health complies with the Civil Rights Act of 1964 and Section 504 of the Rehabilitation Act of 1973, and no person shall be excluded from participation in, be denied benefits of, or otherwise be subjected to discrimination in the provision of any care or service on the grounds of race, religion, color, sex, national origin, sexual preference, ancestry, age, familial status, disability or handicap.

Copyright Š Centura Health, 2013

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2014-2015 Newman Center Presents

We could not do what we do without your support and your feedback! Your voice matters, and we do listen!

!

YOUR OPINION

MATTERS

(and you could win a pair of tickets to an upcoming performance!)

Please consider completing the survey in the middle of your program, or visit www.newmancenterpresents.com/survey to share your feedback.

You may remain anonymous, but if you wish to be entered into our drawing, please include your email address.

If you have any additional feedback or comments which are not addressed on the survey, please email natalie.raborn@du.edu.

Thank you!

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2014-2015 Newman Center Presents

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ENJOY THE SUITE LIFE IN DENVER! The Embassy Suites Denver Southeast is a proud supporter of the University of Denver and Newman Center Presents.

The Embassy Suites Denver Southeast features true, two-room guest suites, a complimentary cooked-to-order breakfast and a complimentary manager’s cocktail reception.

For fantastic group deals call us at (303) 696-6644 or visit DenverSoutheast.EmbassySuites.com today!

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DID YOU KNOW?!

Newman Center Executive Director Stephen Seifert serves on the Board of Directors of the Western Arts Alliance. WAA is a membership association of touring and performing arts professionals engaged in presenting the performing arts throughout the western states and Canadian provinces. Serving members since 1967, WAA’s annual conference brings together over 1,000 artists, artist managers, presenters, leaders of arts service organizations, and administrators of state arts agencies. At the conference, members work together on artist tours for upcoming seasons and engage in professional development for arts leaders.

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2014-2015 Newman Center Presents

THE POWER OF MEMBERSHIP = MAKING A DIFFERENCE

to a Newman Center Presents performance of your choice in the 2014-15 season Invitation to pre-performance and Our mission is to make the best performing • intermission receptions for each Newman arts programming available in our community.

Center Presents performance (hosted bar To do this, our ticket prices are held at a and hors d’oeuvres) level that covers less than half of the true costs of our programming, operations and maintenance. The difference is made up by SPONSOR—$500 • All Supporter Membership benefits, plus: your generous membership support.

• Invitation to a backstage tour Two complimentary guest passes to a Your membership to Newman Center makes • Newman Center Presents performance of it possible for us to present the best in your choice in the 2014-15 season performing arts from around the world, provide student discounts and master classes for both university and K-12 students, and sustain a landmark facility recognized worldwide for its excellence. Please join the community of members with a partially or fully tax-deductible Membership that makes everything we do possible.

SUPPORTER—$200 • All Contributor Membership benefits, plus: • Four additional complimentary drink vouchers for any Newman Center Presents performance in the 2014-15 season • Two Orchestra seats to a Lamont School of Music Opera production (excludes annual musical) or a Theatre Department BECOME A NEWMAN CENTER MEMBER production of your choice (dates subject to Annual Membership starts for as little as availability) $50, but the more you choose to give, the greater the difference you will make. (See CONTRIBUTOR—$100 below about the matching grant opportunity • All Friend Membership benefits, plus: to double the value of your gift). A portion • Two complimentary drink vouchers for any of your membership may be tax deductible.

Newman Center Presents performance in To become a Newman Center Member, or the 2014-15 season for more information about our membership program, please contact the Newman Center FRIEND—$50 Box Office, Mon–Fri, 10 a.m.–4 p.m.; Sat, 12 • Priority notification of subscription renewal p.m.–4 p.m. (Sep–May), or at 303.871.7720. dates • Priority notification of single ticket sale Newman Center Membership Levels* dates • Recognition in each performance program BENEFACTOR—$5,000 for Newman Center Presents performances • All Partner Membership benefits, plus: • Subscription to Curtain Call • Exclusive post-performance “meet the artist” and drinks with one visiting artist during the *The amount paid for your membership is 2014-15 season (pending artist availability) tax deductible minus the fair market value of • Two complimentary Pick Your Own 3 benefits received. If you decline all benefits, guest subscriptions (three shows total) the entire amount of your Membership is to Newman Center Presents 2014-15 tax deductible. Deductible amounts with season shows benefits are: Friend—$50, Contributor—$94, Suppor ter—$142, Sponsor—$366, PARTNER—$1,000 Par tner—$690, Benefactor—$4,474.

• All Sponsor Membership benefits, plus: • Two additional complimentary guest passes

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SUPPORT FOR THE PERFORMING ARTS

Just making a little toffee for a few of our friends...

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In any project, the benefits of leverage can be amazing. The University of Denver is committed to leadership in leveraging our partnership with you. In recent years, DU has committed $5 million to match every new gift of $10,000 or more to support performing arts on campus. A limited amount of funds remain in this matching pool and are available to match your contributions and pledges. Your gift can be personalized and designated for a wide range of purposes, including endowment of Newman Center Presents programming and educational residency activities.

We urge you to take advantage of this unprecedented opportunity today. Please consider giving generously to the performing arts at the University of Denver. Seize the chance to leverage your gift for the enrichment and education of current and future generations of students and for the living cultural fabric of our community.

To discuss giving opportunities to the Newman Center for the Performing Arts, please contact Isabel Werner, Director of Development— Arts, Humanities and Social Sciences, Isabel.

Werner@du.edu or call 303.871.4472.

WHAT GIFT DOLLARS CAN REALLY DO Thank you to the generous donors who have created permanent endowments to support Newman Center Presents: Beverlee Henry and the Honorable Robert Fullerton (Newman Center Endowed Fund for Experiential and Cultural Learning), Celeste Grynberg (The Grynberg Family Endowment for Dance Programming), The Gay and Lesbian Fund for Colorado (The Gay & Lesbian Fund for Colorado Endowment for Diverse and Innovative Music), and Porter Adventist Hospital (The Porter Adventist Hospital Endowment for the Performing Arts).

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2014-2015 Newman Center Presents

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WHAT GIFT DOLLARS CAN REALLY DO (continued)

During the 2014-2015 season, these funds will help make the following programming a reality: • Educational residency work and master classes with Pinchas Zukerman; Beijing Dance/LDTX; The King’s Singers; Renaud Garcia-Fons; Bill T. Jones/Arnie Zane Dance Co.; Medeski, Martin & Wood and Alarm Will Sound; Aspen Santa Fe Ballet; Roomful of Teeth; Donal Fox; it gets better; and Diavolo are sponsored in part by The Newman Center Endowed Fund for Experiential and Cultural Learning.

• Beijing Dance/LDTX, Bill T. Jones/Arnie Zane Dance Co., Aspen Santa Fe Ballet, and Diavolo are supported in part by The Grynberg Family Endowment for Dance Programming and Roger and Meredith Hutson.

• Chris Thile and Edgar Meyer; Renaud GarciaFons Quartet; Medeski, Martin & Wood and Alarm Will Sound; and Roomful of Teeth are supported in part by The Gay & Lesbian Fund for Colorado Endowment for Diverse and Innovative Music.

• All Newman Center Presents programming is supported in part by The Porter Adventist Hospital Endowment for the Performing Arts.

• Bill T. Jones/Arnie Zane Dance Co. and Roomful of Teeth are supported in part by The Antonia and Vladimir Kulaev Cultural Heritage Fund, Inc. If you are interested in supporting Newman Center Presents, please contact Isabel Werner, Director of Development - Arts, Humanities and Social Sciences, Isabel.Werner@du.edu or call 303.871.7467.

If you work with a local organization or Denver-area K-12 school and would like to learn more about how Newman Center Presents artists provide educational outreach activities for your school or group, please contact Sarah A. Whitnah (née Johnson), Event and Community Outreach Manager, at Sarah.A.Johnson@du.edu or call 303.871.2862. Please include the following information: your name and position, name of

34

2014-2015 Newman Center Presents

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organization or school, types of outreach you may be interested in (dance, theatre, world music, jazz, vocal), and email address and phone number.

THE LASTING DIFFERENCE MADE BY ENDOWMENT GIFTS The construction of the Newman Center and all its public and backstage spaces was only made possible by generous donors, many of whose gifts have been recognized through the naming of spaces. Moreover, continued gifts to and income from the Newman Center Building Endowment help ensure constant care and upkeep of our world-class venues and state-ofthe-art systems.

DID YOU KNOW?!

The Center Stage Club offers online versions of Newman Center Presents Magazine for patrons to read before performances.

And, check out upcoming metro-area performing arts events in the calendar.

CenterStageClub.com

The Center Stage Club is produced by Colorado’s Performing Arts Publications

36

2014-2015 Newman Center Presents

The Newman Center Volunteers have given over 78,000 hours of service since the NCPA opened in 2003.

Our volunteer program is over 200 strong, and they come from as far away as Evergreen, Castle Rock, and Loveland for the pleasure of giving you a program and helping you locate your seat.

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Come Sing With Us! Calling all boys and girls in grades 2-8!

Join Young Voices of Colorado

Concerts in the beautiful Newman Center December 7, May 3 and June 28

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Call today to schedule a tour of our campus, including our new dining hall and performing arts spaces.

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2014-2015 Newman Center Presents

ENDOWMENT GIFTS (continued)

To maintain this excellence, the Newman Center Building Endowment needs to grow, and many naming opportunities remain for your gift to the Endowment.

Your gift to name a space in the Newman Center offers lasting recognition of your support of the Newman Center’s programming, operations, and facilities. Both current and testamentary gifts to the Newman Center Building Endowment are welcome. If you have already included the Newman Center in your estate, please let us know so that we may appropriately thank you.

If you would like more information about how to make a lasting difference to the Newman Center Building Endowment, to Newman Center Presents, or to help the Newman Center continue to make a lasting contribution to the performing arts in our community, please contact Isabel Werner, Director of Development, at 303.871.7467 (Isabel.Werner@du.edu).

DONOR ACKNOWLEDGEMENTS The Newman Center for the Performing Arts would like to express its gratitude to the following individuals and organizations who have given generously in 2013–14 (July 2013– June 2014) to support the Newman Center’s Scholarship, Maintenance, Operations and Programming, and Marketing Funds, the Newman Center Endowments discussed earlier, and Newman Center Memberships initiated during this time period: Newman Center Donors Anonymous (several) Leslie Beltrami Carl Berman and Joyce L. Gioia Karin Bond Bonfils-Stanton Foundation Matt Chalek Vernelle C. Columbus Community First Foundation Robert Downes Kevin Fitzpatrick

Friends of Chamber Music Kay E. Grice Edie Hori L. Roger and Meredith Black Hutson Susan Martin Yolanda McAllister Joan B. and Richard L. McGee Mile High United Way Douglas G. and Laura B. Moran Jennifer Newman Tina and Tom Obermeier Edward Onderko Paula Roney Marriott and John Smart Kathryn Spuhler Serda D. and Roy S. Tibbs Adrian Tinsley Myranda E. Whitesides Carol Wilson In honor of Karen Lee-Siebels Kay E. Grice In honor of Judi and Robert Newman Margot Gilbert and Allan Frank Newman Endowed Fund for Experiential and Cultural Learning In honor of Margot Gilbert Frank In honor of Margot and Allan Frank and In honor of Sue Anschutz Rodgers Beverlee Henry and Robert Fullerton In memory of Frances E. Seifert Robert C. and Judith S. Newman Christine B. Poe Obermeier Stephen W. Seifert and Davol G. Tedder In memory of Arthur J. Seifert Stephen W. Seifert and Davol G. Tedder In honor of Dee Getchel James and Frances Cosby 2013-2014 MEMBERS BENEFACTORS Robert and Judi Newman PARTNERS Margot and Allan Frank Mike and Diana W. Kinsey Dennis A. Oliver Stephen W. Seifert Davol G. Tedder

ORIGINAL ART - PRINTING - CUSTOM FRAMING FEATURED ARTISTS AND PHOTOGRAPHERS TANIS BULA - BILL MASURE - SHERYL BABIARZ RON BIRREL - E.McCARTHY ALLEN VICTORIA WINN - PAUL CHENOWETH

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2014-2015 Newman Center Presents

39

DONOR ACKNOWLEDGEMENTS

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2014-2015 Newman Center Presents

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(continued)

SPONSORS Gene and Dee Garms Milstein Gregg Kvistad and Amy Oaks Jane Quinette PowerQuip Partners – Sean and Natalie Raborn SUPPORTERS Libby L. Bortz and Michael R. Altenberg Edward W. Estlow Teresa Giammanco Walter F. Imhoff Mary Jo Craige Johnson M. D. Lauterbach Joan Markle Francis X. O’Connor Nelson Family Foundation – W. Peterson Nelson Jordon and Essie Perlmutter Rodney L. Smith and Constance A. Brakke Smith Richard Replin and Elissa Stein William Stolfus and Ann Richardson Thomas and Theresa Wheeler Robert A. Zupkus and Donna Howard-Zupkas CONTRIBUTORS Robert M. and Carole Cantor Adelstein Lisa Allen Thomas N. Butler Charlene S. Byers Catherine P. Cole Joel S. Cohen and Kathryn L. Oberdorfer William and Barbara Dolan Michael J. and Laura Fowles Pamela F. Grange Roger L. Kinney David R. and Florence Lynn Linke William Mohrman Harold S. and Sarah M. Nelson Gene E. and Nancy M. Richards Donovan C. and Phyllis A. Rieger Kathy A. and Donald D. Rosenkrans Ruth Schoening Janet L. Schroeder Michel N. and Carla Schuh Thomas Blake Spellman Roger L. Tate

GIVE THEM SOMETHING

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2013-2014 MEMBERS

(continued)

Reda Walsh Carol A. Wilson Ruth Wolff

STRENGTH STRETCH CONTROL BALANCE

(Gifts and memberships received on and after July 1, 2014 are acknowledged in the show insert in the middle of the program.)

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42

FRIENDS Varda and Bernhard J. Abrahamsson Barbara R. and John R. Adams Albert G. Appell Mary Claire Brothers Judith K. Cisney Betty J. Croall and James A. Carney Andrea Elizabeth Faley Frances N. Gray Charles Hanson Andrew Hornbrook Katy Jarusco Ann Marie Kaplan Roger L. and Suzanne O. Kinney Gloria Kubel Sarah Lincoln Robert Roy Montgomery Michael C. and Ann A. Moore Sally G. Plummer Frances E. Seifert Jenene C. and James J. Stookesberry Shirley M. Tanaka Mary Ann Tarpey Mirelly Tierney William B. M. and Susan D. Tracy Roberta Kaye and Leonard N. Waldbaum Carol M. Warner

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46 2014-2015 Newman Center Presents

PATRON INFORMATION • The Newman Center for the Performing Arts is fully accessible to patrons in wheelchairs and to those with other special needs.

Patrons needing accommodations for a disability should call the Box Office as early as possible at 303.871.7720.

• Parking is available in the Newman Center parking garage (complimentary for all Newman Center Presents events). Patrons are advised not to park in the neighborhood, as most side streets have one-hour parking only.

• Food and beverages are prohibited in the seating areas of all theatres.

• No audio, photographic, or video equipment of any kind is allowed in the performance venues.

• Artists and programs are subject to change without notice.

• All sales are final. No refunds or exchanges.

• Patrons are encouraged to call the Newman Center for information on the suitability of events for children.

• The University of Denver is a smoke-free campus. Smoking is permitted only in the designated smoking area on S. York Street, south of the loading dock.

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